A04_SOW_JELA_HIMM_Conservation_final.docx

STATEMENT OF WORK

CONSERVATION TREATMENT FOR COLLECTIONS AT

JEAN LAFITTE NATIONAL HISTORICAL PARK AND PRESERVE

OBJECTIVE

This project shall result in the cleaning and conservation of museum collection objects negatively affected by Hurricane Ida in 2021.

These collections were surveyed, and treatment proposals submitted in FY2021 by Curtis Sullivan Objects Conservator at Harpers Ferry Center (HFC) in the immediate aftermath of Hurricane Ida. There has been additional deterioration in the collection and exhibit facilities at the park since this report was submitted. In FY2022, an extensive Collection Condition Survey (CCS) was initiated through contract with treatment proposals submitted.

Those treatment proposals are the basis for this contract, portions are included here. The HFC survey report and a spreadsheet with objects and proposed treatments from the CCS are attached. A full copy of the CCS report will be provided after award and before conservation work begins.

CONFIDENTIALITY

The information developed under this Contract is the property of the U. S. government and shall be kept in strict confidence.

The contractor shall not share photos or information about this project on social media.

INTRODUCTION AND PARK INFORMATION

It is preferable for any project work to begin as soon as possible.

About the Locations:

Jean Lafitte National Historical Park and Preserve is in the Central Time Zone. The airport code for Louis Armstrong New Orleans International Airport is MSY. For more information, see https://www.nps.gov/JELA.

The park consists of six sites across Southern Louisiana: Barataria Preserve (Marrero), Chalmette Battlefield (Chalmette), French Quarter Visitor Center (New Orleans), Acadian Cultural Center (Lafayette), Prairie Acadian Cultural Center (Eunice), and Wetlands Acadian Cultural Center (Thibodaux).

This contract will require travel across all six sites. Some sites are rural and may be hard to access so lodging and drive time may be more difficult. Additionally, travel will be required to the Curation Facility of Cane River Creole National Historical Park in Natchitoches, Louisiana.

Barataria Preserve Visitor Center 6588 Barataria Blvd.

Marrero, LA 70072

Chalmette Battlefield and National Cemetery Visitor Center 1 Battlefield Rd.

Chalmette, LA 70043

French Quarter Visitor Center 419 Decatur St.

New Orleans, LA 70130

Acadian Cultural Center 501 Fisher Rd.

Lafayette, LA 70508

Prairie Acadian Cultural Center 250 Park Ave.

Eunice, LA 70535

Wetlands Acadian Cultural Center 314 St. Mary St.

Thibodeax, LA 70301

Cane River Curation Facility 720 Sixth St.

Natchitoches, LA 71457

The mailing address for Jean Lafitte National Historical Park and Preserve is its French Quarter Visitor Center location.

SCOPE OF WORK

General Requirements

Contractor shall provide all travel, personnel, and professional services required for the following:

· The conservator must comply with the Code of Ethics and Guidelines for Practice of the American Institute for Conservation of Historic and Artistic Works (AIC) in all work performed.

· Conduct an entrance interview with the Superintendent, COR, and/or designated park staff upon arrival at the park. The purpose of the interview is to explain to the staff the conservator's methodology and anticipated work schedule and to detail any local support that may be needed.

· Supply all specialized equipment, PPE, and supplies necessary to complete the work.

· Based on the Observations and CR Data in Response to Hurricane Ida Report (Attachment 1) and the CCS, complete conservation work on the collections.

· Work on site (all sites) shall be coordinated with the NPS. Provide 14-day notice to COR of intended work at any site.

· Work offsite shall be coordinated with NPS (COR and JELA staff) and include approved protocols for moving and temporary storage of NPS museum collections.

· Safely transport museum objects from JELA sites to offsite work area (lab or other secured space). Safely transport exhibit objects following treatment back to applicable JELA sites. Safely transport stored objects (not display) from JELA French Quarter Visitor Center to Cane River Creole National Historical Park (CARI) Curation Facility.

· Provide treatment reports, including before/after photos, to cover all the work.

NPS shall provide:

At JELA sites:

· Access to objects listed in this SOW.

· Assistance with deinstallation and reinstallation of objects on exhibit

· Answers to questions about preventive care, cyclic care of the objects.

· Other information as needed.

At CARI Curation Facility:

· Access to a covered work space with electricity and water.

List of Tasks for Bid

The following tasks are requirements for this contract. Please provide a price for each task.

Task 1. Conservation of High Priority Items This task includes objects identified in poor condition during the CCS as well as objects later identified with active mold growth during collection packing efforts. Most of these objects have identified mold, both active surface growth and mold/mildew staining. Most of the metal objects have some degree of ferrous corrosion. See Attachment 2 for a list of objects and their conditions as well as preliminary actions and proposed conservation treatments from the CCS. See Attachment 3 for related catalog records and select object photographs. The contractor is not required to exactly match the treatment protocols suggested by the CCS. At a minimum, however, metal artifacts marked as “storage” should be placed in dry microclimate storage containers following any treatment and prior to transportation to CARI. At the on-site visit/pickup, contractor will have the opportunity to review objects for treatment. Any additional treatment recommendations based on this visit will be provided to the COR for approval prior to any treatment action. Work in this task must be carried out by a professional conservator (see requirements/standards listed below).

Task 2. Cleaning and mold remediation of storage furniture:

Storage furniture (shelving, cabinetry) is being moved from JELA to CARI outside of this contract. This furniture will require mold remediation before it can be placed in the CARI curation facility. This task does not need to be carried out by a professional conservator. Contractor will not be responsible for moving or placing the cleaned furniture within the facility.

Task 3. Complete Treatment Report Following treatment, contractor will provide a report, with before/after photographs detailing treatments completed each object. See section below for guidance on document production.

The following tasks are optional items for bid. Please provide a price for the task, which NPS may accept or decline at its option.

Task 4. Conservation of Medium Priority Items This includes objects identified in fair condition during the CCS. Many of the condition issues are the same as seen in the poor condition objects, just less severe. See Attachment 4 for a list of objects, including a condition assessment and preliminary recommendations.

Requirements for Transporting Museum Collections

1. The Contractor shall provide vehicles with air-ride suspension, rear lift gate (if necessary), dual drivers, and constant communication ability with their main office through GPS tracking or other secure method.

2. The Contractor-provided vehicles shall park in areas designated by the CO, or designee, which does not block emergency access.

3. The contractor shall ensure that museum collections, or any part thereof, will, at no time, be stored in unsecured vehicles overnight.

4. Contractor trucks/other vehicles used to transport archeological material shall be hard sided and clean with no residue of foodstuffs, chemicals, hazardous materials, stains from previous use.

5. Contractor vehicles shall not leak and there shall be no possibility that water can get inside the truck/other transport during inclement weather.

6. Contractor vehicle shall have dual drivers with knowledge and specialized handling experience.

7. The Contractor vehicles that will transport the museum collections shall carry fire suppression (fire extinguishers) equipment and staff trained in its use to be immediately available in case of emergencies.

8. The collection shall be secured in the Contractor vehicle with appropriate Contractor-provided locks and security seals for the cargo area during transport. At any time, the museum collections, or any part thereof, is loaded in a truck, and doors of the vehicle are not locked, at least one member of the Contractor staff shall be present to monitor all access to the vehicle.

9. The Contractor shall designate a staff member to remain at the vehicles to oversee loading and unloading of the museum collections and provide security for the truck and contents while they remain open and unsecured. This security measure shall deny access to any non-authorized person should they attempt to enter the truck or remove any contents.

10. Archeological material shall be transported by the Contractor directly to/from the work location with no interruption of climate or security protection.

Editing and Production for Treatment Reports and Surveys

Using the most recent editions of the Harpers Ferry Center Editorial Guide, the Denver Service Center Editorial Style Guide, and the Chicago Manual of Style, edit and format the text per the following:

· Standardization within the document of:

· Grammar and spelling

· Fonts and format

· Table of contents

· Forms, charts, and tables

· Section introductions and headings

· Headers, footers, photo caption and footnotes Inclusion of photographs:

· The document shall include color photographs inserted into the text at appropriate sizes for descriptive purposes.

· Print resolution of photographs shall be no less than 150 dpi at size used.

· All cover art shall be provided in digital format in a size of 8.5x11 at 300 dpi.

· The front cover shall be a color photograph or artwork with title and standard NPS identifier.

The conservator shall provide the following via a secure file transfer site provided by the NPS:

· Digital files with full color images of each object in an uncompressed TIFF format and JPEGs with Dublin Core metadata provided for each image. The images shall be filename with the catalog number associated with the original list. If there is more than one object per original number they shall be labeled as “a, .b, .c” accordingly. This number shall also appear in the image. This can either be on a card during image capture or added as a layer in Adobe Photoshop after the images are taken.

· A signed release form granting copyrights of all photographs to the park. (See NPS Museum Handbook, Part III, Figure 3.4, p. 3:78, Assignment of Copyright by Contractor.). The Conservator may keep a copy of each image for private or educational use. Images kept by the Conservator shall not be used in for-profit publications, for commercial distribution, or for exhibitions by the surveyor or any other individual or institution without written permission from the Superintendent or Park Curator. The credit line shall include the following information: "Courtesy of the National Park Service," Park Name, Object Name, Object Date, Catalog Number.

· Photographs included in the final document shall also be provided to the park in digital format with a size of at least 300dpi.

· The final report and all photos shall be submitted via a secure file share link through the NPS.

Production of the document – Deliverable shall be in 508 Compliant Digital Format As applicable:

· All cover art shall be provided in digital format in a size of at least 300 dpi.

· The front cover shall be a (full bleed/no bleed) color photograph or artwork with title and identifiers.

· Covers shall be approved by the COR via secure file sharing.

· The contractor shall provide the COR with a draft digital file of the final document in MS Word for review via secure file sharing.

The COR shall send the draft to interested parties for review and comment. Comments and edits shall be tracked via track changes in MS Word and shall be returned to the COR. Any pages containing changes required in the final draft shall be returned to the contractor within thirty (30) calendar days.

The contractor shall make the requested changes and provide the COR with a digital final review draft and signature page within thirty (30) calendar days. The “signature draft” copy shall be in the final digital production format, including covers for separate printing and binding. Any hard copies shall be printed by the NPS.

The final document review shall be completed by the COR and the park. Signatures shall be electronic (pdf). The signature page shall be returned to the contractor within thirty (30) calendar days. There should be no substantial changes in text at this time, however some pages with minor errors may be returned to the contractor for corrections at this time.

Within thirty (30) calendar days the contractor shall provide the COR with the final documents in digital format in MS Word format.

Final deliverables become property of the NPS once the reports are submitted.

Final on-site inspection of the work shall be coordinated through the COR.

WORK COORDINATION

The Contractor shall coordinate the site visits through the CO, COR, and Park Staff. Contractor must provide at least two weeks’ notice to COR prior to any site visit.

Work shall be reviewed and approved by the COR.

PROJECT SCHEDULE

Work Schedule and Park Orientation Meeting

PERFORMANCE PERIOD

The work shall begin following the contract award, proceed in accordance with the schedule for submittals, and be completed no later than 365 calendar days after the awarding of this contract.

CONDITIONS

The Contractor shall coordinate with the designated point of contact at JELA and the COR as necessary to complete the work as and when required. This may include participating in conference calls and product review meetings.

POINTS OF CONTACT

Contracting Officer TBD, Contracting Officer East Major Acquisition Buying Office 100 Alabama St. SW Atlanta, GA

Contracting Officer’s Representative (COR) Elanor Sonderman, Staff Curator Museum and Archival Services Branch 100 Alabama St. SW Atlanta, GA

QUALIFICATIONS

A conservator performing or supervising the conservation of works of art, objects, or architectural features should have as a minimum the qualifications as laid out in the American Institute for Conservation’s (AIC) definition of Professional Associate and have achieved Professional Associate status with AIC or compatible status in a similar conservation organization:

EDUCATION: an undergraduate university degree in conservation or historic preservation with an emphasis on conservation, or the international equivalent [or the equivalent in work experience under a qualified conservator, in addition to the training and experience noted below]:

TRAINING: The applicant is required to have:

· two years of full-time formal education or related supervised training in conservation method and theory OR

· two years of full-time formal education or related supervised training in a field appropriate to other professional involvement in conservation (e.g., chemistry for conservation scientists, library science for library preservation administrators, art history for museum conservation administrators, business management for administrators).

EXPERIENCE: The applicant is required to have three years of full-time work or its part-time equivalent in conservation or in a conservation related profession after training. Program training internships may not be counted toward this requirement.

PROFESSIONAL ETHICS: Applicants must demonstrate ability to adhere to the AIC Code of Ethics and Guidelines for Practice. [See Appendix Two] Evidence may include: recent examination forms; proposed and completed treatment forms; reports of scientific investigations; lecture materials; planning documents; survey reports, etc.

Conservator/Conservation:

The conservator should have a proven record of education and hands-on experience. Much of the review is for museum storage, exhibits, environmental monitoring, recommendations for improving museum storage, issues with exhibits (lighting, pests, temperature, etc.). Conservators are responsible for the long- term preservation of artistic and cultural artifacts. They do this by analyzing and assessing the condition of cultural property, understanding processes and evidence of deterioration, planning collections care or site management strategies that prevent damage, carrying out conservation treatments, and conducting research in all of the areas previously indicated. Conservation is an interdisciplinary field involving studio practices, sciences, and the humanities.

END OF DOCUMENT

SOW JELA Conservation of Objects affected by Hurricane Ida Page 3 Attachment 1: Excerpt of Final Report by HFC Conservator after Hurricane Ida

Final Report Observations and CR data in response to Hurricane Ida September 08-11, 2021

Note: all times are CT September 8, 2021 mobilized @ 1300, Flight out to Gulfport @1600 September 9, 2021 check-in at IC in NOLA @0900, travel to Acadian Culture Center in Thibodaux @ 1000 The Acadian Cultural Center VC is without electrical power, it is possible that power will not be restored until the end of the month. The incident team placed a generator outside the building with several dehumidifier units and several fans in the museum section of the VC.

Met with Erik Kreusch, he brought portable lighting and the tools needed to open the exhibit cases.

I was able to open many of the cases and examine the objects inside (the focus was on the more sensitive objects such as the musical instruments., most of which are in one large case)

Reading from inside the VC 9/08 Temperature Humidity

As indicated in the chart above the “museum area” was in good shape with a good overall temperature and humidity readings with no indication of mold growth or damage from the period with no temperature and humidity control. However, the rest of the VC was moldy smelling, with an extremely high Humidity level prone to outbreaks for mold. The UV forensic flashlight indicated large amounts of Biomaterial located in the breakroom, offices and changing areas, without intervention these areas will most likely experience large amounts of mold growth.

There seems to be an on-going issue with a white powdery substance gathering around the door gaskets at the doors on the large exhibit case that houses the musical instruments. I had a conversation with Erik Kreusch and with Kathy Lang (previous curator) about this as well as what appears to be a permanent film on the inside of the glass is a known issue and has not been resolved. The building has a variety of known water intrusion issues which do not seem to have affected the artifacts in the museum.

Left the VC @ 1600

Traveled to the VC at Chalmette September 09, 2021 The electrical power had been restored to the VC. The incident team had several dehumidifiers and fans running inside.

Opened most of the Exhibit doors and made visual inspections as well took Temperature and humidity readings, Used the UV forensics flashlight to collect data.

Readings from inside the VC 9/09 Temperature Humidity

Artifacts in the Chalmette VC are in excellent condition with no indication of any damage as a result of the hurricane. However, there are many curatorial issues throughout the exhibit. Housekeeping and Pest Management being the two major things that will need to be address when the Park is able to hire someone dedicated to taking care of the museum collection.

Left the Chalmette VC at 1300 traveled to Barataria Preserve VC ---------------------------------------------------------------------------------------------------------------------Barataria Preserve VC

The electrical power is out, the incident team had a generator running outside with several dehumidifiers and fans inside the VC to keep the humidity low.

Readings from inside the VC indicate that the temperature and humidity are good (81.8 F, 53.9%) and should not cause any damage to the boat JELAB 568 (Pirogue) that is exhibited on the wall. No mold growth or damage indicated/found to JELAB 568.

END OF REPORT

Curtis D. Sullivan Senior Wooden Artifacts Conservator Museum Conservation Services Harpers Ferry Center National Park Service curtis_sullivan@nps.gov 304-535-6702

Attachment 2: High priority objects and proposed treatment/action plans (from CCS)

Please note that some locations may change between preparation of this document and initiation of contract. Locations should be confirmed with COR prior to scheduling site visit. Full catalog information for each object will be provided after contract award.

Attachment 2 cont’d: Proposed treatment/action plans

Mold Action Plan and Guidance on Recommendations

A mold outbreak on museum collections is a High Conservation Priority and should receive an immediate response.

Overview

Mold is the common term used to describe biological growth on the surface of organic matter. Mold and mildew are fungi that feed on organic matter and can cause biological deterioration to museum collections.

Most fungi that grow on the surfaces of heritage objects as mold begin as spores that land on a material, germinate in the right environmental conditions, and grow a fine web of multicellular filaments called hyphae. A network of hyphae grows into a mycelium which manufactures a variety of enzymes and organic acids. These enzymes and acids break down the substrate of organic materials causing odor, staining, and structural damage. Mold can corrode and etch metal and stone.

· Stains on the surface of museum objects

· Bloom, velvety growth, fine web, or powdery deposit (any color)

Mold spores are everywhere and will germinate under the right environmental conditions. Mold flourishes in environments that have high humidity (RH > 65%), warm temperatures, poor air circulation, dim light, and/or accumulated dirt. Without moisture, mold spores lie dormant until favorable conditions occur.

· Proteinaceous material (wool, leather, parchment, natural history, and adhesives)

· Starches (paste, adhesive, and sizing)

· Plastics

· Wax

· Dust

· Soiled objects are most at risk

Once an item has been attacked by mold, it will be more susceptible to future damage. The weakened organic material absorbs water more easily, resulting in an ongoing cycle of damage.[footnoteRef:2] [2: “Managing a Mold Invasion: Guidelines for Disaster Response.” Conservation Center for Art and Historic Artifacts, 2013. PDF.]

Health and Safety

Mold is a particulate air pollutant that can cause allergic reactions, respiratory problems, dizziness, or headaches. Certain species of microorganisms cause health risks such as chronic lung irritation. Some molds are toxins as well as allergens. Some people are more at risk to mold hazards than others, such as those with respiratory problems, severe allergies, asthma, diabetes, and compromised immune systems. High concentrations of non-toxic molds can cause allergies in previously non-sensitive people.

Mold must be identified to determine health and safety protocols for mitigation. Toxicity of mold species can only be determined by a certified mycologist; a local hospital can provide a referral for a mycologist. All mold outbreaks, regardless of identification, should be treated as a potential health hazard. PPE should be the first priority when entering a mold contaminated area or handling a moldy object.

Table 9 PPE Recommendations for mitigating mold contaminated museum property[footnoteRef:3] [3: Compiled from “Table 2: Guidelines for Remediating Building Materials with Mold Growth Caused by Clean Water” and “Managing a Mold Invasion: Guidelines for Disaster Response”.]

· Disposable plastic gloves

· Goggles with a full-seal

· Disposable plastic gloves

· Goggles with a full-seal

· Coveralls

Preventive Care

Maintaining appropriate environmental control and good housekeeping practices are the preventive care actions that prevent mold growth.

Relative humidity of collections storage and exhibit areas with artifacts should always be kept below 65%. Spore germination is less likely if RH is controlled between 45% and 55%.[footnoteRef:4] A set point of 50% RH is recommended for first response control actions taken to mitigate mold contaminated JELA museum collections. [4: Merrit, Jane and Tish Brewer. “Mold: Prevention of Growth in Museum Collections.” Conserve O Gram 3/4. Washington, DC. National Park Service, 2007.]

A well-sealed museum cabinet or exhibit case serves as a microclimate. It is recommended that mitigation efforts at JELA sites utilize microclimates that can provide a stable RH well below the mold threshold. Lowering the Humidity will inactivate the mold in anticipation of further mitigation actions.

Select a silica gel brand with an adsorption capacity in the 40-60% RH range such as ProSorb®, ArtSorb® or Rhapid Gel, which offer products with the recommended effective buffering range of 50% RH.

· Place ProSorb® humidity stabilizer cassettes with a buffering capacity of 50% RH in museum cabinetry.

· Calculate the volume of the microclimate container, museum storage cabinet, or exhibit case to determine the quantity of silica gel units according to Table 10.

Table 10 Quantity of silica gel units per volume of container.

Rhapid Gel

Museum collections should be maintained dust free to prevent mold growth. Dust is a particulate pollutant that is abrasive, acidic, hygroscopic, and contains organic matter that feeds biological growth.

· A bi-annual cleaning schedule in museum collection zones should be established and conducted.

Conservation Treatment

Conservation treatment is only appropriate once the collections are documented and preventive care programs are in place.[footnoteRef:5] [5: NPS Museum Handbook I, 3:14.]

Cleaning, or mold removal, should be done after mold is inactivated. Inactive mold is dormant and appears dry and powdery rather than soft and fuzzy. Lowering the humidity to make the mold go dormant.

Remove dormant mold from contaminated museum collections by dry cleaning with a HEPA vacuum (can be done by a conservator or trained staff).[footnoteRef:6] [6: NPS Museum Handbook I, Figure 5.21, 5:83.]

· Vacuuming avoids spreading or further embedding the mold.

· A vacuum with variable suction controls is recommended.

· Dry clean museum objects safely by gently loosening and brushing mold into the HEPA vacuum nozzle on low suction with a small, soft brush.

· Replace vacuum bag/filter and clean tools with disinfectant. It is important to package mold-contaminated materials in sealed bags before removal from the containment area to minimize the dispersion of mold spores throughout the building.

Supply List

Silica Gel

· ProSorb available through Talas and other museum preservation retailers https://www.talasonline.com/ProSorb-Silica-Gel?quantity=1&number=2

· Rhapid Gel available through Art Preservation Services <https://www.apsnyc.com/products>

· Silica Desiccant Gel Mini Canister. Available from Talas: https://www.talasonline.com/Silica-Gel-Air-Dryers

· ArtSorb Beads with a buffering capacity of 50% RH. Available from Talas: https://www.talasonline.com/Art-Sorb-Beads?quantity=1&number=2

Humidity Indicator Cards

· Standard humidity indicator cards with a range up to 60% RH are available through Talas, Uline, and other museum preservation retailers. <https://www.talasonline.com/Humidity-Cards?quantity=1&Form=41> <https://www.uline.com/Product/Detail/S-8028/Damage-Indicators/Humidity-Indicators-10-60>

Acid-Free Archival Storage Box

· Available from Talas: https://www.talasonline.com/archival-storage/boxes

Dry Microclimates for Unstable Metals

Unstable metals are a High Conservation Priority.

A dry microenvironment stabilizes actively corroding metals by mitigating high and/or fluctuating RH in the storage environment.

The goal of this conservation action is to stabilize actively corroding metals in dry microenvironments that maintain a relative humidity (RH) < 15-35%. Overall, the goals of the conservation action are:

· Improve preservation

· Ensure safe access to collections

· Enable a sustainable solution that is passive and simple to maintain

Metal objects containerized in dry microclimates should be documented and monitored to determine changes in condition. Metal objects that continue to exhibit active corrosion after they are stored in microclimates can then be prioritized for evaluation for conservation treatment. Conservation treatment is only appropriate once the collections are documented and preventive care programs are in place.[footnoteRef:7] [7: NPS Museum Handbook I, 3:14]

Relative humidity (RH) is a key factor in metal corrosion. For ideal storage of metals, the environment should be RH < 35%.

A dry microenvironment is an enclosed space with an airtight seal that controls RH with desiccants such as silica gel or montmorillonite clay. Desiccants remove excess RH from the enclosed space.

Microclimates are a low cost, preservation storage solution that provide localized passive environmental control for metal objects. Microclimate boxes can be readily set up within a storage area that houses other materials with different RH% requirements.

A dry microclimate storage box can be easily implemented by museum program staff.

Preparing a Dry Microclimate Storage Box

A dry microclimate storage box is prepared with:

· Clear polypropylene (PP) storage container with silicon gasket.

· Desiccant conditioned to 0-35% RH.

· Humidity indicator card.

· pH neutral (archival) storage materials to support object (archival corrugated board, polyethylene foam/bags, twill tape, zipper lock bags).

Figure 60 Construction of a dry microclimate storage box. Photo © Tara Hornung.

Prepare materials:

· Wash PP containers with 1% Orvus WA Paste, rinse with distilled water, and allow to dry completely.

· Line appropriately sized polyethylene bags with Ethafoam sheets cut to size to support small objects.

· Print catalog cards for individual objects and microclimate boxes on acid-free paper.

Rehouse Objects:

· Rehouse small objects in appropriately sized PE bags with a catalog card printed on acid-free paper. Place metal object on one side of the Ethafoam sheet and the catalog card on the opposite side, isolating the catalog card from the object. The catalog card should be visible without opening the enclosure.

· Rehouse larger objects in custom built storage mounts[footnoteRef:8] such as stacking trays with cavity mounts to layer small, flat items within. [8: Storage solutions for rehousing: https://stashc.com/ or NPS Museum Handbook I, Appendix I-U.]

· Place rehoused unstable metals in clean, dry, appropriately sized PP containers with gaskets.

· Print microclimate box inventory on acid-free paper and place inside PP container. The inventory card should be visible without opening the container.

Figure 61 Metal objects are rehoused and placed inside locking, gasketed PP containers. Photo © Tara Hornung.

Construct Storage Box:

· Place an indicator card inside the container. The humidity indicator card should be visible without opening the box.

· Place Desi Pak® (Bentonite Clay) Moisture Adsorbent desiccant packages in the containers.

· Calculate the volume of the microclimate container, museum storage cabinet, or exhibit case to determine the quantity of silica gel units according to the table below:

· Box preparation requires careful attention detail to ensure boxes are completely sealed when closed.

Maintenance:

· Monitor the microclimate environments on a quarterly basis.

· Replace Desi Pak® desiccants if RH > 35%.

· Document activities in a log and file logs with the anticipated Collection Storage Plan and Museum Housekeeping Plan documents.

· The desiccant may need to be reconditioned or replaced on an annual basis.

Figure 62 Dry microclimate storage boxes are carefully sealed with the box inventory and the humidity indicator card visible. Photo © Tara Hornung.

Supply List

Containers

· LocknLock Classic polypropylene (PP) storage containers with locking lids and silicone gaskets. Available through major suppliers such as Amazon and the Container Store. <https://www.locknlock.com/eng/product/container/food-storage/classic>

· Sterilite® Gasket Container with locking lids produced in 7.5, 12, 20, 32, 54, and 80 quart sizes. Available through major suppliers such as Amazon, Target, and Walmart. https://www.sterilite.com/category-page.html?S=1&C=5#TOP

Detergent

· Orvus WA Paste A neutral synthetic, anionic detergent. Apply in a concentration of 1%, well dissolved, approximately one tablespoon to one gallon of water. Wash 2-3 times; rinse 2-3 times. Available through most major supplies including Talas < https://www.talasonline.com/Orvus-WA-Paste?quantity=1&weight=27 >

Desiccants

· Desi Pak® (Bentonite Clay) Moisture Adsorbent Tyvek Desiccant Pack 1 Unit is manufactured by Süd-Chemie and available through most major suppliers such as Amazon, Uline, and others online.

Humidity Indicator Cards

· Standard humidity indicator cards are available through Talas, Uline, and other museum preservation retailers. <https://www.talasonline.com/Humidity-Cards?quantity=1&Form=41> <https://www.uline.com/Product/Detail/S-8028/Damage-Indicators/Humidity-Indicators-10-60>

Bibliography

Senge, Dana K. “Creating a Microclimate Box for Metal Storage.” Conserve O Gram 4/16. Washington, DC. National Park Service, 2011.

Senge, Dana K. “Testing and Implementation of Microclimate Storage Containers.” Objects Specialty Group Postprints, Volume Twenty-One, 2014. Edited by Suzanne Davis, with Kari Dodson and Emily Hamilton. American Institute for Conservation of Historic and Artistic Works, 2014, pp 123-140.

Robinson, Kim. “Creating a Microclimate for Oversized Museum Objects.” Conserve O Gram 4/4. Washington, DC. National Park Service, 1993.

Lead Corrosion Action Plans

Lead corrosion on museum objects is a High Conservation Priority and should receive an immediate response.

Lead is a soft, heavy metal with a dull grey color that is found in a variety of objects held in museum collections such as statues, decorative and utilitarian objects, printing type, stained glass windows, pigments, weighted textiles, and ammunition.

Lead and lead alloy corrosion crusts are normally chemically stable but will corrode quickly in the presence of air, water, and organic acids. Sources of organic acids in the museum environment are certain waxes, lacquers, cleaning chemicals, papers, cardboard, cotton wool, wood products, paints, fabric finishes, and adhesives.[footnoteRef:10] [10: Cronyn, J.M. The Elements of Archaeological Conservation. Routledge, 1990, p. 207.]

Active corrosion on lead alloys is characterized by the formation of loosely adhered white powder that is easily airborne and likely to cause lead poisoning by inhalation. Anyone who works with or around lead-containing artifacts in museum collections is at risk of lead exposure. To be safe, museum collections made of lead material should be stored in sealed containers or polyethylene bags.[footnoteRef:11] [11: Hamilton, Donny L. Methods for Conserving Archaeological Material from Underwater Sites. Texas A&M University, 1999. www.nautarch.tamu.edu/CRL/conservationmanual/File14.htm. PDF. Accessed October 1, 2017.]

Health and Safety

Lead and its compounds are hazardous metals and cumulative poisons: they accumulate in the body and the toxic effects are numerous and severe. Lead poisoning can be acute or chronic. Lead and its compounds can enter the body by ingestion, inhalation, or absorption. Lead and lead compounds were declared to be “reasonably anticipated to be human carcinogens” by the United States National Toxicology Program in January 2005.[footnoteRef:12] [12: Selwyn, Lyndsie. “Lead in Museum Collections and Heritage Buildings.” CCI Notes 1/8. Ottawa, ON. Canadian Conservation Institute, 2010. ]

The NPS Museum Handbook warns “CAUTION! Lead acetate corrosion is a severe poison that can be fatal if swallowed, inhaled, or absorbed through the skin. If you see white, crystalline corrosion products on lead objects in your collection, assume that they are lead acetate and handle accordingly. Material Safety Data Sheets uniformly state that protective equipment for lead acetate should include goggles, lab coat, vent hood, and rubber or plastic gloves. This type of corrosion is often seen on lead bullets and toy soldiers.”[footnoteRef:13] [13: Museum Handbook I, O:4]

JELA Action Plan: Lead Corrosion

To ensure safe access to collections, lead should be stored in sealed containers. Due to the high toxicity of lead, it is recommended to use a P100 mask, providing 100% efficiency filter, when working with lead corrosion.

Table 16 Recommendations for LEAD objects in museum storage

· Disposable plastic gloves

· Label dry microclimate storage boxes: Caution: Lead Acetate corrosion risk. Use gloves, goggles, and protective clothing when handling”.

· Maintain RH < 35%.

· Document activities in a log and file logs with the anticipated Museum Housekeeping Plan documents.

Table 17 Checklist of LEAD objects in museum storage.

Table 18 Recommendations for LEAD objects on exhibit.

· Disposable plastic gloves

· Park staff who work with or around lead-containing artifacts should be made aware of the risk and trained to follow safety protocols.

· Monitor exhibit case RH quarterly.

· Monitor LEAD object condition quarterly.

· Document activities in a log and file logs with the anticipated Museum Housekeeping Plan documents.

Table 19 Checklist of LEAD objects on exhibit.

Attachment 3: Available catalog information for High Priority objects

Page 25 a & c

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