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Preservation Needs Assessment - Tamara Lavrencic
The document outlines a preservation needs assessment process for cultural organizations, focusing on the evaluation of collections and preservation strategies. It details steps for preparing for an assessment, choosing qualified conservators, and assessing various factors that affect preservation. Recommendations include developing policies, repair modifications, and creating a prioritization plan for preservation activities.
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Preservation Needs Assessment - Tamara Lavrencic
- 1. Preservation Needs Assessment Tamara Lavrencic MuseumPrograms and Collections Manager Museums & Galleries of NSW CHG 2017
- 2. This session looksat: •How to choose a conservator ? •What to do to prepare for the assessment? •What’s involved in the assessment process? •Summary of factors in conservation decision making. •Prioritising preservation activities.
- 3. Preservation refers to… “theprotection of cultural property by minimising chemical and physical deterioration. Improved storage conditions and environmental control plays a big part in this.” AICCM website http://aiccm.org.au/conservation
- 4. Preservation needs assessment • Evaluatesthe policies, practices and conditions that affect the preservation of an organisation’s collections • Identifies specific preservation needs and actions to meet those needs • Prioritises actions matched to resources
- 5. Goals •to enable yourorganisation to identify risks to, and develop a long-term preservation strategy for, the collection •to prolong the existence of cultural material
- 6. Choosing a conservator •Qualifiedconservator with 3-5 years experience •Get lists of names from Community Heritage Grant Office, AICCM www.aiccm.org.au or your state museum, art gallery, library or archives •Ask for references and a PNA report •Check they carry insurance
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- 10. AICCM: Directory ofconservators in private practice
- 11. What to doto prepare for the assessment? • Organisational history • Description of building – location, number of buildings, a plan of the layout if possible • Description of the collection/s • Details of staff, paid and volunteers and roles • Opening hours • Number of visitors p.a. • Copies of policies and procedures • Copy of significance assessment report • Provide a copy of your Disaster Plan if you have one
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- 13. Assessing preservation needs • Buildinglocation, construction and condition • Local environmental conditions • Internal environmental conditions • Display methods • Storage furniture and methods • Housekeeping • Visitor impact • Overall condition of collection sub-types e.g. books, paintings, textiles, machinery etc.
- 14. Does the buildingprotect the contents?
- 15. Are shelves aboveflood levels?
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- 17. Is there amoisture problem?
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- 19. Not ideal tohang damaged silk
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- 24. Light control whenmuseum is closed
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- 26. Storage area: wellorganised
- 27. Are storage methodsor materials appropriate?
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- 30. Is the cleaningschedule adequate?
- 31. Any evidence ofpast insect attack?
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- 33. Any evidence ofvisitor impact?
- 34. Recommendations • Development ofpolicies and/or procedures • Building repairs/modifications • Reducing light levels and UV • Relocating parts of the collection • Resting fragile objects • Allocating appropriate storage space • Purchasing shelving, plan drawers or display cases • Rehousing objects in archival quality materials • Reformatting – making duplicates for display, digitisation • Conservation treatment for individual objects • Training
- 35. End result •A preservationplan with prioritised actions •An independent report to support future grant/funding applications •Document to support future grant applications
- 42. Treatment decision- making factors •Significance underpins conservation decisions and priorities • Signs of wear and tear can be integral to the significance of an object • Benefits and risks of treatment • Reversibility of treatment • Storage conditions that the object will be returning to • Fragile documents, photographs and books may need to be stabilised before they can be digitized • Potential use and possible limitations • Alternatives to treatment e.g. reformatting or duplication • Will the treatment effect future research potential?
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- 45. Treatment options •Digitise andhouse in box •Reattach the covers •Rebind the book •Leave it as is (covers tied on)
Editor's Notes
- #10 The AICCM directory of conservators in private practice lists over 50 members in Australia who are Professional Members of the AICCM.
- #18 Image by Tamara Lavrencic, chairs in storage area ( Historic Houses Trust of NSW)
- #19 DISPLAY/EXHIBITIONS What are the risks? I.e. what harm will occur if no changes are made? Image: Canowindra Historical Society.
- #20 DISPLAY/EXHIBITIONS What are the risks? I.e. what harm will occur if no changes are made? Image: Canowindra Historical Society.
- #21 DISPLAY/EXHIBITIONS What are the risks? I.e. what harm will occur if no changes are made? Image: Canowindra Historical Society.
- #22 DISPLAY/EXHIBITIONS What are the risks? I.e. what harm will occur if no changes are made? Image: Canowindra Historical Society.
- #28 STORAGE - continued Are the storage methods appropriate (e.g. not overcrowded, not stacked on floor)? Are the enclosures of appropriate quality for preservation of the collection? Is there good air circulation around the collections? What are the key risks associated with the above? Image: Canowindra Historical Society.
- #30 STORAGE CONTINUED What kinds of enclosures are used (eg boxes, sleeves)? Image: Berrima Historical Society
- #31 Dust – table at RHH&F following the red dust storms of October 2009. Image by Matthew Scott
- #32 Insects damage objects and art works in a variety of ways - through staining, soiling and consuming surfaces and components. Image from AICCM Visual glossary, Alice Cannon
- #44 This book, titled “A Comprehensive Treatise on Land Surveying”, is from the Rouse Hill House and Farm collection, a collection reflecting the tastes and interests of 6 generations of the one family. The book is significant in that it bears the dated inscription of William Buchanan, Bessie Rouse’s father. William immigrated to Australia just after the inscription date (1820) and worked as a surveyor on a number of important colonial projects. As can be seen by the condition of the book, it was heavily used and indeed, this text was considered the primary reference for surveyors in this period
- #45 For many years the book stood on a book shelf with covers tied to text with a piece of cotton tape. It is rarely used. In 2008 it was decided to prepare it for an exhibition, opened to one of the illustrations.
- #46 If we decided to have the covers reattached, the book would require a total rebind because of the existing binding style. Retaining the existing binding style makes opening and use of the book problematic. If the book was a research copy rather than evidence of family occupation in a historic house, we might consider rebinding in a more accessible binding style or we might make a copy available for use. In this case, we’ve opted to do nothing, and display it as is.