When Water Strikes, It's a Freezer to the Rescue!

Unusually warm temperatures last week have caused rivers and creeks in our area to swell, flooding low-lying areas. Earlier this winter the River Seine rose to flood stage, causing the Louvre to implement emergency protocols and close its lower level.

When a water disaster strikes a textile collection or organic collection, a humble freezer can become an institution's best friend. Subjecting items to a deep freeze will halt bacterial and fungal activity and give an institution time to develop a remediation and conservation plan. Procedures for freezing textiles should be a part of any organization's disaster plan.

No natural water disaster or leak is too small or large for a freezer to be helpful.

And the faster the response time, the better.

It is important to place the textiles into the freezer as soon as possible to minimize mold growth. Ideally, items should be wrapped in plastic with minimal folds or overlaps, thus creating a larger surface area. Interleave fabric layers with freezer or waxed paper to prevent dye transfer.

Attached labels added to the packages

Items should be spaced apart from each other to promote rapid freezing, preferable in separate packages. Insure that the package are labeled with information about the artifact, including the accession number. The more information included the better since it might be a while until they can be addressed. Do not rely on your memory of what is inside.

           

Fabric layers are separated with freezer or waxed paper 

            

Previously frozen textiles await cleaning

                         

Water damaged textiles can then be removed from a freezer and quickly wet cleaned.

In consultation with a conservator a proposal can be developed to treat the water-damaged textiles.

Additional Resources

American Institute for Conservation of Historic and Artistic Works. "Salvaging Water Damaged Textiles."  Accessed February 15, 2018.

Connecting to Collections Care. Video, "Salvage of Water Damaged Textiles." Source: Video demonstration of salvaging wet textiles – Preservation Australia. Accessed February 15, 2018.

FEMA Fact Sheet. "Salvaging Water-Damaged Family Valuables and Heirlooms."  Accessed February 24, 2018.

National Park Service. Conserv-O-Gram, "Salvage at a Glance, Part V." 2003. Accessed February 15, 2018.

Not on THAT hanger! Proper storage of hanging collections

Here at SAC, textiles are our "thing". When pressed to label SAC's specialty in conservation, textiles more than likely come in first, (but gosh we do an awful lot of paper, objects and upholstery!).

Whether it is a silk dress from 1840, or a military jacket from the Civil War, or perhaps a christening gown passed down through generations, historic costume is is an important part of any textile conservator's work. Too often, garments are brought to us in a condition that could have been prevented. The damaging item is sometimes a surprise, as not everyone knows the dangers of acid migration and that the natural organic wooden hanger supporting the prized garment is the thing that is doing the most harm. Wooden hangers, while very sturdy, are made of wood which is quite an unfriendly companion to textiles (as evidenced below). (See Glossary of safe materials for storage).

The light color of this jacket lining allows the staining from the hanger to be quite visible

But let us not point an accusing finger to wooden hangers only. It is not just the material a hanger is made of, it can simply be the hanger itself. Perhaps the item is too fragile to hang, or the hanger is far too big for the tiny garment and the arms have been forced out to the side rather than to hang naturally from the shoulders, or perhaps the heaviness of the garment causes undo stress to the fabric at the shoulders, resulting in weekend areas now prone to tears. Another contributing factor is the thickness of the hanger, a thin wire hanger is not as supportive as a thick molded polystyrene hanger, simply because the thicker hangers ease the distribution of weight across a larger area, while the wire creates specific and unforgiving stress points.

A few examples of hangers that have been padded in various ways to accommodate specific garment and needs. Notice the hangers at the lower right corner are quite small, perfect for children's garments. The hangers at the top demonstrate covers that support a great deal of the upper portion of a garment, and how you can even add "arms".

When treating textiles that are destined for hanging storage or display, we always enclose an information sheet about creating padded hangers, and many times our treatment includes creating a custom made padded hanger for the garment.

Creating padded hangers might seem like a daunting task, especially to the curator of the historical society with walls lined with racks holding innumerable garments, all hanging from wood, plastic, or those lovely but quite thin wire hangers (a la dry cleaner). I know, you are thinking about dry cleaning bags now too, you are thinking how you've seen them covering antique garments and you know it's wrong…we will talk about this later.

To get started, evaluate the garment you would like to hang, determine the proper type of padded hanger design, and gather your materials. Since the initial idea of a padded hanger back in the 1970s, hangers have come a long way. Conservators and collection managers now have far more options to the original design than ever before. But in all cases, they follow the same simple rules.

RULE #1:  A textile should NOT be hung if it is fragile, or if the hanger causes strain on the garment. These more delicate textiles must be boxed and padded out to prevent crushing from folds. Read more about boxed storage of textiles in our blog post about proper storage and support of textiles .

Good intentions. This hanger is at least covered, but just behind it can be seen the
uncovered wooden hangers. Notice the strain on the shoulder lace. This hanger is
also too wide for this particular garment.

RULE #2: The hanger should not be wider than the shoulders of the garment, i.e. you would not hang a small child's dress on a 17 inch hanger. When the hanger (even if padded) extends into the arms of a garment it creates undo stress and misshape of the garment.

Hangers can be modified to hold objects as well. Here various items, including snow-shoes
 are hung from hangers and enclosed in an archival bag. In this way any applied stress is even
and visual access is possible. An inexpensive solution at its best!

RULE #3: Selecting supplies and materials is critical to constructing your padded hanger. All materials need to be archival: inert, neutral pH, and will not off-gas.

RULE #4: Never hang knits. Just don't. They will stretch and sag and then the damage is irreversible, so just avoid it all together.

Suit jackets hanging inside of a storage cabinet. Each of these jackets are in
excellent condition and are able to support their own weight. The hangers are
widely padded to mimic a shoulder. Sufficient space for each suit is also provided.

How heavy is the garment you are hanging? Robes, coats, capes and heavily adorned costumes are particularly heavy. Evaluate these appropriately with consideration to the strain on the shoulders to hold all that weight.

There are some other advantages to padded hangers. The material that covers the hanger provides a gripping surface so the garment can "hang on" and not shift much once it is placed on the hanger.

A row of padded hangers in a storage cabinet.

Hangers not only come in different sizes, there are other shapes as well. The Pants hanger, or the strait style hanger with clips is another frequently used item that needs re-evaluation. The clips are just too harsh, they cause crushing, severe pressure points, and usually sagging of the garment in between the clips. The alternative here is the hanger that works more like a strait clamp. These types of hangers can also be padded and provide support that is evenly distributed, this is a much more gentle approach. But keep in mind the length of the hanger and the what it is supporting.  If the waist of a skirt extends well past the clamp edges, it is too large for this type of hanger and is not being properly supported.

The wonderful thing about padded hangers is that they don't have to be expensive. In fact, I am reminded of the Canadian War Museum's ambitious project back in 1999, when they had a backlog of 15,300 (!) clothing items. They needed a quick, archival acceptable, but inexpensive solution and came up with what they dubbed "insta-hangers". Using 1" pipe insulation made from closed cell polyethylene, they covered hangers and got to work.  Ingenious!

Need some illustrated instructions to create your own padded hangers? Lots can be found on-line. Here is a link to Minnesota Historical Society's instructions for making a padded hanger: http://www.mnhs.org/preserve/conservation/reports/paddedhanger.pdf

Also, a step-by step method for creating padded hangers as well as cotton muslin coverings from blogger, Sara who works as a curator: 

http://commitmentocostumes.blogspot.com/2012/08/no-wire-hangers-ever.html

And last, but not least, the NPS Conserve O Gram from 1994:

http://www.nps.gov/museum/publications/conserveogram/04-05.pdf.

In our next blog we will discuss dust covers and how they keep unwanted things (i.e. dust, debris, cat hair, etc…) off of your textiles.

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Gwen Spicer is a textile conservator in private practice.  Spicer Art Conservation specializes in textile conservation, object conservation, and the conservation of works on paper.  Gwen's innovative treatment and mounting of flags and textiles is unrivaled.   To contact her, please visit her website.

Mothballs, yuck.

by Gwen Spicer

Over the years I have seen mothballs in many collecting institutions and client homes. They are a true "left-over" from a time in the twentieth century where chemicals were thought to solve all of our problems. While mothballs and other chemicals gave the appearance of solving some problems, what they really did was produce a great deal more!

Mothballs.  No one should use them, EVER.

Our awareness of the hazards of chemicals is still quite new. We all have Rachael Carson to thank for her timely publication "Silent Spring" in 1962. It woke us all up to the danger and harm that we were doing to our environment and ourselves. Sadly, it may have not been widely read. 52 years later we continue to use harmful products thinking we are somehow helping.

Rachel Carson, truly a voice ahead of her time.


After Carson's book, laws were quickly enacted that stopped or limited the use of the most harmful chemicals and pesticides, especially the use of DDT. However, many others still remain on the market. Mothballs are one of these. The little white balls of toxin have been used for decades to deter and kill moths and other insects from damaging wool textiles.


The definition of a mothball is as follows:


Small balls of chemical pesticide and deodorant used when storing clothing and other articles susceptible to damage from mold or moth larvae. They come in two different formulations; one, using naphthalene, and the other using paradichlorobenzene as the active ingredient. Naphthalene, a hydrocarbon derived from coal tar, which easily exudes gas, acts as a fumigant.

So why are mothballs hazardous to your health? Several reasons:
 Naphthalene fumes may overwhelm a child wearing a sweater recently removed from a chest containing mothballs. Inhaling the chemical can lead to nausea, vomiting, fatigue, headache, fever, confusion, and fainting. Routine exposure can cause a condition called hemolytic anemia, where a person's red blood cells get damaged. Ingestion or skin exposure causes more extreme reactions in the liver and bladder, causing jaundice, lightheadedness, and eventually leading to coma. Not surprising, but cigarette smoke contains the chemical, which as we know can lead to cancer. So really, there are no health benefits associated with naphthalene.

Toxic nature and damage from use:
Older mothballs consisted primarily of naphthalene, but due to naphthalene's flammability, many modern mothball formulations instead use 1,4-dichlorobenzene, which may be somewhat less flammable. The latter chemical is also variously labeled as para-dichlorobenzene, p-dichlorobenzene, pDCB, or PDB, making it harder to identify unless the purchaser knows these synonyms. Both of these mothball chemicals have the strong, pungent, sickly-sweet odor often associated with mothballs.

Both naphthalene and 1,4-dichlorobenzene are the main ingredient in mothballs because they undergo sublimation, which means that they start in a solid state which evaporates directly into a gas; this particular gas is toxic to moths and moth larvae, hence it is an effective pesticide.

Another version of a mothball, and just as dangerous, is moth crystals. They are made exclusively from paradichlorobenzene (PDB), which is considered even more toxic than naphthalene. Regardless of their toxicity, both chemicals are a poor choice for storage because prolonged exposure of PDB vapors on plastics may melt them, affecting some sweater boxes and other types of plastic; it is therefore not recommended to use on clothes with plastic buttons or decorations. The effects of PDB on humans are not well known, but it is a suspected human carcinogen because it has been shown to cause cancer in animals.

An all-too-common sight.  Mothballs and the clothes they
are "protecting" sealed tightly in a plastic container

For the insecticidal chemicals of mothballs to be effective, they need to be placed with the clothing in a sealed container so the vapors can build up and kill the moths. In a sealed atmosphere like this, the vapors are not as harmful to people because they are relatively contained. The main exposures would occur when filling or opening the containers, or from wearing clothes immediately after opening (especially a problem for infants).

Naphthalene mothballs and 1,4-dichlorobenzene mothballs should not be mixed, as they react chemically to produce a liquid (rather than sublimating) that may cause damage to items being preserved. Should this happen to your artifact, the outlook is grim. :(

If that is not bad enough, there are things that make mothballs even worse. Wet mothballs are even more potent than dry ones. And the wetness can be profound, like exposure to water from a flood or leaky pipe, or mild, in the form of high humidity. Either will cause the odor to be more potent and sublimation to be more rapid. This increase in potency puts the person treating or washing the garment at more risk. Similarly, sometimes the garment has not been in moth balls for a long time, but upon wetting for treatment, the chemicals that had been absorbed inside the fibers and had sat dormant, are released. Textiles are not the only at-risk items for chemical absorption. Wooden cabinets, shelves, or drawers also have the propensity to absorb the harmful chemicals.

In addition to repelling or killing insects such as moths and silverfish, mothballs have been suggested for use as a stovepipe cleaner, a snake repellent, and to keep away mice or other pests. This of course is a terrible suggestion. A quick information search will show you that placing mothballs in the attic, or other areas of your home only results in the family dwelling there to become horribly ill.

Another major concern about the use of mothballs as an animal repellent or poison is their easy access to children, pets, and beneficial animals. Leaving them in a garden or in a living space unprotected makes it very easy for unintended victims to gain access to them. Mothballs are highly toxic when ingested (they have a sweet odor and taste, making this more likely), and will cause serious illness or death.


Now that you have read the above information and never want to use mothballs again, let us talk about the alternatives and why so many people prefer to use safer, more natural remedies to rid themselves of those pesky moth larvae that can eat holes through woolen sweaters, coats, and blankets.

ABOVE and BELOW: These images are from some time ago, but really not so far back in history. The garbage cans are from a museum and the images were taken in 2007. The accepted process, which really stopped being used in the 1980's, was to fill a stainless steel garbage can with the textiles to be stored or "fumigated", add mothballs and seal the can.

Alternatives:
Here are some alternatives to help save valued items without resorting to poisonous mothballs or moth crystals. Clearly some options are not for fragile or vulnerable textiles:

Items should be placed in the clothes dryer on a warm cycle to kill any moth eggs, or if possible, periodically air them in the hot sun.
• Shake out and brush woolen items every three to four weeks (this step may not be practical for all of us, but the following steps certainly are). Clean items prior to storage as moth larvae rely on human soil products, like perspiration residue, for essential vitamins missing from pristine wool.
• Store clean, off-season items in airtight containers.
• Freeze infested items in a tightly sealed bag for 48 hours; thaw at room temperature, and repeat. Once fully thawed and dry, seal in an airtight container for storage.

Storing susceptible items in a cedar chest will help reduce damage caused by moths or mold. Cedar oil is a natural repellent of insects like moths; however, many older cedar chests no longer have enough aroma left to do the job. On the other hand, if the chest seals well and smells strongly of cedar, it will probably be a safe place to store items.

Toxin-free alternatives to control clothes moths include freezing, dry cleaning, washing in hot water, or thorough vacuum cleaning.


There is no one-time only procedure for keeping moths at bay. It is only through diligence and monitoring that moths can be kept out of, and off of, wool items. If you have wool items in your collection, inspect them carefully and protect them…but never with mothballs.

So what if you have already used mothballs? Or you are the lucky curator of the museum who just found stainless steel cans hidden in your collection which have not only irreplaceable textiles, but lots of mothballs, and subsequently that horrible mothball smell. The short answer is: Call a Conservator.

"Oh, Dear!"  Sadly, sometimes valuable or irreplaceable objects are protected with mothballs.

_____________________________
Gwen Spicer is a textile conservator in private practice.  Spicer Art Conservation specializes in textile conservation, object conservation, and the conservation of works on paper.  Gwen's innovative treatment and mounting of flags and textiles is unrivaled.   To contact her, please visit her website.

Mold in museum collections is the environmental "canary in a coal mine"

A common issue found in collection storage is the presence of mold. Mold can unfortunately be found on collections, but also at times on the layers that are to protect collections. Museum professionals strive to keep their environment stable, their storage areas clean with good housekeeping practices, and surround their collections with archival materials. Yet mold out-breaks still can occur. So why does this happen, particularly if the protective layers are archival, and the environment is being monitored?

ABOVE: Mold growth on a military jacket. The jacket
was displayed on a mannequin form under glass bonnet.

It turns out that mold is a tricky organism, and it wants to live. And given a chance, live it will. And of course, museums have in their collections the perfect materials for those tenacious spores to live and set-up house.

"Microscopic molds are both very beautiful and absorbingly interesting. The rapid growth of their spores, the way they live on each other, the manner in which the different forms come and go, is so amazing and varied that I believe a man could spend his life and not exhaust the forms or problems. 

— David Fairchild

The World Was My Garden (1938, 1941), 55.

All organic materials (and even some inorganic materials) will support mold, with natural fibers being the most susceptible. Mold is a microorganism that produces enzymes that convert the cellulose in fibers to soluble sugar that is metabolized as food. Proteins are generally less susceptible, but keratinophilic fungi will feed on, and damage, these fibers as well. Mold is found first on soiled areas, but also on materials that are starched, sized, have brightens, or have in the past been treated or exposed to some substance that is still present. And sadly, all mold growth creates a permanent, irreversible stain. (See below).

ABOVE: Before treatment

ABOVE: After treatment

The photos on the left and right show mold on paper. While the mold has been reduced substantially, the permanent stains it has left behind are now part of the object.

RH = Relative humidity is a measure of the capacity of air to hold water. This amount varies as temperatures increase or decrease

Mold is omni-present and if mold is not actively growing, its spores are always in the air waiting for the ideal conditions so that they may grow. Ideal conditions for mold growth are relative humidity (above 65% with a temperature of 75 F or above (25 C). Humidity is by far the most important factor in facilitating mold growth, and if the you have an 80% RH you can be certain that mold is actively growing and it is spreading.  However, keep your temperature below 65 degrees F and your relative humidity below 50% and your collection will be quite safe.

ABOVE: this printout shows a 7 day record of temperature (in red) and the RH (in blue).

However, even at moderate conditions, an outbreak can start in a surprisingly short time. Ideal conditions for mold growth are slightly different for each mold species but mainly within this "sweet spot" of above 65% RH/75 degrees F. But remember that mold is tricky, in fact, mold growth has been noted as low as 50% RH. How can this be? Mold shouldn't grow at 50% RH!  Well, because mold is everywhere and it is a survivor, and the typical museum can not create/afford a "clean room" like those used in hospitals or high tech industry. Therefore, museums rely on creating an environment that is not conducive to growth. Key to this is keeping the relative humidity down. However, it must be noted that if a collection or an artifact has already been affected by active mold in the past, there is an increased chance of a breakout at a lower relative humidity. Think of the later mold moving into an already furnished apartment, everything they need is already there, they just need to move in where their "roots" had successfully taken hold in the past.

ABOVE: Sneaky mold. Here are three of the same types of artifacts, same material
(wood), same time period, same storage area. Yet, the artifact in the middle is almost
entirely untouched by mold while its sandwiching neighbors are nearly covered.   

Determining an actual set point for ones storage environment can be difficult as that there are many factors that are in play. One might even read conflicting recommendations. One of the issues is the amount of ventilation that an area receives. As that storage rooms are broken up by all sorts of cabinetry and shelving units, both open and closed, micro-climates can easily be created. This can especially be the case in historic structures with older HVAC systems of any kind.

The other issue, is how dirty artifacts are in the collection. The artifacts, especially in historic collections, have had an earlier life that includes the acculmative soiling and embedding dirt. All of which, mold spores love! So, even with good and regular housekeeping mold can still appear. 

As stated earlier, mold is tricky and sneaky. Perhaps you have done all of the right things and there is still a persistent out break. Well, there could be inherent issues of moisture that are beyond the specific room. A roof leak nearby, a damp basement, a leaky pipe, etc. Do not over look these seemingly small or large problems that are outside of the immediate vicinity of a mold outbreak. I have frequently come to an institution because of a mold out-break, only to find that it is the canary telling them that something else is going on.

Historical structures come with historical foundations. This
particular historical property experienced water in their basement
causing the RH to rise, causing…you guessed it, a mold outbreak in
the rooms and floors above. Did we mention that mold is sneaky?

Therefore, take any presence of mold seriously, keep your relative humidity down as low as possible, learn how the air moves in your storage space, be diligent in housekeeping, and know the "food" mold likes to eat.

Food sources for mold:

• soiling and dirt on the surface of the artifact.
• starch or other finishes that have not been washed out. Pre-washing muslin and even the twill tape has been found to be critical to remove these finishes.

ABOVE (top and bottom photos) Muslin wrapped, rolled textiles with mold on the surface of the wrapping.

LEFT: Image of detection of mold on unwashed muslin. UV light shows the mold is quite pervasive. So while the museum has done a great job of housekeeping and their storage is thoughtfully organized, the muslin coverings of their carpet/rug collection was at risk for a pervasive mold outbreak simply because the muslin was not washed prior to being used.

RIGHT: Another image of UV light to detect mold growth. This mold is growing on the twill tape straps. The twill tape was not washed prior to being used to tie the ends of the items in rolled storage.

Several years ago, the National Park Service produced a conserve-o-gram that focused on mold. Read it here. And the Smithsonian talks about mold here, which is also good reading to know more about the fungus among us. Lastly, Alaska State Museum's (ASM) experience with mold, or what they affectionately term, "white stuff", has been well documented and researched. ASM has experience and know-how about mold and how sneaky it can be - read about their battle with mold and the vigilance with which they maintain their collection here.

Do you have a mold success story? Do you have a mold challenge that seems unmeetable? The options for treatment and the factors to consider when determining how best to treat objects, textiles, or paper are numerous and often case specific. If in doubt about how a moldy artifact should be treated, call a conservator. We are always here to help!
_____________________________
Gwen Spicer is a textile conservator in private practice.  Spicer Art Conservation specializes in textile conservation, object conservation, and the conservation of works on paper.  Gwen's innovative treatment and mounting of flags and textiles is unrivaled.   To contact her, please visit her website.

Historic Amazon cultural treasures and the need to protect them

by Gwen Spicer

The Amazon region is full of surprises and variety. The majority of us know about the rich diversity of plants and animals, and perhaps even the region's role in our understanding the origin of species in evolution. Henry Walter Bates and Alfred Russel Wallace made many scientific discoveries in the Amazon that rivaled and ultimately complemented Charles Darwin's great insight. In the last few decades researchers have realized how early this region was settled and the landscape altered.  Recent work on the "black soil of the Indians" has demonstrated how Native Americans manipulated their environment to make the soil more fertile. Large regions in the Amazon Basin were totally changed well before the arrival of the Europeans. Deforestation, which began and has continued since the arrival of the Europeans has not been an equally beneficial landscape alteration.

The black soil manipulated from the orange colored sands.

I recently had the amazing experience to visit one of these sites, that is believed to have been inhabited as long ago as 11,000 years. In the early 1990s, Dr. Anna Roosevelt of the Field Museum and the University of Illinois excavated area caves and carbon dated the materials.  Her work overturned the idea that the jungle was not a virgin forest that was simply inhospitable and therefore, uninhabitable by humans.

In the middle of an island of natural savanna along the north bank of the Amazon River near Monte Alegre, in Pará state Brazil are a number of striking sandstone formations. After staying for weeks in the vast and nearly level expanse of the lower Amazon Basin, coming upon such formations is quite a surprise. This unusual region with tall rock outcroppings is a place that offers long vistas of the Amazon channel. This area is the southern beginning of the Guiana plateau that continues north to the top of South America. Early on, the Portuguese established a town close by, Monte Alegre, 50 miles downriver from Santarém. This region was once ocean floor, part of an expanse of water that linked the Pacific with the Atlantic.

Cactus are actually a common sight in this region.

These same rock formations were used by these early cultures. Among the surviving evidence of their presence are the amazing paintings, among the earliest cave paintings in the Americas. They are called the Caverna da Pedra Pintada, or Cave of the Painted Rock.

The great Amazon River to the south.

Yes, that is the Amazon River in the background.

This is all intensely interesting, but what became clearly apparent, just like the Museu da Amazonia (See earlier post), this site too is in severely threatened. It is true that the roads are not good--a four-wheel drive vehicle is needed to reach the site--but for the Amazon, I have seen worse. There is no sign to direct you to the region or the park, though our guide, Roberto do Deus, said that one is in the works, as is a plan to make the Monte-Alegre State Park a more viable entity. Though well-worn paths lead you to the various locations, we were extremely fortunate to have a guide with 20 years experience at the site, what Roberto calls his '"University of the Painted Rocks". Some of the popular caves can be reached on an easy walking path; others required much more stamina. In such a hot and humid environment, consuming lots of water was essential.

Presently there is no security on site, so there is nothing but the good will of the visitors to prevent vandals from defacing these treasured and ancient paintings, truly a national cultural treasure.

The path leading up to one of the caves with the paintings

 

Monte Alegre is a small town and is not growing as fast as a major city like the Brazilian city of Manaus, but it is none the less in the grip of change. It is now a small community, where people still sit out on the sidewalk and talk across the street to their neighbors and the plaza is filled with people at night amid small stands selling home made foods. Walking the streets, walls around houses were low and one had less of a sense of insecurity one feels in the larger cities. Kite flying is a popular past-time for children and adults alike. An improved electrical service is coming soon to replace the local generator, and the Federal University over Western Pará based in Santarem is opening up a satellite university. These are all great improvement for the community, but locals fear that with these will bring changes and additional people unfamiliar with local customs and respect for the archeological sites.

An increase in tourism will follow, and the need for it to be regulated will become necessary, simply because more protection is needed of these historically important sites.

Nothing is present to prevent touching or marking these pre-historic cave paintings. How to do this would require research preferably without creating additional issues. A extreme solutions was performed at Grotte Chauvet in Southern France. For this site, becoming a Federally owned park is probably the first step where more funding and resources could be available. Such was the case for another Brazilian cave painting site that then became a World Heritage Site. Whether such level of protection is possible here, is yet to be known.

Our guide, Roberto do Deus and others seek to find this balance, allowing more visitors to learn, but also for the community to have respect of these unique and special sites. We only hope that they are successful!

A proposal for the Monte Alegre Park facility is in the works that would have integrated areas, where visitors can meet, complete with rest areas with benches. A building would have exhibition space, work areas for education workers, and bathrooms. Read more about it on Roberto's blog www.montealegrehoje.blogspot.com.br

The Challenge of Protecting the Culture, Artifacts and Natural Resources of the Amazon

Museums are charged with the protection of culture, including artifacts and natural resources. Such is the case of the Museu da Amazonia (MUSA). A giant land reserve, 10,000 square kilometers, in the center of the Amazon region. The reserve was established in 1963 and called Reserva Florestal Adolpho Ducke, in honor of the botanist, Adolpho Ducke (1876-1959) who saw the need to preserve the forest. It is part of the National Institute of Amazonian Research (Instituto Nacional de Pesquisas da Amazônia, INPA), whose mission is to further scientific research of the Amazon region. INPA is a vital institution, where new discoveries continue to be made at a rapid rate. Then the Ducke Reserve evolved into a public botanical garden, with trails and pathways created for the public to see the diverse rain forest ecosystem, now combined with exhibits that make the MUSA a 'living museum'.

With the enthusiastic leadership of Director Dr. Ennio Candotti, the MUSA has developed quickly into a place where urban dwellers can experience, and learn to appreciate, the ecological diversity of the rain forest that surrounds the exploding urban area of the city of Manaus. Exhibit spaces dedicated to indigenous survival skills are interspersed with orchid and butterfly areas. Recently a collection of hand-woven fish traps has been on display. Continuously running videos show how they were made on site by Amerindians who came to visit.  Dr. Candotti explains that the MUSA actively recruits young people from the urban neighborhoods bordering the museum to be guides, part of the mission to make the local population better appreciate their special environment. From the top of the newly constructed observation tower (more on that below), the visitor can see urban sprawl to the south, and relatively undisturbed rain forest to the north. The visitor standing on the tower is confronted with the immediacy of development in the Amazon. The MUSA offers a place in which a vision of responsible growth in this region might be incubated.

Termite ants across the path, neatly staying within their trail, slowly building a tunnel over their path.

In the meantime, the nearby city of Manaus has rapidly grown, in a chaotic and uncontrolled way. It is among the fastest growing cities in Brazil. The outline of the protected land at the Ducke Reserve can now easily be seen as in the images below where the city stops at its edge.

The two photos above show the growth of the City of Manaus over the last 19 years.

Another ~20year comparison. The shift from small waterside
community to hugely populated waterside resort town,
complete with hotels, restaurants and boardwalks.

The unprotected borders of the Ducke Reserve could easily suffer human occupation, a small bit here and there. This issue can be found around the world, from Ukrain's Folklore museum, Pyrohiv, to the most remarkable list of the 46 properties which the World Heritage Committee includes on the "List of World Heritage in Danger" found on the UNESCO website. My colleague, Linda Norris has written extensively in her blogs about these various threats and the solutions the museums are attempting to find (see Uncataloged Museum and Museum, Politics and Power.)

Part of the Museu da Amazonia's solution is education, enabling the public to understand fully the importance of the forest, not just seeing it simply as the "wild jungle" or "selva" in Portuguese. By hiring the local neighborhood guides, it is hoped that the people bordering the reserve will take "ownership" of the reserve, embrace it as part of their neighborhood, and will perhaps want to protect it as a means of national pride. From their photos on their Facebook page, family programs are also a large part of their activities.

Newly built observation tower with viewing platforms.

A major project to build a special observation tower was just completed. As mentioned above, the tower extends above the forest canopy allowing for unencumbered views in each direction. The guided tour goes through the forest canopy, with platforms for long viewing at various levels. This tower will bring the undeniable changes and challenges facing the reserve immediately to the observer.

The Reserve is not on the list of world heritage sites in danger.  But without the dedication and advocacy it currently enjoys, that could quickly change.

What do you think?  Can this site survive?  Do you know of similar sites that could be in danger?

Glossary of safe materials for storage

How to Store Your Flag parts 1, 2 and 3 have been met with lovely comments from old friends and colleagues as well as some new friends and colleagues, I'm so glad these were useful.  In this series of posts on storage we mentioned many materials. We thought that it would be helpful to just post the entire list of materials in one location, so as promised, below is the glossary - enjoy!

Acid-free tissues, papers and boards:
Acid-free or neutral pH materials should always be used. These materials are made of 100% cotton fiber, whereas acidic papers are made from wood pulp. Questionable materials can be tested with pH indicator pens. These pH pens can be purchased at archival supply, or craft and fabric stores.

The blue/gray boards have a buffering agent added. It is generally an alkaline substance with a pH over 7. This reservoir neutralizes the acids that may be absorbed from the environment around. The alkaline residues could react with protein materials, like wool, hair, leather and some photographs.

Buffered materials can be used for Cellulose materials, like paper, cotton, and linen, but not with proteins. It has been observed that being in contact with buffered tissue also affects some dyes. Therefore care is needed in choosing the correct material.  Use for interleaving, solid supports, and in storage containers

Adhesive Tapes (Double-sided):
As with plastics, tapes need to be chosen with care. A product by 3M, #415 double-coated tape has been found to work best. It is pressure sensitive made with a high tack acrylic based adhesive on a polyester carrier. Products #924 and #969 are acrylic-based adhesives with no carrier. Both are non-yellowing, inert and reversible with solvents. Both tend to cold flow.

Use these tapes only in construction of storage supplies, like encapsulating flat paper items, but not placed directly on the artifact.

Batting:
Look for polyester needle-punched batting. This batting is formed mechanically by fiber entanglement using barbed needles. The other commonly found battings are made with resins that bond the fibers. The resins have been found to yellow and then can transfer onto artifacts. The packaging will frequently be marked if one is purchasing from a fabric store. Polyester materials resist mildew.

Use batting for padding-out and filling in order to obtain the desired profile of a mannequin. It can hold shape even under weight. Best if secured with stitching. Can also be used as stiffening, like at the bottom of a petticoat. Note that all battings need to be covered.

Coroplast:
A rigid, lightweight, polypropylene/polyethylene copolymer corrugated (or fluted) sheet. It is lightweight and fairly strong. The archival grade does not have any anti-static or ultraviolet inhibitor additives. This grade is more expensive than the standard grades. Coroplast can be cut with a utility knife. It can be bent with heat, or scored. Sheets are available in several thicknesses, 2-6 mm, and in several colors. When used for storage box tray construction, the sides can be secured with brass clasps, and sewn with heavy weight cotton, linen thread or twill tape. Corners can also be secured with hot melt glue rivets.

For display, one can cut it into forms to support lightweight textiles. Cover Coroplast with batting and stockinette or exhibition fabric.

Ethafoam:
Ethafoam is a Dow Chemical Co. trade name for polyethylene, a thermosetting plastic. Ethafoam is a closed-cell foam with a smooth surface. The cut edges are softer than other foams, like Styrofoam. It is easily cut with knives, and wood working tools.

It is best to look for Ethafoam manufactured by Dow. Other foams have been found to include additives and stabilizers that can cause problems and yellowing.

Fabrics:
It is best to use unbleached 100% cotton fabrics, like muslin, stockinette, flannel and twill tape. Any fabric that is used with collection needs to be washed in hot water.

A word of caution about fabrics; many have finishing treatments like flame-retardant or durable press. These types of finishes need to be avoided and removed with hot water washes. Wool is also a fabric not to be used for exhibitions or storage. It can tarnish silver in closed environments and attracts insects. If felt is to be used, look for polyester types.

Foam-Core:
A Styrofoam sandwiched between paper or plastic. There are both archival and non-archival products available. These come in several thicknesses. Avoid using cores made of beaded Styrofoam, as the beads can easily break apart at the edges. Best to use as a temporary material. Not suitable for long-term storage.

Hook and Loop Fasteners (Velcro):
Not all-generic Velcro is made from the same formulation. Some forms of Velcro have been found to have adverse effects to the textiles to which they have been attached. It is suggested to purchase it in large batches and test it. Always attach the soft side to the textile artifact with a separator of webbing or a muslin tab.

Avoid using Velcro with pressure-sensitive adhesive.

Hot Melt Glue:
This is a thermoplastic adhesive that is applied in the molten state and forms a solid when cooled. There are several different formulations. The ethylene/vinyl acetate copolymer is generally suitable for construction of mount supports. 3M’s #3764, Bostik’s Thermogrip #6363 and Evode’s Evo-Stik #7702 have been found suitable.

The glue is very hot! Care is needed not to burn oneself. It adheres to most surfaces. It can be difficult to use with smooth surfaces. Can cause damage to rare earth magnets.

Marlvelseal #360:
A foil composed of layers of nylon, aluminum and polyethylene. Provides a good barrier that resists transmission of water vapor and gases. The polyethylene side or dull side can be heat-sealed and can conform to curved shapes with a tacking iron. Use Marlvelseal to seal questionable materials for display and storage.

Mylar:
Mylar-D is a polyester, transparent film. It is a strong, inert and dimensionally stable film that is very clear. It comes in different thicknesses. Look for virgin polyester, type D made by DuPont Co. Mylar does create static charge.

Use to encapsulate and separate materials.

Plastics:
Not all plastics are the same. Many have plasticizers that make the plastic material more flexible. Over time the plasticizer causes deterioration and should be avoided. Other additives that can be included and can cause damage are slip and anti-static agents. Dry cleaning bags turn yellow due to BHT that is added to the polyethylene.

Good plastics are made from polyethylene, polyester, polypropylene and acrylics. These are the most commonly found. Most archival products found in catalogs will be made of one of these types. Other less common plastics are: polytetrafluoroethylene, polycarbonates and silicone.
Plastics that cause adverse effects are materials and rubbers containing sulfur-vulcanizing agents.

Stockinette:
This comes as 100% cotton unbleached or 100% polyester surgical tubing. Both need to be pre-washed. It is used to cover mounts, tubes, etc. It is particularly useful in making arms and other sausage like shapes. It provides sufficient tension to lower the amount of stitching needed.

Tyvek:
A spun bonded olefin is a high-density polyethylene fiber bonded under intense heat and pressure, manufactured by DuPont. This product has many good qualities: it is strong, non-buffered, has low resistances to water and mold. Tyvek both protects artifacts from dust while allowing for air circulation. It is smooth with no binders, fillers or buffers. It is low linting, and resistant to water and chemical-aging. Some solvents cause swelling. Housewrap may contain ultra-violet stabilizers. It comes in a range of weights. The weight that is commonly used is Type 1443R. This material can be washed in the washing machine several times. It is good for dust covers and wrapping collections. Can be seamed or glued. However, is not a good barrier for preventing acid migration.

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Gwen Spicer is an art conservator in private practice.  Spicer Art Conservation specializes in textile conservation, object conservation, and the conservation of works on paper.  Gwen's innovative treatment and mounting of flags and textiles is unrivaled.   To contact her, please visit her website.

Look for Gwen's book, "Magnetic Mounting for Art Conservators and Museums",  available in 2018.

How to store your flag, Part 3: Rolling

As stated earlier in "How to Store Your Flag, Part 1" proper storage is critical to the long-term preservation of any collection. Proper storage includes safe materials that are acid-free, a stable environment, protection from light, minimal handling, etc.

Rolling of textiles is an excellent option for flat, single layer, artifacts that are too large to be stored “flat”. Any rolled storage consists of four main parts: the tube, an internal support for the tube, the leader, and the outer wrapping. Specifically, for flag storage, the length of the tube is determined by the height of the flag, plus additional space for the securing of the outer wrapper. Remember that the hoist edge will run the length of the tube and will be rolled last. The tube and its textile is then supported on cradles, or in storage furniture.  Grouping your collection into standard sizes maximizes space and budget.

Illustration by Gwen Spicer of the various layers of rolled storage.

A paper, or muslin, apron is used to assist in the initial rolling of the textile. The textile can be interleaved with acid-free tissue, muslin, or cotton sheets for larger textiles like rugs. The textile is then covered with muslin or Tyvek and secured with twill tape ties.

The diameter of the tube needs to be considered with several factors in mind. The larger the tube, the better it is for the flag. However, there is always a balance among space, budget constraints, and the size of a collection. Unfortunately archival tubes are very expensive specialty items because tubes used for rolling textiles need to be made of acid-free cardboard, which is made from virgin materials.

A small lightweight flag can be stored on 2" diameter tubes. Medium size textiles are best on 3" diameter tubes, and heavier flags require even larger tubes, which may also need to be supported by metal rods. Part of the tube’s diameter selection is the degree of bend, or angle, that the fibers are required to conform. Over time, the fabric can have a memory of the curvature.

Cutting tubes for a collection of flags.

Cradles are an integral part of rolled storage. If the rolled textile were allowed to rest on a solid surface, the point of contact between the surface and the artifact would result in stress, not just to the outside layer which runs the length of the tube, but to each layer beneath the outside layer. The weight of the textile and the storage supplies can easily crush and cause damage to fragile textiles. By raising the ends of the tube above the surface just slightly, this can be prevented. Cradles can be easily carved from Ethafoam. Ethafoam is a Dow Chemical Co. trade name for polyethylene, a thermosetting plastic. Ethafoam is a closed-cell foam with a smooth surface. The cut edges are softer than other foams, like Styrofoam. It is easily cut with knives, and wood working tools. It is best to look for Ethafoam manufactured by Dow. Other foams have been found to include additives and stabilizers that can cause problems and yellowing, these obviously should be avoided.

They can even be stacked, or with notches, placed in a row side by side. The cradles need to be positioned at the end of the tubes, away from the flag itself. Stacked cradles are useful when a small group of unusually sized tubes are needed, and it is cost prohibitive to purchase furniture for such a small collection.

Detail image of carved Ethafoam cradles for two flags.

The cradles were designed for the flags to be stacked. The locations
where the tube rests on the cradle is outside or beyond where the
artifact is located. The pressure of the cradle is only on the tube
and outer wrappings itself.

Shorter length tubes can be placed in boxes, or drawers supported with Ethafoam cradles to suspend the tube above the bottom surface. Care will be needed to ensure that the tubes are cut to accommodate the inside dimension of the drawer or box. This is especially true with long and bulky textiles that can become large in diameter as their length is rolled. Tubes within boxes or drawers can run either direction to provide more options for tube length. These shorter tubes do not require an internal metal bar for support like the longer tubes. Please note any cut end of tubing often needs to be sanded lightly.

Rolled textiles suspended in the storage drawer with Ethafoam cradles.

Flags rolled and suspended on cradles that are positioned onto shelves.

On occasion, a longer tube is necessary. To make a longer tube, an insert is made from a scrap tube section approximately 8" or 10" long. A cut is made along the entire length. (For thick-walled tubes, the cut needs to be the thickness of both walls.) One half of the scrap tube is inserted into the tube and its extension. These longer tubes will also need more attention paid to placement within the storage room. Each tube will need to be maneuvered through the storage room's door, possibly around cabinets to its designated location. These heavy textiles will need to be supported by metal rods.

There are several collections that use Mylar with the prospect that the artifact can be seen through the storage covering. This is an advantage. However, there are two main disadvantages, one is the static-charge inherent in the Mylar and the other is the potential of fading in the exposed area. If plastic is deemed necessary due to pest concerns, then Polyethylene tubing as the covering is a better choice. There are many collections that use Mylar as their outer covering to aid in seeing the artifact, but this conservator discourages this choice.

It is important to note that Mylar would not be fitted into another tube as that it creates surface abrasion. In addition, if the receiving tube is too small, it can crush the flag inside. Other drawbacks are that there is limited access to the rolled flag, and, when it is slid in, one does not know if it remained smooth or if it is bunched.

Flag Storage has many facets, to this point we have covered several methods of storage. Many terms have come out of these reviews of storage, in the next posting we will include a full glossary of safe storage materials.
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Gwen Spicer is a textile conservator in private practice.  Spicer Art Conservation specializes in textile conservation, object conservation, and the conservation of works on paper.  Gwen's innovative treatment and mounting of flags and textiles is unrivaled.   To contact her, please visit her website.