Author: Johanna Wickman

Collection Preservation Tips From The National WWII Museum

Posted on by Johanna Wickman

Collection Preservation Tips from The National WWII Museum

This photograph from the National WWII Museum shows collections boxes stored on Space Saver shelving, in archival boxes, and properly tagged with archival tags. Notice the staff member is also handling the poster with gloves while is fully supported so that it doesn't bend and tear. Image source: https://www.nationalww2museum.org/war/articles/20-years-collecting-wwii-artifacts
This photograph from the National WWII Museum shows collections boxes stored on Space Saver shelving, in archival boxes, and properly tagged with archival tags. Notice the staff member is also handling the poster with gloves while is fully supported so that it doesn’t bend and tear. Image source: https://www.nationalww2museum.org/war/articles/20-years-collecting-wwii-artifacts

Although the National WWII Museum is a bit further forward in time than Civil War collectors, the concept of preserving uniforms, firearms, photographs, and paper, is much the same. Their website is a fantastic resource for the private collector, so I thought it would be helpful to distill some of their key collection preservation tips down for Civil War collectors.

The National WWII Museum champions the principle “Do No Harm”, offering clear, practical guidance to help preserve such treasures for future generations. You’ll recognize the “Do no harm” motto as something I have repeated in previous posts—do not do anything to your collection that is not reversible! Put down those ballpoint pens! (If you know, you know…)

Seven Factors That Can Affect Your Collection

Before diving into specific techniques, here are seven factors that can affect your collection that you should be aware of:

  1. Light: UV-rich sunlight and fluorescent lighting can severely damage paper, textiles, photographs, and furniture. Keep sensitive items out of direct exposure.
  2. Temperature: Extreme or fluctuating temperatures wreak havoc on materials like rubber, wood, and metal. Avoid attics, basements, and unconditioned spaces.
  3. Humidity: Too much moisture fosters mold and pests; too little causes brittleness. Aim to maintain 45–55% relative humidity in stable environments.
  4. Pests: Insects like silverfish (paper), moths (textiles), and termites (wood) can be destructive. Regular inspections are essential.
  5. Human Handling: Oils, sweat, or makeup from hands—even gentle touching—can harm surfaces. Always use cotton or nylon gloves and avoid unnecessary handling.
  6. Chemical Reactions & Pollutants: Metals and marble can corrode when exposed to indoor airborne chemicals; avoid the use of acid-emitting materials.
  7. Inherent Vice: Some materials naturally degrade due to incompatible components—such as leather glued to wood. Periodic condition checks help catch early signs.

Tailored Preservation Tips by Material

Textiles

  • Store in climate-controlled spaces, not attics or basements.
  • Keep out of bright light and UV exposure.
  • Use acid-free boxes—avoid ordinary cardboard or wooden drawers. Wood will off-gas over time and that can discolor and damage your collection.
  • Store flat when possible; pad and support folds if necessary.
  • Use acid-free tissue padding, properly padded hangers, or roll large textiles around acid-free tubes—never sealed plastic bags. If moisture is sealed inside a plastic bag with your textile, it can cause mold.

Paper

  • Maintain storage below 72°F and around 50–55% humidity. This may seem like a high level of humidity, but very dry air can be as destructive as very humid air, just for different reasons. This level of humidity will keep the paper from becoming brittle and crumbling.
  • Keep flat, avoid folds, and use acid-free folders/boxes/sleeves.
  • Frame with archival-quality, acid-free materials and UV protective glass.

Photographs

  • Store in a cool, dry place, use acid-free or inert framing materials.
  • Handle by the edges, ideally with gloves—avoid touching surfaces.
  • No tape, markers, paper clips, or sticky notes; use pencil on copies or backs.
  • Avoid self-adhesive photo albums at all costs. I know those were very popular in the 1980s and 1990s, but they are bad news for the longevity of your collection! Opt for acid-free sleeves or place them with archival photo corners in archival photo albums.
  • Be sure to rotate any original images when displayed, or better yet, consider displaying copies, leaving originals safely stored.

Metal Artifacts

  • Most metals (except gold) are prone to corrosion—store in dry, conditioned spaces.
  • Don’t polish or clean without professional consultation. Cleaning and polishing old metal ruins the aged patina on the item, which can also be an issue when determining authenticity of a piece.
  • Always wear gloves when handling. Oil from your fingers will damage the original polish on a sword or other fine steel.
  • Light oil (e.g., 3-in-One) or wax (e.g., paste wax) may help preserve steel or iron—but consult a specialist for weapons.

Leather

  • Store in moderate humidity and temperature, away from direct light.
  • If dirty, gently clean with damp cotton cloths. Please avoid saddle soap or conditioners as they can discolor and damage historic leather.
  • Never apply petroleum products; they can cause irreversible damage.
  • Use acid-free stuffing to maintain form—support shoes, boots, cases thoughtfully. If you have an old saddle, for example, make sure that it is fully supported on a saddle stand. If it’s sitting on a shelf, that puts the weight on parts of the saddle that are not designed to carry it, causing damage. That can also cause excessive strain on stirrups and other components. The dryer and more brittle the leather, the more of a concern this is as leather tends to stiffen over time.
  • Suede and kid leather are different, and should be treated by a specialist.

Wood

  • Wood objects are fairly stable if kept in consistent, moderate environments.
  • Avoid direct sunlight, over-cleaning, or using linseed/oil-based products.
  • Wax like SC Johnson Paste Wax may offer a protective layer; oil sparingly, especially around handles or grips.
  • When oiling your firearms, make sure not to get that oil onto the grips or stocks.

Expert Resources & Support

If you require a professional opinion, or are just looking for more information, these are some great resources:

  • American Institute for Conservation — to find recognized conservators.
  • Library of Congress — guidance on paper and photo care.
  • Northeast Document Conservation Center — specializes in paper/photo conservation.

To purchase archival materials like acid-free boxes or folders, recommended vendors include Gaylord, Archival Methods, University Products, and Talas.

8 Tips for Displaying Historic Clothing at Home

Posted on by Johanna Wickman

For private collectors, historic garments are not just beautiful objects — they’re tangible connections to the past. Displaying them at home allows you to share their stories with visitors and enjoy them yourself. But unlike modern clothing, historic textiles can be fragile and vulnerable to damage if displayed without care. Here are 8 tips for displaying historic clothing at home, adapted from museum-standard techniques, to help you exhibit your collection safely.

 

1. Handle With Care

The single most important principle in working with historic garments is minimal handling. Every time a textile is touched, there’s a small risk of damage — so plan before you move it.

Preparation tips:

  • Remove rings, watches, and jewelry that could snag fabrics.
  • Wear nitrile or cotton gloves when handling garments. This is to reduce the transfer of oils on the hands and fingers which can discolor the fabrics. Nitrile gloves are the preferred glove as they allow for more tactile control when handling clothing.
  • Use support materials such as acid-free tissue paper or polyethylene foam when lifting or storing garments.

 

2. Assess Before You Display

Before you mount any piece, inspect its condition. Look for signs of:

  • Weak seams
  • Tears, holes, or splits in the fabric
  • Insect damage (e.g., moth or carpet beetle frass)
  • Stains, mold, or other deterioration

If the garment is extremely fragile or damaged, it may need conservation work before it’s safe to display. When in doubt, consult a professional textile conservator. This is a big one. If the garment is damaged to the point that displaying it will cause it more damage—then you definitely want to contact a conservator to have it repaired first.

 

3. Choosing the Right Support

Mannequins and Dress Stands

If you are displaying a uniform piece such as a jacket, coat, shirt, or even a civilian woman’s dress, you’ll want to use a mannequin or some kind of dress form ideally. The reason for this being, that a mannequin will fill out the uniform and allow it to sit properly. For example, think about when you wear a coat. The weight falls on your shoulders across your back and is distributed along the width of your shoulders. Now, when you take it off and put it on a hanger, all that weight is distributed across the thin metal or plastic bar of the hangar. This puts all the weight on a very thin bar which, over time, damages the coat. This is why you’ll often see thicker wooden hangars for coats, or padded hangars for delicate women’s garments.

This is a screenshot of a TikTok video I found that shows a Civil War uniform exhibited on a mannequin that is too large. Notice how it cannot be fully buttoned. By buttoning the top two buttons, you can see the stress put on the garment because those two buttons are trying to hold the whole thing together. This is an example of why it is important to use a mannequin that fits your garment, and why it's better to work with one that's on the slightly too small side and pad it up.
This is a screenshot of a TikTok video I found that shows a Civil War uniform exhibited on a mannequin that is too large. Notice how it cannot be fully buttoned. By buttoning the top two buttons, you can see the stress put on the garment because those two buttons are trying to hold the whole thing together. This is an example of why it is important to use a mannequin that fits your garment, and why it’s better to work with one that’s on the slightly too small side and pad it up.
Here is another example of a mannequin being too large. In this case they have chosen not to button up the WWII WAC uniform. This was the correct choice as it is still fully supported on the mannequin form and buttoning it would have caused undue stress on the garment. Also notice the black lining on the dress form to protect the garment.
Here is another example of a mannequin being too large. In this case they have chosen not to button up the WWII WAC uniform. This was the correct choice as it is still fully supported on the mannequin form and buttoning it would have caused undue stress on the garment. Also notice the black lining on the dress form to protect the garment.
  • For display, your choice of figure is crucial. The mannequin should be smaller than the garment so that it can be padded out to fit. This avoids stretching or stressing the fabric as discussed above, and padding the mannequin ensures that the clothing is resting on as much support as possible.
  • Mannequins are available in all sorts of shapes and sizes. Make sure to look for museum quality and archival ones.
  • Custom mannequins are ideal but can be expensive. If you have a large budget to play with in your home exhibit, this is definitely an option, but it is not necessary.

 

4. Padding to Fit

Historic women’s clothing was designed for very different body shapes than modern ones. A modern woman’s mannequin almost never fits perfectly without modification. Padding creates both support and authentic silhouette. And, in most exhibits I’ve worked on, we’ve actually used child-sized mannequins to display vintage women’s clothing. This occasionally is an issue with men’s clothing as well, as folks were just generally smaller in those days.

Here is a great example of padding done to a dress form to exhibit a WWI uniform. Notice how the sleeves have been added to the torso. This was done at the Ransom Center in Texas, and they have posted a fantastic step-by-step blog with photos of how they made this dress form work for their historic WWI uniform.
Here is a great example of padding done to a dress form to exhibit a WWI uniform. Notice how the sleeves have been added to the torso. This was done at the Ransom Center in Texas, and they have posted a fantastic step-by-step blog with photos of how they made this dress form work for their historic WWI uniform. You can see the blog here: https://sites.utexas.edu/ransomcentermagazine/2014/04/22/world-war-i-uniform/
  • Padding will help ensure that the garment rests solidly on the mannequin without causing undue stress on the seams.
  • Build shape with polyester wadding, working in layers and feathering edges to avoid sharp lines.
  • Women’s clothing will likely need additional padding. Focus padding where historic undergarments would have shaped the body (e.g., bust and hips for 19th century corsets).
  • Cover the padded mannequin with washed stretch cotton jersey to protect the garment and keep the padding in place. Once it is covered, you can place the original garment onto the mannequin. It should fit as if it was made to fit the form you just created. It should not be snug and tight, nor should it be too loose.

 

5. Positioning and Safety at Home

Museum conditions are hard to replicate exactly, but you can still take steps to protect your collection.

  • Avoid direct sunlight and strong artificial light. UV causes fading and fiber breakdown. Please do not set up that super cool Civil War infantry major’s uniform in front of your bay window, or in a basement that is lit with fluorescent lights. You can purchase UV film rather inexpensively to take care of UV light coming from windows and artificial lights.
  • Maintain a stable environment — avoid damp basements, attics with extreme temperatures, or areas near heat sources. Air vents, drafty windows, and humid environments are all bad for collections.
  • Keep displays away from kitchens or open windows where pollutants and dust are common.
  • Ensure the garment is secure on its mount so it won’t shift or slip if the display is bumped. This should not be a problem if it fits properly on the mount you created.
  • If at all possible, place the mannequin and historic garment inside an exhibit case. This will go a long way in keeping dust and pollutants off of it, and make it more difficult for moths to get at them. It also offers some minimal protection from water and smoke damage.

 

6. Tools and Materials for Home Collectors

Even without museum facilities, you can use many conservation-grade materials:

  • Acid-free tissue paper for padding folds and delicate areas
  • Tyvek® for dust covers
  • Ethafoam for padding or lining display supports
  • Nitrile or cotton gloves for handling

Many of these can be purchased in small quantities from preservation suppliers such as Gaylord or University Products.

 

7. The Display Experience

Once your garment is safely mounted and positioned, consider the storytelling aspect. A simple card or frame with the garment’s history — who wore it, when, and for what occasion — turns your display into a conversation piece.

For added impact:

  • Use neutral backgrounds so the garment’s colors and textures stand out.
  • Employ soft, diffuse UV free lighting to avoid harsh shadows or fading.
  • Position garments at a comfortable viewing height.
  • Include information about the garment so that visitors can understand its historical value.
  • Don’t clutter the case or area around it with a bunch of signage or other artifacts. That detracts from the overall display itself.

 

8. Rest Your Garments

Please consider rotating pieces to limit their exposure to light and environmental stress. Even if you follow instructions to the T when exhibiting your items, having them on display causes them damage. There is no way around that. Limiting the time they spend on display by rotating them out with other garments still allows you to have an exhibit up, while also caring for your collection. When not on display, store them flat in acid-free boxes or on padded hangers in breathable garment bags.

 

Final Thoughts

Displaying historic clothing at home is a balancing act between preservation and enjoyment. By borrowing a few key practices from museum professionals — careful handling, custom-fit mounts, and safe environmental conditions — you can create stunning displays that protect your treasures for years to come.

Your collection is a bridge between past and present. With the right care, each garment can tell its story vividly while staying safe from harm. Check out our other archival and preservation tips here.

Angry Archivist: Cutting Up History

Posted on by Johanna Wickman

Angry Archivist: Cutting Up History

Don’t you love it when you sit down to read through a historic book and someone has cut pages out of it? Isn’t that wonderful? No? I didn’t think so. Today, I’m going on a bit of a rant on our friendly neighborhood eBay sellers who pick up historic books and then dismantle them and sell them by the page. As you may have guessed, I’m not a fan. History is nothing without context and when people are cutting up history in order to try to maximize their profit, it’s a real problem.

Angry Archivist: 55th Pennsylvania Infantry clothing ledger that has had pages cut from it. Information is now lost that is unlikely to be recovered.
55th Pennsylvania Infantry clothing ledger that has had pages cut from it. Information is now lost that is unlikely to be recovered.

Today’s example is a clothing ledger of the 55th Pennsylvania Infantry for companies H and I. Each page is dedicated to a specific soldier, and it seems the seller decided to cut out the ones that sounded interesting? I’m not really sure what the motivation was to just cut some out and not others. What makes this even more special is that this is a period Civil War handwritten ledger. This was not mass produced. In many cases, there is only a single copy surviving. And now it’s all dismantled and scattered to the wind. Thank you, random eBay seller. But at least you got, what? $20 a page? Nothing like destroying history for a cool $20.

I see this process of dismantling old books rampant in any antique books with illustrations, government books (Senate records, etc.), antique books with maps, etc. And if I’m being honest, no, I don’t care for that either, but at least in those cases there still tend to be many copies of those books lying around. It’s certainly not good and I don’t agree with it, but when it comes to handwritten Civil War ledgers of which there are likely only one or a few copies, it goes from being frustrating to flat out property destruction.

For historians, and for what we do at the Research Arsenal, context is everything with history. The story that goes with every object is what separates it from a random antique. Pickers and most online sellers tend to deal purely with antiques. They don’t care much about the stories (unless they drive up the price), they are just looking to flip merchandise for a profit. No shame in that, but when it comes to one of a kind historical artifacts that are being treated that way, I get upset. Using a far-fetched example, imagine Abraham Lincoln’s reading glasses have been safely tucked away with the descendants of a family friend. Imagine the significance those would have in a museum or an exhibit on Lincoln. Imagine what those would sell for on the open market? Now imagine you have a pair of antique reading glasses from around 1860, and you have no idea where they came from, who owned them, nothing. They become simply reading glasses from around 1860. The entire provenance is lost and therefore the history of them is lost. Now you can find them at the next antique show where their story is lost to history.

Here you can see a number of pages that have been cut out of the ledger to be sold separately.
Here you can see a number of pages that have been cut out of the ledger to be sold separately.

When you take a one-of-a-kind book and dismember it to sell it for parts, you are dismantling and destroying the value that book has as a complete book. The information that is lost when a book like this is torn apart is not easily recovered. What happens when Joe Smith buys the clothing records for ten soldiers of Company I of the 55th PA on eBay? Well, those records go to his house where they sit in a collection for who knows how long. Maybe they eventually wind up in a museum, a garage sale, an antique show, who can say. Meanwhile, a researcher now has the remainder of Company I and is missing these ten soldiers. How do you reunite that information? Even with the internet, it would be next to impossible.

If Joe Smith bought those records, digitized them, and made them available online (or at least made it known online that he has them) it would certainly help the situation. But at the end of the day, you’re still left with a dismembered book that somehow survived 160 intact until an eBay seller got ahold of it. And someone else has a stack of random pages (or a single page) from that same book.

I found this on eBay just today while writing this article. Cut out pages from a Pennsylvania clothing ledger. Did this seller cut them? Or did they find them already cut? What happened to the rest of the book? This is what happens when that context is ruined.
I found this on eBay just today while writing this article. Cut out pages from a Pennsylvania clothing ledger. Did this seller cut them? Or did they find them already cut? What happened to the rest of the book? This is what happens when that context is ruined.

And for the sellers out there, this may be shocking to you, but there are actually people would like to buy the entire book! You don’t have to wait for some distant relative of one of the soldiers listed in your book to come calling and buy the single page their great-great-great-grandfather is listed on! You could in fact, just sell the whole book! Obviously, the Research Arsenal would be interested in those sorts of records to add to the database, but you may even find local archives, universities, and museums that would be willing to purchase the entire book. Maybe try reaching out to them first, or even listing the entire book before you consider destroying it for a few bucks.

I know there are very well meaning and good hearted sellers out there who truly care about the history and this is not directed at them. There are, however, a number of sellers who are driven more by profit than respect for their history, and it’s a shame. If nothing else, please think twice before you do something irreversible and take historically significant books and destroy them by parceling them out in pieces. One that happens, it cannot be undone, and it’s a tremendous disservice to our nation’s history.

Like I’ve said before, when you come into possession of historic items and artifacts, you are not their owner. You are their caretaker. These items have existed since before you were born and if you do things right, they’ll continue to exist long after you’re gone. But, that’s the key, you have to do things right and take care of them. And unfortunately, I see some folks stumbling on that part of it.

4 Benefits of a Digitized Collection

Posted on by Johanna Wickman

4 Benefits of a Digitized Collection

Last week, we went over some tips for scanning your collection. So, you’ve gotten a scanner and digitized your Civil War era photographs, letters, and documents. Now what? There are multiple ways to make use of your digital collection, but how far you decide to take is entirely up to you. Here are 4 benefits of a digitized collection.

1. Insurance

This is something I would highly recommend for every collector, and I’ve already harped on it in past blog posts, but please consider insuring your collection with a special policy. Many, if not most, home insurance policies will require “collectibles” to be itemized and covered separately. Having your collection digitized makes it much easier to have it appraised and submitted to your insurance company. The scans also provide a record of what you specifically have in your collection should any claims arise—but hopefully they never do!

2. Originals Safely Stored

Having your collection digitized means that you can safely store fragile elements of your collection. I understand that this is not practical for many collectors as they like to see their collection on display, but for some pieces, that may not be advisable. For instance, I have a beautiful official U.S. Senate portrait with its original frame from about 1885 or so. I removed the image from the frame, scanned it, and have it stored safely in my archive. I ordered a copy of the photograph and placed that inside the frame with a new archival quality mat, as the original was acidic and crumbling. That framed photograph now hangs on my wall at home, but the original is safely tucked away with no fear of fading or other damage. And I get the pleasure of having the original frame on display without worrying about it damaging the period photograph.

3. Virtual Exhibits

Here's an example of CatalogIt's online HUB virtual exhibit as used by the Chattanooga Historical Society.
Here’s an example of CatalogIt’s online HUB virtual exhibit as used by the Chattanooga Historical Society.

This is something that can be a bit of work, but the payoff can be immense. Depending upon your collection and the size of it, curating a virtual exhibit of it can be a fantastic way to share the knowledge you’ve accumulated while gathering your collection. It can also help connect you with other collectors and researchers knowledgeable in your area of interest. To a certain extent, any time you share a post on Facebook or Instagram about an item in your collection, you are creating a virtual exhibit of a single item. However, there is software available to make collections more accessible. Whether you are using a simple WordPress site or using collection management software like CatalogIt or PastPerfect, sharing your collection with others can lead to new information, and possibly new acquisitions.

4. Sharing with Museums

This can be a bit of a sticking point with some collectors as they tend to gather things into their collections, shout “MINE!”, and then proceed to make sure that nothing in their collection ever sees the light of day. As a researcher, I have encountered this, and as a researcher, I tend to make available things that I have because I know what it’s like when you’re writing a book on something and you can’t get that last bit of information because someone has it squirreled away somewhere.

To give you an example, I have been involved with the Fort Caspar Museum in Casper, Wyoming for over a decade and the museum has been around since the 1930s. The city of Casper is named after the fort, which was named after young Lt. Caspar W. Collins of the 11th Ohio Volunteer Cavalry killed in battle here on July 26, 1865. We do not have a single adult photograph of Caspar Collins. We have one photograph of him as a toddler, and that’s it. Now, he spent much of his service with his father, Col. William O. Collins, and I think it is safe to assume that he likely had his photograph taken at some point in his service, and likely one with his father. I also think it is reasonable to assume that that photograph is sitting somewhere in someone’s collection or collecting dust in an attic. That collector may have no idea we’re looking for that photograph, and likewise, he has no idea that he’s sitting on some unidentified 11th Ohio Volunteer Cavalry trooper photograph that we could likely identify. Unless that information makes it online somewhere, we are unlikely to ever cross paths so we will continue to hope and wait that a Caspar Collins photo pops up on the internet, and that collector will continue to own that photo without realizing who it is.

I’ve also tried to track down photographs of Civil War soldiers killed while in service out here who are being honored with headstones. I’ve added 22 headstones over the last few years and only have 2 photographs. I’m sure that there are more out there—especially of the officers—but they are likely not identified, or housed in a collection with someone who hasn’t seen my Facebook posts looking for them, or worse, isn’t even aware that they have those photographs. Some collections become so large and unmanageable that it is next to impossible to keep track of everything. As collectors age and pass away, that knowledge goes with them and the collections are liquidated reducing identified soldiers to now unknowns.

The point of this larger entry is to encourage collectors to share what they have. If not literally copies of scans, to at least make themselves known to local institutions. So when a museum in Wyoming reaches out to a museum in Ohio looking for a Caspar Collins photograph, the curator in Ohio could pass our query on to someone who might possibly be able to help. Otherwise, it’s like playing a decades-long game of “Go Fish” calling and trying to find these sorts of things. Not only would you be helping these institutions, but they may also have information and items in their collections that could help you learn more about what you have and provide more context for you.

From preservation, to ease of access, to virtual exhibits, having a digital copy of your collection is priceless. I hope it’s not something that ever has to be used in the case of an insurance claim, but it will be extremely important to have in that type of event. If there is interest in how to set up a virtual exhibit, I can share some information on that topic in future posts. Just leave a comment or message us on Facebook!

How to Scan Your Collection

Posted on by Johanna Wickman

How to Scan Your Collection

This is only a basic guide on how to scan your collection. For this purpose, I’m focusing on documents and photographs. Things like maps, glass negatives, slides, etc. can be more complex and would far exceed the space I have here. But I wanted to create a basic guide with some pointers that might be helpful and I wanted to discuss file formats which is not something often covered in scanning guides.

Last week I went over some different types of scanners that can be useful for scanning documents. Both flatbeds and the CZUR overhead scanner were mentioned, but today I’m focusing on using a flatbed scanner.

Scanning Procedure for Documents

No matter which brand or size of flatbed scanner you are using, these tips will apply. The first is to make sure you have a clean glass scanning bed. It is extremely frustrating to scan a bunch of materials and then discover that there was a dirt smudge or a stray hair on the glass that is now on all of your scans! I would recommend some type of microfiber cloth or a screen cleaning cloth used for computers or phones to wipe down the scanning bed periodically. You will especially want to do this if you are working with old paper that is crumbling or dusty because each time you place a new sheet of paper on there it will probably leave some sort of dust or residue behind.

The next step is to place your document on the flatbed, close the lid, and go into your scanning software. You’ll want to make sure that it’s set to “Document” or some equivalent of that. And then you’ll want to adjust your resolution and file types. For documents, I recommend scanning at 300 dpi. You are welcome to scan at a higher resolution, but I would not scan at any less than 300 dpi. For file types, I recommend TIF files as they are uncompressed, but with document scans you may determine that you do not need such large files and go with JPGs. Still, with the low cost of purchasing external hard drives and cloud backups these days, I would recommend going with a TIF format just to maximize the quality of data you are getting in those scans.

Both of my Epson scanners have an “Auto” or “Manual” scan mode and I keep mine set on “Manual.” I’ll click “Preview” and that will make it scan the entire surface of the glass. Once I have that preview image, I’ll draw a box around what I specifically want to scan and then click scan. The “Auto” setting means you can just click scan and it will auto-detect the edges of the paper and crop your scan accordingly. However, I’ve found that lots of times it has trouble determining the edges of the paper, especially if it is very white (blends in with the cover background) or if it is torn. In order to avoid rescanning overly cropped images, I just prefer to manually set those boundaries myself.

Here you can see the file name format used by the Research Arsenal and how multiple scans of the same document are given parenthetical numbers.
Here you can see the file name format used by the Research Arsenal and how multiple scans of the same document are given parenthetical numbers.

Once the image is scanned in the folder of your choice, you will need to give it some sort of file name. This is where I will chime in again about the importance and convenience of using catalog numbers. You can name your files with those and if you have more than one scan per file number it simply becomes 001, 002, etc. So, it would look something like OVC2020.001.003 (001) followed by OVC2020.001.003 (002), and so on. This way they are all kept together and in your collection software or Excel sheet you have the description of the item connected to that catalog number.

Scanning Procedure for Photographs

To scan photographs, you would follow the same process as above, except with regards to resolution. For images, I would recommend that you scan them at 600 dpi at a minimum. Some scanners will go all the way up to 4800 dpi and other insanely high numbers, but it is not necessary to scan prints at that resolution. I have scanned many at 1200 dpi because I wanted to make sure I got the most information possible out of the scan, but when you’re working with prints, eventually you get to the point where you’re squeezing blood from a turnip. A print only has so much information on it, and once you’ve crossed into 1200 dpi or higher, you have reached into territory where there is just not any more information to be gleaned from it in a scan.

Like the documents, I highly recommend saving images as TIF files. You are far more likely to want to zoom in on an image than a typed letter and saving the file as a TIF gives you greater ability to do so. There is no point in scanning an image at 1200 dpi for high resolution and then compressing it by saving it as a JPG.

TIF Vs. JPG

In case anyone is wondering why I am harping on file formats, this why. Whenever you save in one of these formats, your file is compressed. Meaning it’s squeezed into this type of file format. JPG uses a “lossy” compression meaning that it essentially deletes bits of the data you just created in your scan in order to save it in a smaller file size. A TIF on the other hand, does NOT use “lossy compression” which results in a larger file size, but all of your information remains intact.

A JPG can be handy if you’re uploading these to the web or emailing them or posting them on Facebook. But you can always work down in file size from something larger, you can’t work your way back up from something small. For this reason, I recommend saving all your scans as TIF files and then simply making a copy of the file as a JPG if you’d like to upload it online or email it to someone. That way you still retain a high-quality version of it.

I use CatalogIt for my collection of archival materials and I make a JPG copy of my scans and upload the JPG copy to their database so that it does not take up as much room since storage is a factor with their software. I keep the larger TIF files on my computer and back up separately to the cloud.

I hope this is a handy reference and helps answer some questions about resolutions and file types when scanning documents and photographs. Have more questions about any of this? Let us know on Facebook!

The Scanners to Digitize Your Collection

Posted on by Johanna Wickman

The Scanners to Digitize Your Collection

Last week we discussed in some basic detail the advantages of having a digitized copy of your collection available. This week, I want to tackle the first basic step in digitizing your collection—the scanners to digitize your collection. Each one of these sub-headings could be an entire post in itself, but I wanted to give you some basic information to get started if this is not something you have done before and you need to purchase equipment. I was going to go right into how to scan things, but I figured I’d better back up and start with having the best tools in place first.

In order to digitize your collection you will need a scanner, and a flatbed scanner would likely be your best option. You will get the best scans possible from a flatbed scanner as opposed to overhead scanners (but they are extremely useful as I’ll point out later on), and document feeders. I include document feeders on here because there are oversized scanners that use a document feeder to scan large maps and other oversized documents.

Flatbed Scanner

There are lots and lots of different brands and types of flatbed scanners available for purchase. Here, I’m going to share recommendations based on scanners that I personally use. You may already have one that has these same features, in which case, that is perfectly alright. These are by no means the only scanners that can do the job, these are just ones that I am currently using.

Epson Perfection V39 II

This is one of the more affordable scanners to digitize your collection, and it is very portable too.
This Epson Perfection V39 II scanner one of the more affordable scanners to digitize your collection, and it is very portable too.

My version is the I rather than the II, but for all intents and purposes, they are the same. This scanner was a lifesaver for me as a researcher who spent several weeks on the road and needed to digitize photographs for research and eventual book publication. This little 3-pound scanner is small enough to fit into the laptop section of a standard backpack, but can scan at resolutions up to 4800 dpi. For reference, when scanning you’ll want to use a resolution of 600 dpi. Anything beyond that inflates the file size and typically does not add much to quality except in some circumstances.

This scanner runs off the USB connection to your computer, so there’s no need to find an outlet and deal with a separate power cable. This can be really handy if you’re running short on outlets at home, or you’re scanning someplace and don’t have one nearby.

The downside is that you are limited to 8.5” x 11” in scanning area, which is not enough if you have large letters or other documents. However, if your collection is only tintypes or other smaller media, then this little scanner that runs around $130 will do just fine.

Epson DS-50000

The Epson DS-50000 scanner is a pretty hefty scanner and much more expensive than other options. However, it is fairly quick, offers great resolution, and is a good workhorse if you have a lot of material to scan and you want it scanned in good resolution.
The Epson DS-50000 scanner is a pretty hefty scanner and much more expensive than other options. However, it is fairly quick, offers great resolution, and is a good workhorse if you have a lot of material to scan and you want it scanned in good resolution.

This scanner is most definitely not a portable scanner. It is parked in my office and has a much larger scanning surface than the Epson V39. The Epson DS-50000 can scan documents up to 11”x17” in size which is extremely handy when you are processing a lot of material that runs larger than 8.5”x11.” It can scan in resolutions up to 9600 dpi, which again, is extremely high. This scanner is a hefty 32 pounds, which means it’s not something that you want to be setting up and tearing down over and over. It will need a place to live in your office area. It also has a hefty price tag of a little over $1,800 so it is a big investment.

Overhead Scanner

In a way, the term “overhead scanner” is a bit misleading, as these scanners are actually taking photographs rather than “scanning” as a flatbed scanner does. Regardless of how it works, these scanners are a godsend if you are trying to scan a lot of material in a short amount of time. I mentioned earlier that the Epson V39 was extremely helpful for scanning images on the road, these CZUR scanners were crucial for scanning thousands of pages of documents in a very short period of time. You will not get the clarity you would with the Epson DS-50000 on the documents, but depending on your needs, that may not be necessary.

CZUR Aura Mate Pro

The CZUR brand of scanners are probably the most efficient scanners to digitize your collection on the market. They are reasonably priced, easy to use, and scan quickly--2 seconds per image! These work well for archival materials, but not for photographs.
The CZUR brand of scanners are probably the most efficient scanners to digitize your collection on the market. They are reasonably priced, easy to use, and scan quickly–2 seconds per image! These work well for archival materials, but not for photographs.

You simply set up the scanner and the associated scanning pad, hook it up to your computer and you’re ready to go. You can place a single sheet of paper on it—crooked even—and it with the click of a mouse or a press of the foot pedal, it takes a photo, and it’s done. As quickly as you can read, place the paper, click the mouse, place the paper, click the mouse, etc., it’s taking photos. It automatically straightens and crops the images to the edges of the paper, so you don’t have to take time lining them up. If you’re scanning a book, you simply lay the book down, take a picture, turn the page, take a picture, turn the page, etc. You can digitize an entire book in minutes. Now, I will also say that if you’re using this to digitize period books like diaries and such, it gets a little more complicated, but for the most part, it really is this fast. Their product spec page lists the scanning time at 2 seconds per page. It also has a feature for books to correct the curvature in the pages due to the binding so that you end up with two flat pages once it has processed them.

On my last research trip, I brought the CZUR Aura Mate Pro with me as it folds down and is a bit easier to travel with than some of their other models. This model is still available along with a number of other models made by the same company. I will mention that my scanner is bubblegum pink, and it doesn’t appear that you can still get it in that color. Sorry. 😊

This scanner is great for document material; it is not great for photographs. With documents, it has clear resolution, and easy to read, and that’s largely because documents do not have the level of detail and color depth that photographs do. If you try to scan a photograph with this scanner it’s like taking a picture of a picture, and you lose a lot of detail and color. I recommend sticking with flatbed scanners for images and using the CZUR scanner for documents. It is also very affordable at $289 with other models being more expensive.

Document Feeder Scanners

First off, I would like to just say, don’t. Just don’t. If you happen to have an all-in-one printer, scanner, copier that has a document feeder, do not run Civil War letters or other historic documents through them. Period documents are far too fragile to go through something like that. They are likely to get caught in the feeder mechanism and shredded, so it’s best not to.

That being said, there are companies who have large document feeder scanners with specialized equipment to handle fragile documents. If you have large muster rolls or other oversized documents, finding a local company with those materials may be an option. But please do your research and make sure that they can safely handle historic materials.

Why Digitize Your Collection

Posted on by Johanna Wickman

One of the things I’ve written about in previous posts is the importance of digitizing your collection. Whether it’s a photograph collection, or document collection, it’s important to have a digital version of it. Here I’m going to outline why digitization is important and in future posts we’ll go over how to do that and what to do with that digital collection once you have it.

Why Digitize Your Collection

Why digitize your collection? Here's one answer: all of your important documents scanned and cataloged so that any of them can be brought up with just a few clicks.
Why digitize your collection? Here’s one answer: all of your important documents scanned and cataloged so that any of them can be brought up with just a few clicks.

This is probably the biggest question and the most important one to answer first. One of the biggest reasons to digitize your collection is to have a digital record of it, which is useful in a variety of ways: Keeping track of what you own (catalog), insurance purposes, easy reference (where is that tintype again?), research (how nice is it to zoom in on photos?), and preservation. I am harping on this topic because I have run across too many collections and even personal family photos that have never been digitized, and this day and age, it is important to do that.

Keeping Track of What you Own

CatalogIt mobile and web view
CatalogIt offers both a fully functional web-based and mobile-based app, meaning you can view and edit your collection information from anywhere.

This is a big reason for the collectors out there. How many of you have wandered through a show and saw a photo and wondered if you already had that one, already had one from that regiment, or thought maybe you recognized the individual, but couldn’t identify them? How nice would it be to have that information with you at all times! This is entirely doable with the catalog software currently available for museums and collectors.

I’ve recommended CatalogIt in past posts on the importance of cataloging your collection, but here I want to emphasize the fact that because it is cloud based and has a companion phone app, meaning you have your collection with you on your phone at all times. Now, I would recommend creating substantive catalog entries, but if you create even just the most basic entries with attached photos, you will at least have a visual record of your collection. If you add more information like photographers, subject names, regiments, etc., then you will have an even more powerful tool with you when you go to those shows. This software will also track what you pay for items in your collection, so if you want to know if a particular photo is a good deal or overpriced based on what you’ve paid in the past, you have all that information too.

Insurance Purposes

This is a topic no one wants to think about, but it’s a necessary one. If you have a large collection of historical memorabilia, it’s a good idea to have it insured. And to do that you’ll want a good digital record of it backed up somewhere in case the worst should happen and you have to file a claim. It’s a dire motivation to be sure, but something important to consider.

Easy Reference

This dovetails nicely with using catalog software, but if you even just have digital image files on your computer, you can organize them by type, subject, photographer, etc. Once you have them organized it can make it much easier to find the item you’re looking for so that you do not have to go through your collection digging for them.

Easy Research

This ties in nicely with the previous reason because once you’ve found that particular image now you can look at it easily on your computer. You can zoom in and read writing that is too small, see minute details in photographs, and spot equipment, recognize faces, etc. All because photographs are much easier to see on a computer when properly scanned than from a print.

This is also helpful with documents. I have mentioned a couple times in past blog posts the Civil War letters I’ve found that have been traced in ballpoint pen. If you have a letter that is difficult to read you can scan it, and adjust the contrast, levels, etc. digitally until you can read. No ballpoint pens necessary! Seriously though, please don’t use the ballpoint pens…

Preservation

This is the last “why” of this post but certainly not the least. As museums or collectors, historic preservation is one of our most important—if not the most important—thing that we do. If we don’t have the budget to create a nice flashy exhibit, let us at least make sure that items are not degrading in our care.

Every time an item is handled it breaks down. No matter how careful you are or how gentle you are with it, it breaks down. We’ve all encountered those old books and newspapers that seem to just crumble as you look at them. Sometimes it’s not even about how gingerly it’s handled, it’s just the fact that the item in question is so old and so fragile that it cannot be helped. This is why digitizing your collection so that it does not have to be handled is so important.

If you want to look at a specific photograph or read through an old letter again, you can look at the digital version knowing that the original is safely tucked away in archival materials. This ties into that responsibility we have as collectors to make sure that we are good stewards of this history—while we have it. If we do our jobs right, these items will outlive us all and be around for generations to come.

In the next post I’ll go over some digitization tips that may be of help to you if you decide to take the plunge and start scanning your collection. Or, if you decide to punch up your current digital collection with additional scans or cataloging.

The Humanity of the Battle of Gettysburg in Primary Sources

Posted on by Johanna Wickman

The Humanity of the Battle of Gettysburg in Primary Sources

As a professional or amateur researcher, the best information you can find about a historical topic will come from primary sources. Depending on the event, that can be difficult to track down. Those first hand accounts written as letters home to a wife or mother, a photograph taken of the aftermath, or a simple clothing return, all serve to show that the Civil War was more than just statistics–they show the humanity of the Battle of Gettysburg and the entire conflict. As we remember and honor the sacrifices made during the Battle of Gettysburg this week in 1863, I thought it would be fitting to share just some of the available information on the battle on the Research Arsenal database.

Photographs

A search of the term “Gettysburg” within the photographic library on the Research Arsenal database will yield 199 search results. Several of these are the well-known photographs of the dead on the battlefield, but many others are portraits of various soldiers who fought in the battle or were part of that campaign. This makes it much easier to find photographs of soldiers who fought in the battle because they can be searched for through a single keyword, rather than looking up each regiment individually.

You will also find various photographs of the town, and the battlefield many years after the battle as monuments began to be added to commemorate each regiment. One particular photo that stands out is the “Children of the Battlefield.”

CDV Photograph of Frank, Frederick, and Alice, “The Children of the Battlefield” Carte-de-visite (CDV) photograph of Frank, Frederick, and Alice, the children of Amos Humiston of the 154th New York Infantry. Humiston was killed at the Battle of Gettysburg, but his identity was at first unknown. An original ambrotype of his three children – eventually copied to produce this CDV - was found clutched in his hand. The ambrotype came into the possession of Dr. J. Francis Bournes of Philadelphia, who traveled to Gettysburg to help tend to the wounded after the battle. Bournes vowed to identify the soldier and return his image to the family. Newspapers soon printed a description of the subjects in the hopes of someone could connect them to the fallen soldier. It worked. Bourne would later work with local photographers in Philadelphia to produce copies of the Humiston ambrotype for the benefit of a home for orphaned children of the battlefield in Gettysburg.
Carte-de-visite (CDV) photograph of Frank, Frederick, and Alice, the children of Amos Humiston of the 154th New York Infantry. Humiston was killed at the Battle of Gettysburg, but his identity was at first unknown. An original ambrotype of his three children – eventually copied to produce this CDV – was found clutched in his hand. The ambrotype came into the possession of Dr. J. Francis Bournes of Philadelphia, who traveled to Gettysburg to help tend to the wounded after the battle. Bournes vowed to identify the soldier and return his image to the family. Newspapers soon printed a description of the subjects in the hopes of someone could connect them to the fallen soldier. It worked. Bourne would later work with local photographers in Philadelphia to produce copies of the Humiston ambrotype for the benefit of a home for orphaned children of the battlefield in Gettysburg.

 

Letters

Searching for the term “Gettysburg” in our Letters Library will yield over 1600 results. These will include letters and diaries of soldiers who are somehow connected to the Battle of Gettysburg, although the content may not reference the battle directly. Still, these letters and entries offer a glimpse into the human side of the battle. They were not just numbers on a casualty list or names on a regimental roster—these were people, human beings, with families, loved ones, hopes and dreams. Reading these letters offers modern-day people a chance to connect with the past on a very relatable level.

For those looking for a more direct connection to the battle itself, you can filter the letters by location and select all of the boxes relating to Gettysburg sites. This will yield 13 letters and diaries written from the town. Eight of these are written in July 1863. Lucian Wells Hubbard offers a glimpse into the monumental battle from the perspective of a young drummer boy of the 14th Connecticut Infantry in a letter to his mother on July 3, 1863:

“We are having a terrible battle here now. It is raging terrible. Our regiment is being all cut to pieces. This morning they were ordered (four companies) to charge a barn [the “Bliss Barn”] that was occupied by the rebels. They done it. Not a man faltered and they succeeded in reaching the barn. Out of the four companies, two lieutenants ¹ were wounded and about ten privates. Pretty soon the Brigadier [General Alexander Hays] rode by and said he wanted the 14th to charge a house [the “Bliss House”] that the rebel sharpshooters occupied. They charged the house and had just got [about there] when the rebel batteries opened on them. Still they stood firm. Here was when they got cut up. There was some killed and a great many wounded. Just think—our regiment is now not as large as the Home Guards now when I was home. I saw Fred. He was in the fight but was not hurt the last I saw of him.

The men fight nobly. Dr. [Frederick A.] Dudley of our regiment was wounded in the left arm. The Second Battery was engaged, I believe. You must not feel worried about me I will try and take care of myself. This is an awful fight. We have taken a great many prisoners. We are in Pennsylvania now at a place called Gettysburg. That is quite a large place. Our troops held ½ of the town and the rebels the other. The troops will all fight tomorrow–it being the 4th of July. The batteries from our side are mowing the rebels down with grape an canister and shell. They don’t seem to have a great deal of artillery here—at least they don’t reply a great deal. Their batteries seem to be all planted in one place while ours are all scattered around at different places.”

Lucian Wells Hubbard enlisted in the 14th Connecticut Infantry at the age of 14 as a drummer boy. It is not known if his parents gave their consent for such a young boy to join the war. Lucian served at the Battle of Antietam and later at the Battle of Gettysburg. Just a few months after this letter was written, Lucian was captured and sent to the Belle Isle POW camp. In the spring of 1864, Lucian Hubbard suffered from chronic diarrhea. Severely weakened, he died from the disease on April 16, 1864. His mother, Calista Hubbard doggedly pursued the story of her son’s death. On May 21, 1865, a soldier who was imprisoned with Lucien replied to her inquiry about him. “He often told me,” wrote Patrick Carroll, “that he was afraid he would never see home.” The drummer boy’s final resting place is believed to be Richmond (Va.) National Cemetery
Lucian Wells Hubbard enlisted in the 14th Connecticut Infantry at the age of 14 as a drummer boy. It is not known if his parents gave their consent for such a young boy to join the war. Lucian served at the Battle of Antietam and later at the Battle of Gettysburg. Just a few months after this letter was written, Lucian was captured and sent to the Belle Isle POW camp. In the spring of 1864, Lucian Hubbard suffered from chronic diarrhea. Severely weakened, he died from the disease on April 16, 1864. His mother, Calista Hubbard doggedly pursued the story of her son’s death. On May 21, 1865, a soldier who was imprisoned with Lucien replied to her inquiry about him. “He often told me,” wrote Patrick Carroll, “that he was afraid he would never see home.” The drummer boy’s final resting place is believed to be Richmond (Va.) National Cemetery.

 

 

Clothing Ledgers, Morning Reports, and Muster Rolls

Clothing ledgers are searchable by location and include sixteen results for “Gettysburg,” however there are far more than sixteen relating to the battle. It’s important to search all three of these libraries by the specific regiment you are looking for and in the right time frame to locate records relating to the battle. This is a fantastic way to determine what weapons certain regiments carried, what clothing and equipment soldiers carried, etc. In fact, this information has already changed the perceptions people have of the battle.

Ordnance returns have shed new light on the weaponry of General John Buford’s cavalry division during the Battle of Gettysburg. Many have thought that aside from the Sharps carbine, the most common weapon held by his soldiers was the Spencer carbine. Going back to the original ordnance returns, shows that that is not the case!

 

A simple blog post cannot do justice to the wealth of human stories and history contained within thousands of pages of digitized materials. As we remember and honor those who fought at the Battle of Gettysburg, it is my hope that these photographs, letters, diaries, and military records will help keep the stories of the lost alive for generations to come.

3 Simple Tips for Displaying Your Collection

Posted on by Johanna Wickman

3 Simple Tips for Displaying Your Collection

A "Wunderkammer" or Cabinet of Curiosities was the first form of a museum that became popular in 16th Century Europe. They were characterized by room crammed full of cool stuff. This is not a good model for exhibiting your collections.
A “Wunderkammer” or Cabinet of Curiosities was the first form of a museum that became popular in 16th Century Europe. They were characterized by room crammed full of cool stuff. This is not a good model for exhibiting your collections.

One of the highlights of owning a nice collection (or even a beginner-level collection) of Civil War memorabilia is displaying it. Having a case set up somewhere or even an entire room devoted to the collection is a great way for you to enjoy it and also show it off to family and friends. There is nothing wrong with this at all, but there are a few things to keep in mind when you are creating these exhibits, in order to ensure that your collection stays in excellent condition. Here are 3 tips for displaying your collection that will help you care for your artifacts well.

1. Rest Your Collection

This is likely something you’ve encountered in museums in the past. You really enjoyed seeing a specific object on exhibit a couple of years ago, but when you return, it’s no longer on display. This can happen as part of changing museum themes and also in order to rest the item. This is something especially crucial for objects made of silk (ex. old flags), any paper materials, photographs, fabrics, etc.

For these items, just being exposed to sunlight and the artificial lighting in your home is destructive. Paper can turn yellow, inks begin to fade, and silk starts to break down and crumble. Rotating items from exhibit allows them to “rest” in their (hopefully) archival storage boxes which keeps them stable and away from any light sources. It’s also important to monitor your humidity levels in your home to make sure that they are optimal for your collection.

2. Museum Quality Cases

There are a wide variety of “exhibit” cases on the market that range from a few hundred dollars to thousands of dollars. Cost issues aside, the most important thing to look for when selecting a case is if it is museum quality. Does it have halogen lights? Then it is not museum quality. Halogen lights are extremely destructive to artifacts through the intense light and the extreme heat they put off. No two ways about it, avoid halogen lights like the plague.

Another thing to look for is if it has UV blocking lights and/or UV blocking glass. UV is a terrible thing for collectibles of any kind. That will fade, yellow, crumble and disintegrate all sorts of fragile and paper objects. It will cost more, but it is worth it for your collection in the long run to seek out cases that mitigate UV light.

One other thing to consider is where you put your cases. Are they in a room facing the sun? Not good. Does the room have fluorescent lighting? Also, not good. However, you can remediate that by adding UV light filters to your fluorescent light fixtures, and UV blocking blinds or films. Again, this is another reason why items should be rotated from exhibit.

3. Display Stands and Other Props

Recently, I saw in a Facebook group someone who was showing off their new exhibit case full of photos and other Civil War memorabilia. While everyone commented how nice everything looked, my eye was immediately drawn to a Civil War kepi that was being displayed in a Riker mount. This hat was flattened like a pancake into that mount. Now, I don’t know if it was original or not, I am assuming it was as it seemed everything else in the case was. This is probably the LAST way you would ever want to store something like a kepi. A hat is a 3D object meaning that it is meant to have height. In order to fit into a Riker mount box, it has to be completely flattened to less than 1 inch tall. Because these are made of old and fragile textiles, they will stay in the squashed shape and will likely tear or fall apart if you try to “fix” them by returning them to their proper height. If you have something like this in your collection, it is perfectly acceptable to display it, but it should be in the open in the case and the interior of the hat should be supported with balled up archival tissue. Alternatively, you can store it on a specially made museum quality hat stand. But please do not squish things like this to fit into a Riker mount. Even if you purchase one that is like that already, please take it out of the case and store it on tissue. Continuing to press it down is not doing it any favors.

It’s quite common to use stands and other props to hold up items within cases. Typically, there is not much to be concerned about here as long as the items being used as props or shelf liners are archival. Acrylic stands designed for museum exhibits are perfectly fine. One thing to watch out for is how you line your cases and how the items are arranged in cases. For example, if you have a period newspaper don’t put a big piece of rusty metal on top of it like a bayonet. First of all, the bayonet is going to leave an impression on the newspaper and dent it, second of all, it will transfer rust and discolor the newspaper. Just don’t do it. A lot of this is common sense. Heavy sharp objects should not be laying on fragile objects. And to go a step further, no items should be “stacked” in your exhibits. Each item should rest on a stand or the shelf itself without leaning on or laying directly on another object. This will ensure that they do not damage each other. And it will also make for a much cleaner exhibit rather than a cluttered case of a bunch of stuff crammed together.

Angry Archivist: Stop Writing on and Putting Sticky Notes on Historical Documents

Posted on by Johanna Wickman

Angry Archivist: Stop Writing on and Putting Sticky Notes Historical Documents

Rarely to the culprits of damaging archives identify themselves, but in this case we have a name--Alice. In 1930 Alice was one of the relatively few people who had a ballpoint pen (they didn't become popular until after WWII) and she had an old family letter written in faded pencil that was difficult to read, so she traced it. We all know that Alice meant well, but unfortunately, her actions have irreversibly damaged an original Civil War letter home. Always be mindful of your actions and consider if they are reversible. If they are not, I HIGHLY recommend you do not do them.
Rarely to the culprits of damaging archives identify themselves, but in this case we have a name–Alice. In 1930 Alice was one of the relatively few people who had a ballpoint pen (they didn’t become popular until after WWII) and she had an old family letter written in faded pencil that was difficult to read, so she traced it. We all know that Alice meant well, but unfortunately, her actions have irreversibly damaged an original Civil War letter home. Always be mindful of your actions and consider if they are reversible. If they are not, I HIGHLY recommend you do not do them.

You may remember that I wrote (ranted) about people marking up original historical documents with ballpoint pens. I am frustrated to say that the trend continues as I’ve found more Civil War letters traced with ballpoint pen (thanks, Alice). I also want to point out another common thing I find in archives that I believe is more the work of sellers as opposed to collectors, but either way, it’s annoying—leaving notes on historical documents. These notes are either written on the documents themselves or on sticky notes stuck to the original documents. Both are bad.

For a hypothetical example, here’s an original letter written by a Civil War soldier who describes that he hasn’t heard from his cousin since the Battle of Gettysburg, and that he could really use some new pairs of socks since his have gotten worn from all of the marching. What a nice handwritten letter. Then you flip it over and, on the back, (usually in giant letters) are terms like “GETTYSBURG” then you’ll find other keywords virtually shouting at you, “SOLDIER CONTENT,” “HOMEFRONT,” “GETTYSBURG, GETTYSBURG, GETTYSBURG…” you get the idea. Sometimes this is written directly on the letter and other times it’s written on sticky notes stuck to pages. DID YOU KNOW THIS DIARY PAGE MENTIONS GETTYSBURG??? Here’s a neon pink Post-it note stuck directly onto the faint pencil writing (although we can fix that by tracing it with a ballpoint pen, can’t we? NO, Alice.)

Here is an example of a note likely left by a seller on an original Civil War letter. It has the keywords "Hist of movement Mass Vols, Himself, Forts around Wash." Now, to me, I feel like a lengthy letter entitled "Memoirs of a Soldier" (titled by the author) likely includes the soldier talking about "himself." Why someone felt the need to write that on the letter (or any of the other content for that matter) is beyond me. This information is not very useful, and it does not need to be written on the document. This bare bones notation could easily have been written on a slip of archival paper and kept with the letter.
Here is an example of a note likely left by a seller on an original Civil War letter. It has the keywords “Hist of movement Mass Vols, Himself, Forts around Wash.” Now, to me, I feel like a lengthy letter entitled “Memoirs of a Soldier” (titled by the author) likely includes the soldier talking about “himself.” Why someone felt the need to write that on the letter (or any of the other content for that matter) is beyond me. This information is not very useful, and it does not need to be written on the document. This bare bones notation could easily have been written on a slip of archival paper and kept with the letter.

I get it, you’re a seller and you’ve got some great content in that old diary (GETTYSBURG) and the more you can tout that, the more you can sell it for. It’s a business. I understand that, really, I do. HOWEVER, there are ways to keep track of this fantastic content you are trying to sell without plastering it full of non-archival and damaging sticky notes, or writing all over it (BUT IT’S IN PENCIL!!!).

Here’s the thing: yes, archivists do use pencils on documents. To write catalog numbers on them. THAT IS ALL. They do not underline or annotate historical documents to the point that they look like a teenager’s CliffsNotes to “The Grapes of Wrath.” Pencil can be erased. This is correct. However, every time you write and erase something, it takes a layer or paper with it, and oftentimes there’s still a faint mark where the writing was. If the document was even slightly dirty (which, let’s face it, we’re talking about 160-year-old Civil War papers, there is going to be some dirt) the eraser will take that with it so now you have a weird, discolored patch on the document. Sort of like when you clean up Fluffy’s hairball with carpet cleaner and now that patch of carpet is just ever so slightly lighter than the rest of the carpet and it drives you up the wall, but I digress.

And sticky notes? No. Just no. When it comes down to it, sticky notes are paper with an adhesive back, like tape, but with a “repositionable” and weaker adhesive. At the end of the day, they are still adhesive and whether you see it or not, they do leave residue behind. Especially, when they are left on a document for any length of time or exposed to extreme heat. Anyone mailing documents in the summer? This is a problem.

Alternatives to Sticky Notes and Written Notes

Here's an example of a sticky note stuck to an original page of a ledger making note of a deserter. Something that it literally says in red ink just a few inches away from the sticky note. This note is not providing any additional information from what is already plainly visible on the page, and it is actively causing damage to the original pages because it is non-archival.
Here’s an example of a sticky note stuck to an original page of a Civil War ledger making note of a deserter. Something that it literally says in red ink just a few inches away from the sticky note. This note is not providing any additional information from what is already plainly visible on the page, and it is actively causing damage to the original pages because it is non-archival.

But, as usual, I’m not just here to rant. There are alternatives and solutions to these sorts of things.

First of all, there is no need to write a keyword salad of a document’s contents directly on the document. Historic documents should be kept in sleeves so that they are shipped protected—write your keyword salad on a Post-it note on the sleeve (yes, sticky notes are acceptable here because they are not touching the original document).

As for flagging “significant” pages in a diary, simply use a small piece of archival paper inserted into the book. Make sure that it sticks out of the top and you can write on the outer portion what is in the book. In a perfect world, the diaries would not have paper inserts highlighting specific pages, but I understand that sellers and perhaps collectors like to have easy reference to those. Although if you are a collector, I would highly recommend that you simply digitize the diary and use that for quick reference rather than flipping through the diary over and over and eventually weakening it considerably. But if you simply must use something to identify a certain page, do not put a paperclip on it, do not put a sticky note on it, just use a “flagger” made of archival (non-sticky) material with a portion sticking out of the book with your notation. Easy peasy.

And one more thing, all of these notes we’re talking about (and transcriptions) are all examples of information that can be kept with you collection digitally. If you make use of collection software, all of this can be kept with those records, so there is no need for sticky notes, tracing old writing to make it more “readable,” etc.

Just to reiterate: No ballpoint pens on archival documents (I know what you did, Alice). No sticky notes on archival documents. And no superfluous keyword salads on archival documents. Please and thank you.

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