Tag: Archival tips

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.

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.

2 Methods for Digitizing Glass Negatives

Posted on by Johanna Wickman

Two Methods for Digitizing Glass Negatives

Digitizing glass negatives is a fairly simple process, and I will offer two methods you may find useful in this post. Last week, I talked about how to store glass negatives and gave some suggestions as to where to find the proper archival boxes specifically made for that. Once you’ve got the right storage materials, you can sit down and start digitizing. It is always important to have proper storage first so that artifacts are safe as soon as possible. Digitizing can be a project depending on how many glass negatives you have, and you may need to spread out the process over a few days.

First Method: Scanning

If you have a home scanner with a “transparency” setting, you may have very good luck scanning your negatives. If your scanner does not have a “transparency” setting, you may be able to scan some negatives, but if they are dark, they scans will likely not pick up the image very well.

To scan a glass negative, put on latex or nitrile gloves, and make sure the glass bed of the scanner is free of any dust or lint. Then make sure that the negative itself is free of dust and hair—you can use a blower to do that without harming the emulsion. Be VERY careful when brushing off debris on the emulsion side. The emulsion can rub off, which is why it is best not to brush that side. An archival dust blower is perfect for getting dust off without ever touching the glass and can be used on other items in your collection as well.

Once the scanner and glass negative are ready, place the negative emulsion side down onto the glass. Now, and important note here, is depending on your scanner’s point of focus, the image may be clearer with the emulsion side up—however, that runs the risk of creating distortion “rings” in the scan. You may need to try a negative both ways to see which turns out the best with your scanner.

Once the negative is on the glass, gently close the lid and take a look at your scanner settings. It is best to scan images at 600 dpi, although if you want to scan them higher, you certainly can. The best file format to save in is a TIF so that as much detail as possible is saved. This creates a much larger file size, but it also provides the richest data file. A JPG or PNG will compress the image, making a smaller file size, but also saving less information.

Second Method: Photographing with a Lightbox

This method is somewhat “old-fashioned”, but it will work well for glass negatives—especially if your scanner does not have a “transparency” option for scanning darker negatives.

Here you can see a glass negative sitting on the right kind of lightbox. This one courtesy of the now extinct photo lab I used to work for...
Here you can see a glass negative sitting on the right kind of lightbox. This one courtesy of the now extinct photo lab I used to work for…
Here is that same glass negative on one of the modern LED light tablets. Notice the black dots all over on the screen. As you can see, these cheaper alternatives are NOT usable for photographing glass negatives!
Here is that same glass negative on one of the modern LED light tablets. Notice the black dots all over on the screen. As you can see, these cheaper alternatives are NOT usable for photographing glass negatives!

The first steps are the same as with the scanner—make sure your lightbox and negative are free from dirt and debris, and make sure you are wearing latex or nitrile gloves. Then place the negative on the lightbox and photograph it. One important note here is to be careful of the lightbox you are using. I used a large lightbox that I saved from the old photo lab I worked at that shut down almost 20 years ago. It still works like a champ! But there are new LED ones available online that when they light up, actually create a dot matrix pattern. You do not want one of those LED ones because the black dots will show up in your photograph of the negative.

In this example I used both my cell phone and a Canon EOS Rebel camera to photograph the negative. The cell phone picture came out rather well, although it is in the JPG format. The camera also did very well, but it takes some practice to make sure that you photograph the image squarely from the top looking directly down so that you don’t end up with a slightly distorted picture.

Processing Your Picture

Once you've scanned or photographed your negative, you will end up with a negative image similar to this. It will need to be processed in a photo editing program so that you can see the image properly.
Once you’ve scanned or photographed your negative, you will end up with a negative image similar to this. It will need to be processed in a photo editing program so that you can see the image properly. This particular image was taken with my cell phone while the negative was sitting on the lightbox.

Once you have your digital file of the glass negative—whether from scanning or photographing—you’ll need to process it in some kind of photo software. You can use Adobe Photoshop, or any other myriad of photo editing programs to do the basics of what we need to do here. I use Affinity Photo for these types of edits.

Open the file in your photo editing program of choice, and then add a layer, and select “Invert.” This will invert black into white and white into black so that you have a positive image, rather than a negative. Once you do this, you will likely need to edit some of the black and white levels. This can be done by adding another adjustment layer and selecting “levels.” By adjusting the black and white levels on the histogram that pops up, you will be able to create a more natural looking image with proper color balance.

An important note here is that some images will be naturally dark and naturally light. Just like back in the “old days” when we’d take pictures with a roll of film, sometimes they were over or under exposed. In that case, there is only so much editing you can do with a photo program to get the best image.

Here is the finished processed image. This is the processed version of the cell phone picture taken above. More work could be done on adjusting the white balance and so on, but this gives you a good idea of how the process looks from beginning to end.
Here is the finished processed image. This is the processed version of the cell phone picture taken above. More work could be done on adjusting the white balance and so on, but this gives you a good idea of how the process looks from beginning to end.

Once you have a finished image you are happy with, you can save it as a new file as a TIF or a JPG—whichever you prefer for your use. I always keep an edited TIF on hand and use a JPG for posting online or sharing via email since the file size is so much smaller.

I hope that this brief walkthrough helps give you some pointers on digitizing your glass negatives!

How to Handle and Store Glass Plate Negatives

Posted on by Johanna Wickman

In this blog and the next entry, I’ll be going over how to handle, clean, store and digitize your glass plate negatives. Properly caring for these negatives is important to ensure that they continue to survive for decades (and centuries) to come, and so that the image emulsion is not inadvertently damaged by improper storage and handling. Please also consider cataloging your negatives as you go through this process. A related blog entry on cataloging can be found here.

If you’re starting an extensive archive of 19th century archives that includes photographic material, you will likely eventually run into glass plate negatives. These are different from tintypes, ambrotypes and daguerreotypes. There are two types of glass negatives: wet collodion (used between 1855 and late 1880s) and gelatin dry (used from the late 1880s to the early 1920s). The main difference between the two is that the wet collodion glass plates would need to be prepared by the photographer and immediately exposed and then processed by the photographer, all while remaining wet. The invention of gelatin dry plate negatives allowed the photographer to prepare the glass plates in advance before exposing them to light. By the 1880s ready-made gelatin dry plates were available for purchase to photography studios and amateur photographers alike. By the 1920s these plates were being replaced by dry gelatin paper negatives and flexible celluloid film rolls.

How NOT to Store Glass Plate Negatives

Glass plate negative
Here is an example of how not to store glass negatives. Although, it is fantastic that they were at least wrapped, as it could have been much worse. Finding glass plate negatives in this state is not unusual, as this is how families kept them and over time they have just stayed this way.

In all honesty, coming across a batch of glass negatives in this situation is not the worst-case scenario. They are at least wrapped and somewhat protected from the environment and each other, which far beats them just scattered loose in a box without any protection. Still, this is not ideal.

How to Store Glass Plate Negatives Instead

This is an example of glass negatives in protective archival sleeves stored in an archival box designed to house glass plate negatives. These boxes come in all sizes to house different sized glass plate negatives.
This is an example of glass negatives in protective archival sleeves stored in an archival box designed to house glass plate negatives. These boxes come in all sizes to house different sized glass plate negatives.

Here you can see some glass negatives in protective sleeves inside an archival box specifically made to house them. These dividers accommodate 3-4 plates (depending on thickness) in each pocket. Now, special note here: I have these plates sitting vertically in this picture. This is because I am in the process of digitizing them and it allows me easier access to remove each plate. For proper long-term storage, these plates would be turned onto their long edge so that they would fit snugly between the dividers of the box.

There are a few archival businesses who sell specially made glass plate negative boxes and dividers. The one seen in the photographs here is from Talas and can be purchased here. You will need both the box and the folding protective sleeves.

Important things to Consider

  • You will want to wear gloves when handling these negatives. You don’t want to run the risk of getting fingerprints on them or scratching the emulsion. However, cotton gloves can snag on the emulsion (especially if it is already flaking) and they also can make your grip slippery, and dropping a glass plate negative would be very BAD. Instead of cotton gloves, use latex or nitrile gloves that have a more rubbery texture.
  • The emulsion side of the negative is EXTREMELY fragile. It can scratch off, be washed off, and even just flake off over time. Be extremely careful when handling and do not handle the negative where that can be damaged. Grip it from opposite edges, like you’d hold a CD, do not place your fingers on the emulsion.
  • Your negative may discolor over time. This is natural and due to the chemicals involved. Wet collodion plate negatives tend to turn brown or have a sepia tone due to the varnish that was applied to them. Gelatin dry plate negatives were sometimes varnished and can have a purplish tone but usually have a grey or black image tone.

Cleaning Your Glass Plate Negative

Ideally, this is something that should be done by a professional, but I know there are some antiques dealers and collectors (I’m not pointing fingers…) who can be a little brazen with their attempts to “spruce up” their collectibles, and I’d rather provide solid information for those who are going to forge ahead anyway, instead of not including it.

This is important and also very risky, as you do not want to damage the negative in the process. Do not attempt to clean the emulsion side with any liquids, chemicals or solvents.

The West Virginia University Library outlines a good step-by-step process to clean the glass side (non-emulsion) side of a glass plate negative using ONLY distilled water. If you choose to do this, please follow their steps closely and carefully in order to avoid any unintentional damage.

As opposed to doing this yourself, you may find that your local museum or university archive may be able to help you—or may even help clean them for you. In the next post I’ll go over how to digitize your glass plate negatives and that is also something that your local museum or archive may also be able to assist with.

The most important thing to remember is to not do anything that is irreversible—in other words, don’t wash off the emulsion! And always remember to ask questions if you are unsure of what to do. There are resources available online and also locally at museums and archives who can help you.

Angry Archivist: Taping a Tintype

Posted on by Johanna Wickman

In my last “Angry Archivist” post I complained about someone who traced over an original Civil War letter with ballpoint pen and taped it, and today I’m extending that complaint to folks who tape historic photographs–specifically, taping a tintype.

Here you can see how someone used packing tape to secure the tintype image into the copper frame. Finding things like this makes me an Angry Archivist...please don't do this!
Here you can see how someone used packing tape to secure the tintype image into the copper frame. Finding things like this makes me an Angry Archivist…please don’t do this!

Just this week, while processing a new batch of photographs to add to the Research Arsenal database, I was horrified to find an extremely valuable tintype taped into its frame. Now, I understand whoever did this was probable trying to prevent it from sliding inside the copper frame, but tape is not the answer, my friend.

Not only was this tape, it was PACKING tape. This stuff is great for mailing boxes, and other uses where it is not designed to be removed without leaving a trace. It is not designed to be used to secure artifacts to frames. I guess I should be glad it wasn’t duct tape—it could have been worse!

"Action shot" of slowly peeling the packing tape from the back of the photograph. This is not something you want to end up having to do!
“Action shot” of slowly peeling the packing tape from the back of the photograph. This is not something you want to end up having to do!

Luckily, I was able to peel off the tape by going very slowly and only had to deal with gummy tape residue in a couple spots. The residue rubbed off gently without the need for additional methods likely indicating that the tape was applied recently. Typically, the older the packing tape, the more gooey it is when you try to remove it. And it’s sad that I know that because that means I’ve removed more packing tape from artifacts than I’d like to admit.

When I first posted about cataloging your collection and the different ways to number your items, the first rule I hammered home was to make sure that whatever you are doing with your items is reversible—don’t write on them when Sharpies, cut them, thumbtack them, etc. Applying packing tape to them is one of those things that can cause permanent damage.

Using Polyethylene Foam Instead

Now, I understand that collectors like to display their tintypes and sometimes the images are loose in their frames. I’m not just going to beat folks up for doing the wrong thing without offering a solution. If you are having this problem, I recommend investing in some Ethafoam or Volara foam.

Here is an example of using Volara foam to cushion boxes, the same way that you can use it to cushion the point of contact between the copper frame and the tintype.
Here is an example of using Volara foam to cushion boxes, the same way that you can use it to cushion the point of contact between the copper frame and the tintype. This pictured foam can be found here.

Ethafoam (or Volara) is a closed-cell polyethylene foam that is inert, waterproof, fantastic for cushioning, and comes in a variety of thicknesses. You can buy a block of it and carve it to cushion a large 3D artifact, or you can buy it in sheets, which is what you’d want to do in this case.

Using a thin sheet of polyethylene foam (about ¼ inch thick) cut it into a small strip to fit between the folding edge of the copper frame and the tintype itself. This will essentially give the tintype a little extra thickness to ensure that the frame can hold it in place. The foam will not damage the tintype in any way, in fact, it will prevent any scratches from the copper onto the back of the image.

An important thing to note is that you MUST make sure that the polyethylene foam is inert and appropriate for long-term storage. There are a number of low-cost polyethylene foam options available online, but they are for packing and shipping, not archival use. Look for brands like Ethafoam or Volara and check the item descriptions to ensure that they are safe for long-term use.

If you have fragile artifacts, you can use this foam to line their storage boxes for extra protection. You can use it to line the display shelves that your artifacts sit on, and you can use it to cushion between artifacts in boxes. It is a very useful collections care item to have on hand.

In a pinch, if you do not have foam or are unable to purchase some, I would recommend using archival tissue to do the same thing. You may need to fold some tissue several times on itself to make it thick enough, but this will also work and will not cause any damage to the image or leave any sticky tape residue.

As much as I don’t like to find these archival faux pas in my work, I am happy to take the opportunity to provide a little education and hopefully stop a future incident happening. Remember, in the world of archives, packing tape, duct tape, or scotch tape is never an option! It may be tempting as an easy fix, but it’s never a good choice!

How to Label Your Collection

Posted on by Johanna Wickman

Last week we discussed how museum and archive numbering systems work, and this week we are going to discuss how to label your collection. This is a relatively straightforward process, but there are a few key things to keep in mind as you go. The main rule of thumb is that however you add your catalog number to your object or document, it is done in a non-permanent way. In other words, don’t pull out the Sharpie and start writing all over your things! Sadly, I have seen that happen in museums, and that’s definitely something we want to avoid!

How to Label Your Collection: Writing Directly on the Document Vs. Archival Sleeves

When you’re working with paper or photographic archives there are two schools of thought with regard to how they should be numbered. Some folks will write VERY lightly in pencil the catalog numbers on the bottom right (or left) corner of the document—typically on the back. This way the writing is not visible from the front if it is on display, the writing is reversible because it can be erased, and the size of the writing is very small so that it is not intrusive. This method can work for relatively modern documents. For example, if you have someone’s 1980s era research notes that you are adding into your collection you may choose to number it that way. For Civil War era paper materials (including CDVs), I would hesitate to use this method, simply because the documents are often very fragile—and in some cases disintegrating—to the point that should that number ever be erased, doing so would likely destroy the paper. The advantage of lightly writing the number in pencil on the document directly ensures that it will never be separated from the number. If using this method, do not use a mechanical pencil as it is often too sharp and can damage old paper or leave an imprint that shows through the front. Use a 2B soft leaded pencil, sharpen it, and then use a piece of scratch paper to soften the tip of the lead so that it is a bit duller. The below video shows how to mark papers, photographs, and books using this method.

Personally, the method I prefer (and the one we use at the Research Arsenal) is to write the number on the clear archival sleeve that protects the document. This ensures that the document is not directly affected by the writing. Should the number ever need to be changed it only needs to be placed in a new sleeve with the correct number. You can use a fine point Sharpie to write on the sleeve and the ink will not smear. Be sure it has dried completely before you place a document inside just in case the document touches the ink.

Here is an example of writing the catalog number directly on the archival sleeve.
Here is an example of writing the catalog number directly on the archival sleeve.

If your documents are digitized (which they all should be eventually) then there will be minimal need to handle the original documents in the future. If you want to read through them or look up something with them, you only need to use the digital scan, rather than handling the original document which can further degrade it.

How to Label Your Collection: Tagging Objects

How to tag your collection, artifact tags
This is an example of a museum artifact tag sold by Gaylord here.

In this case, I am going to include tintypes (in cases) and ambrotypes as objects as opposed to archives simply because they are not made of paper material. Anything not made of paper will typically fall into the object category and use tags. Tintype photos not in cases can be safely stored in archival sleeves and can be numbered using the above method of numbering the sleeve.

Objects will need an archival tag which consists of a small square of archival cardstock strung on a loop of archival string. These come in all sorts of sizes and shapes and can be used on a variety of objects. They are also easily removed if need be and can be arranged in such a way that they are not obtrusive if the object is on exhibit.

To use a tag, you will want to write the catalog number on the tag and if there is room, a one- or two-word description. A tag for a M1851 Colt Navy Revolver might look like “2025.002.0014 M1851 Colt Navy Revolver” and that’s it. You can shorten or lengthen in to your preference, the intention being that it allows you to easily identify what item the tag goes with, should it become separated, and also so that you can easily identify what the object is without needing to look it up. To write on the tags you can use the fine point Sharpie again.

You’ll want to loop the tag around the object in some fashion so that it is unlikely to fall off. In the above example of the Colt Navy Revolver, you could loop it around the trigger guard. For objects that don’t have an obvious way to loop the tag, you’ll have to get a bit more creative. You can tuck the tag inside the case of a tintype, loop it around a buttonhole, tuck it in the band of a hat, etc. It will vary from object to object. No matter what the object is and how difficult it is to find a way to secure the tag, do NOT tape, glue, or otherwise use adhesives to attach it. If you are working with small objects, maybe say, Minie balls, you may wish to keep them in a small Riker mount and then tag the mount or keep them in a small archival box with the tag inside the box. The most important thing to consider in all of this is that what we are doing does not have any permanent effect on the object.

I’ll leave you with this link to some “horror stories” of museum numbering fiascos that you may find entertaining. Whatever you do, don’t do what these folks did! https://world.museumsprojekte.de/how-not-to-number-objects/

Angry Archivist: Tracing Civil War History With a Ballpoint Pen

Posted on by Johanna Wickman
This letter was written by Lt. Horatio Graves of the 10th Massachusetts Infantry in June 1864. At some point in recent history, the original writing has been traced over in spots with a modern ballpoint pen.

Working with archives and artifacts, you are bound to come across things that make you cringe or outright cry. I have been working in museums and with historic material for over 16 years now, and the things I see sometimes still shock me. No one wants an “angry archivist” so I am going to share some of the more unfortunate things I’ve encountered in this (and future) blog posts in the hopes of offering solutions so that these things can be avoided in the future.

One thing that is important to get straight right off the bat: If you are a collector of anything historic (ANY item of historical significance) you are not its owner, you are its caretaker. Bluntly, this means that this item should continue to exist long after you have kicked the proverbial bucket. Which also means that it should continue to exist in its purest form. It should not be modified in any way from its original form. Anything done to archive material or artifacts should be reversible—or in the case of conservation, be done by professionals to avoid irreversible damage. Tracing Civil War history with a ballpoint pen causes irreversible damage to documents.

The Ballpoint Pen

Civil War letter traced with ballpoint pen
This original Civil War letter written in pencil has been traced over by a modern hand with ballpoint pen.

Take a look at this wonderful original Civil War letter. Look at that lovely blue ink it is written in…wait, why is it in a mixture of pencil and ink? Why does that blue ink look like ballpoint pen ink? They didn’t have those in the Civil War, did they? No, no they did not. This letter was written in pencil, but at some point in its lifetime, a former owner of the document decided it was hard to read. So, what did they do? They busted out their trusty ballpoint pen and TRACED OVER THE ORIGINAL WRITING WITH PERMANENT BLUE INK.

Folks, I cannot stress this enough, please, please do not do this. I understand that 160-year-old pencil writing can be difficult to read, but tracing over the original writing on a period document is an archival crime.

Here are some alternatives:

  • Rewrite the letter onto a separate sheet of paper. Or, better yet, type it on your computer!
  • Scan the letter and use a photo editing program to enhance the contrast and make the writing more readable.
  • Literally anything that does not deface the original document.

The Tape

Civil War letter with acidic tape
Here you can see how acidic old cellophane tape is. Even where the tape has crumbled off, the yellow stain remains on the document.

As you can imagine, documents from the Civil War are extremely fragile. Some are even falling apart. Unfortunately, for this document, not only was the pencil writing difficult to read, but it was tearing along the creases where the letter had been originally folded. But not to worry! The former owner of it knew just what to do! TAPE IT. Sigh.

Crumbly acidic yellowed tape is something I see far too often on archival documents. And I understand why people did this. The paper was old, it was falling apart, and they tried their best to keep it together. As they say, the road to hell is paved with good intentions. Unfortunately, tape is not archival—it is extremely acidic. Especially that old transparent cellophane tape from the 1960s and 1970s. Over time, it turns a beautiful shade of yellow, gets super crumbly, and begins to eat the paper. Lovely, isn’t it? And once it’s on there, much like the ballpoint pen, the damage is irreversible. In fact, if you look closely at this photo you can see where the acidic tape has actually eaten through the paper and dissolved it.

Here you can see how the acidic tape actually ate through the paper of the letter causing irreversible damage.

This is a quandary though. If you have historical documents like this, it’s important to preserve them. But if they are falling apart, what can you do? I’ll give you a hint, the answer is not to tape them back together. The first option I would recommend are archival sleeves. Specifically, polypropylene sleeves that are side locking. These are perfectly clear, durable, and archivally safe. This means no yellowing! Or slow acidic eating of documents! What’s better is that they are side locking. This means that you can easily open the sleeve, gently place your document inside it, and then “lock” it with the folding flap. The sleeve then safely holds your paper with a small bit of static and pressure of the top flap to ensure that it does not slide around inside. These types of sleeves come in a variety of sizes so that you can put everything from CDVs to oversized parchment certificates in them. Archival Methods is a great place to purchase some if you are interested: https://www.archivalmethods.com/product/side-loading-print-sleeves

These side-locking print sleeves from Archival Methods will keep your fragile documents safe without causing further damage and degradation.

When shopping for sleeves, I recommend the side-locking type, although there are other varieties that seal on two or three sides. I discourage using the ones that are sealed on three sides because that only allows one side to insert the document, and if it is fragile (as all Civil War era papers are) there is a much higher chance it will be damaged trying to place it in the sleeve. Because the side-locking ones are only sealed on one side, they open easily allowing you to place the document inside gently, and then fold it back over, minimizing stress on the document.

Digitize Everything

The second thing I would recommend is to digitize your documents. In museums, we always try to minimize the amount that any original document or artifact is handled. The more it is handled the more it starts to degrade. Tears on paper get bigger, edges can start to crumble, the leather on artifacts starts to deteriorate faster, etc. Once something is digitized it reduces the need to handle the original object. This is especially true with papers because they can easily be read on a high quality scan (300 dpi). Once the document is scanned, it can be stored safely in a sleeve inside an archival folder and box.

I understand that most collectors are not trained in museum and archival best practices. And I hope that sharing some of the suggestions above will help prevent more incidents like what I’ve discussed. I’ll continue to post and share helpful hints and tips on this blog and share resources of other sites that may be helpful for you in managing your collections. The most important thing to keep in mind when storing or working with your collection is: Is what you are doing permanent? If it is, do not do it. Don’t write on original documents with permanent pen, don’t cut them with scissors to better fit that neat frame you bought, don’t tape them back together, don’t hang them up in sunlight to fade, etc. You are the proud caretaker of these items, and if treated well, they will continue to last for future generations whether in private collections or museums. Once they are permanently ruined, there is no going back.

Where Can You See These Letters?

To see the letters referenced in this post visit the Research Arsenal database.

The first letter pictured can be found here: https://app.researcharsenal.com/imageSingleView/130324

An example of tape destruction can be found here: https://app.researcharsenal.com/imageSingleView/130294

The rest of the Horatio Graves letter collection can be found by searching by “Individual” and typing in “Horatio Graves” on the Research Arsenal database.

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