Human Effect

Agents of Deterioration - human

Humans

Natural deterioration and catastrophic occurrence impact an object's longevity. Objects are also affected by people in negative and positive ways through every stage of their history. People can aggravate and increase the already fatal possibilities of object impermanence. The creators of the objects are the first to have an impact on potential changes to an object over it's lifetime. The materials, crafting, intentions, and uses of an object are the foundation of the object's inherent stability or lack off and potential lifespan. Following creation the users affect the objects in various ways. The users can be amateurs that are involved primarily in aesthetic enjoyment or spiritual inspiration; the professionals that are involved in intellectual use and/or use cultural materials in their professional trades; and intermediaries that use cultural objects as a vehicle for other types of professional activity such as promotion and fund raising. Proper handling of cultural material will be important for extending intellectual use.

Handling

"Poor handling is the greatest cause of object deterioration in museums. The principles, however, have changed little over the years. Eric Rowlison's list of rules, first written over twenty years ago, provide a useful basis for good practice."xviii There should be one person supervising or coordinating movement of objects and answering questions. Objects should be examined for damage before being moved. This will ensure that no further damage results. You should know where and how an object is to be moved or placed on exhibit. This will prevent any damage that would occur to weakened areas used during the move to bear object weight. This also eliminates possible confusion about the final destination of that object.

Genearl Rules

Loose or moving parts designed to separate from the object should be removed.
Large heavy objects require two or more people to move safely.
Never walk backwards when moving valuable objects.
Smoke should never be around collection areas.
Use cotton gloves when handling collection items to prevent oils and salts from your skin to contact object surface.
Cotton gloves should not be used if an objects' safety is compromised by increasing the possibilities of dropping it.
Handle one object at a time using both hands.
Handle objects as infrequently as possible.
Take your time and move slowly when carrying artifacts.
Works of art should never be left directly on the floor.
Someone should hold doors open instead of propping them.
Safely pack objects before moving them in a vehicle.
Objects of similar size and format should be moved together. (Paintings with paintings, sculpture with sculpture)
Check all packing materials before discarding them.
Document damages no matter how minor, some damage will not be visible immediately and will deteriorate with time.

Fragile material should be assessed by a conservator before moving. All objects should be treated with equal caution regardless of perceived value. The physical requirements and handlers safety should be the primary considerations when outlining a move.

Painting and framed works

Ensure that works of art are secure in the frame.
Front and back of painting should never be touched.
Never apply adhesive to frame or object.
Frames should be held with one hand on the side and one on the bottom or on each side.
Handle frames at points of stability not where possible damage could occur to ornate decoration.
Never insert objects between canvas and stretcher bar.
Move paintings vertically unless otherwise instructed.
Framed objects that are wrapped should be moved carefully on trucks or dollies when possible.
Framed objects should not be balanced on their corners, which will weaken joints.
Stacking paintings and framed objects should be avoided when possible.
Always stack on a non-skid surface.
Stack the inner most piece as vertically as possible to avoid stress from other pieces leaning on it.
Works should be placed front to front and back to back.
Keep stacks as shallow as possible.
Stack works with ornate frames on padded blocks with cardboard sheets in between.
Handles can be attached to stretcher or frame of large heavy work to provide a better grip.
Taping glass on works of art before packing them will help to reduce damage if glass is broken. Masking tape placed in overlapping strips without touching the frame is recommended. Folding the ends over on themselves will help in removal. Extra adhesive can be removed with benzene, rubbing alcohol or unseal.

Unframed works on paper

When art is mounted avoid touching object by handling the mount only
Unmounted works should be lifted by upper corners to avoid buckling.
Carry unmounted sheets between acid-free foamcore laying flat.
If rolling cannot be avoided, roll sheet face out with acid free barrier separating the entire surface.
With fryable media carry each item separately in a Solander box.
Do not stack fryable media.
When stacking both mounted and unmounted works separate items with acid-free barriers.

Sculpture

Never handle sculptures by a projecting member.
Move and store sculpture in the most stable position.
Pack sculptures carefully with generous padding.
Use gloves when handling metal or stone sculptures.

Decorative Arts

Use gloves with metal objects and unglazed ceramics.
Slippery items and objects likely to catch on threads should be handled with clean hands
Never lift objects by handles or edges since these can be weak from repeated stress.
Objects should be moved in the most stable position.
Glass and ceramics should rest on padded surfaces.
Pack objects well to avoid shifting.

Furniture

Remove marble and glass tops before moving.
Tie down loose and hinged elements such as doors, drawers, and leaves with soft cord.
Lift furniture from structurally stable points not by arms, legs or other protrusions.
Keep furniture in it's intended position not inverted or laying on it's side.

*Conservators should be consulted before moving fragile objects.

Human intervention can be one of the most damaging in terms of changing the material and intention of cultural objects. The mission of conservation should be markedly expressed throughout the institution. This can be done by policy development, distribution and implementation. Treatment should be handled by a qualified conservator. The conservators role is to provide ethical treatment in order to prolong the life of the object without altering the meaning. All treatments should 100% reversible.

The Preservation Handbook Online

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