Tools of the Trade

From the desk of Colleen Wilson,
Conservator at the Royal BC Museum.

One of the glamorous aspects of preserving our heritage is the use of expensive and esoteric scientific equipment. In novels and movies conservators are often seen in white lab coats beside mass spectrometers, operating scanning electron microscopes in settings reminiscent of Dr Frankenstein’s laboratory.

Samuel L Jackson and Don McKellar in The Red Violin
examining the artifact in well-equipped laboratory.

In reality conservation is a blend of science and practicality – the tools of the trade range from those too specialized for our budget (when necessary we contact the University of Victoria, Victoria General Hospital or Pacific Forestry Centre) to the mundanely familiar.

Removing soil from a document can be a delicate operation; sometimes a humble eraser is the best tool for the job. Crumbs of eraser can be employed very gently, but commercially available “eraser bags” may contain contaminants, so the prudent paper conservator produces her own.

Betty Walsh producing document cleaning crumbs
with a state-of-the-art grater.

Not surprisingly textile conservators use pins and needles. The pins are also used by entomologists to skewer insect specimens; the needles by eye surgeons. Thread, especially “hair silk” frequently has to be dyed in the lab to blend with the (stained, faded) artifact.

Needles and thread – sometimes it’s like trying to sew with an eyelash.

At the other end of the scale, how do conservators protect totem poles? Currently the poles in the Anthropology galleries are being assessed and cleaned. The tools? A fine sable paint brush (used as a sweep), HEPA vacuum (with nozzle screened to prevent the loss of loose material) and a mobile scissor lift (conservators will go to any height!).

George Field examining protective zinc cap on a pole in Thunderbird Park.

XRF (X-ray fluorescence) analysis identifies the presence of potentially harmful elements. In the past both arsenic and mercury were used in the preparation of natural history specimens; they were so effective at repelling insects that many artifacts were similarly treated. These furs, feathers and skins have remained unchewed, but the metals pose a health threat for handlers.

Lisa Bengston with hand-held XRF analyzer.

Documentation is an important part of the Conservation Ethic. In order to assess the impact of treatment or environment, it is necessary to describe and record artifacts in detail. Although a wide range of analytical tools are employed, the most frequently used are the tape measure, camera and pencil. Has a crack enlarged? Was that chip missing before? Has that adhesive yellowed? Did the coating prevent tarnish? Although the computer is an indispensible tool, a quick paper-and-pencil drawing can sometimes record information more succinctly.

Kasey Lee condition reporting artifacts for Helmcken House.

Of course we do employ the Recording Thermohydrograph, UV Radiation Meter, Suction Table and Distillation Unit that we dreamed of as aspiring conservators. But we also use the chest freezer, vacuum cleaner and glue gun – whatever tool will do the job. (The still is used for producing distilled water only!)

Worth a thousand words

From the desk of Sean Rodman, Strategic Partnerships Manager at the Royal BC Museum Is this a family photo with a group of aliens? Perhaps a field of cartoon ghosts?

Sometimes pictures from the past aren't very self-explanatory. This photo actually comes from Osoyoos, and was taken in 1943. It's a field of Zucca melons, which can grow to be over 100 pounds in weight! (More about the brief craze for Zucca melon growing can be found here and here.)

This is an example of one of the challenges that museums and archives often face: a photograph may be an accurate reflection of a moment in history. But determining what exactly was going on in that moment can be difficult.

One modern way of overcoming this is through the use of "crowdsourcing", as can be seen on the Flickr Commons site. The Commons shows you the hidden treasures in a range of public photography archives, and uses your input and knowledge to help make these collections even richer.

In the Commons, you aren't meant to be a passive viewer. You can view, tag, and annotate photographs, adding your own knowledge to the broader collection. Here's an example: a picture taken by one of the Royal BC Museum's early staff, William Newcombe, which has been submitted to the Commons by the Smithsonian.

Photographs are worth a thousand words...but sometimes those words are a conversation. Hope you join in!

GEMs, RingKlips, Owl Clips and more....

From the desk of Ann ten Cate, Reference Archivist at the Royal B.C. Museum

So what makes an archivist’s heart go pitter patter? It’s not always what you might expect. Sure, there’s a thrill to be had when you come across an unusual record, or manage to hunt down a particularly elusive snippet of information for someone – but sometimes archivists find their rewards in unusual places. My secret pleasure is finding a new example of an antique paper fastener (otherwise known as a paper clip) for the little collection that sits on my desk.

The pins and other attachment devices pictured above have been removed from our paper records because they could rust or tear the documents if left in place. They have served their purpose, and they’ve now been replaced with a stainless steel modern version. The model we now use is a GEM, which has actually been around since 1892! My little collection of antiques also includes an Owl Clip (still being manufactured), a RingKlip, and a brass Clipper Clip, along with some stud fasteners that would have been inserted by a machine. For a fascinating look at the history of the paper clip, and to match up my samples with their names and manufacturing dates, check out The Early Office Museum online. (http://www.officemuseum.com/paper_clips.htm)

You can also look at archival photographs of 19th and 20th century office interiors in British Columbia by accessing the Archives search page and using the keywords [office and interior].

Interior of the Brackman-Ker Milling Company office, Rossland, B.C. 1904. BCA B-07702

My collection of paper fasteners isn’t large and it will never end up in a museum, but for me it represents a hundred and fifty years of society’s struggle with paper records. How to organize them, how to control them – always a challenge in a paper-based office. It’s also the essence of an archivist’s job – capturing, holding together and managing the important bits of information that we’ll need in the future. I feel a certain affinity with the humble paper clip.

And I think we’ll need them for a long time to come. Although for efficiency and for the sake of the environment, we are supposed to be working towards a paperless office, I can’t actually see a day anytime soon when we’ll be able to give up our useful little friend, the paper clip.

Bear - an Exercise in Meaning Making

From the desk of Kim Gough, Program Developer, Royal BC Museum

Fellow blogger, Tim Willis, recently posted about the renewal of our forest diorama in the natural history exhibition. Along with many visitors, I am looking forward to the striking grizzly bear mount returning to his place by the stream. It got me thinking about the bear's story and how people connect to him. Is it with fear, fascination or indifference?

About two years ago, my partner and I were camping at William A. Switzer Provincial Park in the Alberta foothills. As soon as we arrived we noticed all the bear warning signs and heeded them accordingly. We kept our campsite clean, made noise while hiking and watched for scat and other bear signs.

Later that week we took our canoe out on Gregg Lake. We were paddling along the shore approaching a narrowing, quietly enjoying the sights and sounds of the lake when I heard a loud "Whoomph!" I turned to my left and saw a cinnamon coloured grizzly bear staring at us from the rushes. He must have been foraging when we startled him. In the time it took me to call out "Bear!" he charged towards the shore - bringing him within 5 meters of our canoe. I thought to myself "He will run away" when he stood on his hind legs. I raised my paddle and started hollering out while my partner deftly turned the canoe towards the middle of the lake. Then the bear got into the water and started swimming towards us!! We started paddling like crazy and I looked over my shoulder to see the bear swim across the narrow and get out on the shore on the other side of the lake. He then tracked us along the shore watching until we were well into the centre of the lake. We lost sight of him after about 10 minutes, but we didn't forget. That night I barely slept (pun intended) and in the morning we packed up and left a day early.

I learned a few things - bears are huge, they are fast and they SWIM!! Most importantly I learned that you have to bear aware even when you are canoeing - especially if you are close to the shore.

We won't ever know our bear's full story, but I'm hoping he can certainly inspire some of you to tell yours. I'd love to hear about your bear encounter.

That sounds interesting

From the desk of Tim Willis, Director of Exhibitions and Visitor Experience

I love to hear an exhibition. I suspect this may not be true for everyone, but I really like experiences that have a soundtrack.

For me, visiting an exhibition is not dissimilar to watching a movie. Both require me to become immersed in a story or setting – often one that is far from my day to day existence. Both tell a story, and both can benefit powerfully from the skilful application of music.

It was quite a shock to me to realize how powerful sound in exhibitions can be. Eons ago, I worked on an exhibition of ‘animatronic’ prehistoric beasts. I fear that we may have permanently scarred a generation of young children. If you were between 3 and 5 years old there was a 50/50 chance you’d even make it inside the exhibition – parents were seen rushing from the show with wailing toddlers, hands were locked over ears. It was the sound of ice age wind that had just as much impact as the animals themselves. I hereby apologize to those Edmontonians who are now 24 to 27 years old and cannot understand why the sound of icy wind makes them quite so uneasy.

Mammoth at the Royal BC Museum

Encountering a prehistoric beast at the Royal BC Museum today can also be rather intimidating for very young visitors. Our mammoth is magnificent to behold, but it is the low elephantine rumbling to which very young visitors respond. Have a listen: http://www.royalbcmuseum.bc.ca/Nat_Hist_Gall/ice_age_sounds.aspx

But sound is one thing… a soundtrack is another. Hollywood directors know well the way in which music can heighten emotional reaction to what is being presented – would the Social Network be as compelling without Trent Reznor’s score? So why is this so seldom practiced in exhibitions? I’m not suggesting the Doors’ The End in the Climate Change gallery, but rather the use of subtle, atmospheric music to reinforce the message and to help the visitor to a receptive frame of mind.

Visitors relaxing in Brian Eno's exhibition, 77 Million Paintings

77 Million Paintings by Brian Eno at the Glenbow in Calgary this month is perhaps the epitome of sound and visual combining equally in the visitor experience: http://www.youtube.com/watch?v=ke9NbpHQdec

When we present our next big touring exhibition this December, it will have a lovely musical and sound effect ‘wash.’ It will be fun to ask visitors whether this enhanced their visit… or indeed whether they noticed it at all. Stay tuned.

And… as a musical postscript, David Mattison [a former staffer at the Royal BC Museum] was inspired by our recent exhibition, Aliens Among Us to compose a piece of music in its honour: http://soundcloud.com/trancedoctor/alien-species-invade-bc-full



Tim Willis

Snow Day

From the desk of Colleen Wilson,
Conservator at the Royal BC Museum

It snowed last week; it was quite beautiful and quite a novelty in Victoria. But abrupt changes of temperature and wild swings of humidity are bad news for artifacts; could winter weather mean problems for our collections?

One year, in a freak snow and wind storm, snow blew inside one of the ventilation pipes in the exhibit building. Occasionally the wet load on the Tower has leaked a little through the ceiling. In December there was a spate of minor issues – a fault in the sprinkler system, a plumbing leak, a damaged drain.

Conservation personnel are always available to respond to emergencies involving artifacts, and they are among the first to be called in response. To make sure the necessary supplies are at hand, Emergency Carts are parked in various locations through the Tower, Archives and Exhibits buildings. Towels, fans, spill pillows, mops, Tyvek suits, duct tape and more are poised to be deployed if a leak, drip, back-up or flood threatens the collections.

Mostly, however, we try to prevent the situations that could become disasters for artifacts. In discussions with Facilities, Conservators advocate for more precise and responsive environmental controls (keeping the humidity down by turning up the heat does not make for happy collections) and a sensible fire suppression system.

In most cases, however, the potential problems are the result of our aged building. It is in the nature of plumbing to leak sometimes, but we can’t really work in a building without water. If the building is not a perfectly protective shell, then the containers in which the artifacts are stored must do the job. If the artifact is unusual in its size or requirements, then its specific needs must be addressed (a pair of out-sized Chinese embroideries reside in a cozy container made from sewer pipe).

Where there is a possibility of plumbing or roof leaks reaching artifacts, collections are stored in water-proof boxes or protected by polyethylene sheeting. A minor toilet overflow could have disastrous results for artifacts on the floor, so all artifacts are stored on blocks or shelves.

Protection from water also mitigates the damage that might be caused by other potential calamities. Artifacts stored in water-proof containers are less likely to be damaged in the course of fire suppression. Customized supports within the containers will provide protection during an earthquake; in the meantime they moderate the effect of collections moves. And most importantly, the problems in December gave us the opportunity to practice. Our response was prompt and effective and it kept the issue on the minor end of the scale.

Magical Mystery Tour?

From the desk of Sean Rodman, Strategic Partnerships Manager at the Royal BC Museum

There's a little mystery linked to John Lennon and his Rolls Royce. Maybe you can help solve it. We've posted before about the amazing Rolls Royce that's currently sitting in the lobby of the Royal BC Museum. We know quite a lot about this automobile. But there is something that we don't know…

First, some interesting facts:

• the Rolls Royce Phantom V was purchased by John in 1965. It was painted "Valentine's Black" - a flat, matte paint job. But the inside of the car was altered significantly. A bed was installed, as well as a record player, TV, and other rock star trimmings.
  
  


• John travelled to Spain to film "How I Won the War" and brought his car and driver with him. While there, the car suffered from damage to its paint job from abrasive desert sands.
  
  
• Returning to England, he had the car repainted in 1967 with a bright yellow base and illustrations typical of Romany Gypsy style. This was inspired, in part, by a Gypsy caravan that he had recently purchased for his son, Julian, as a playhouse. Here's a great archival video of the Rolls Royce shortly after delivery in its new colours.
  

And now for the mystery. On the roof of the Rolls Royce is a symbol. Some sources state that this is John's astrological sign: Libra. But the actual marking doesn't really resemble the traditional astrological symbol for Libra. Here it is:

So what is it? Let us know what you think. By the way, we're also on the hunt for his 1967 portable, black-and-white Sony television, or the same model. The original disappeared before we acquired the Rolls Royce. Do you happen to know where we could find it?