J-1_Conservation_Survey_and_Report_Part_1.pdf

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MARAD HERITAGE ASSETS CONSERVATION SURVEY AND REPORT

TABLE OF CONTENTS

Introduction 1

Alidades, Telescopic 8

Azimuth Circles 12

Barometers 15

Ship’s Bells 19

Binnacles 25

Binoculars 30

Builder’s Plate, Metal 33

Builder’s Plate, Plastic 41

Chronometers 47

Clinometers 51

Compasses 54

Engine Order Telegraphs 58

Guns and Pistols 64

Life Ring Buoys 67

Lights and Lanterns 71

Lyle Guns 77

Name Boards 80

Plates and Signs 87

Repeater, Gyro 91

Sextants 95

Ship’s Clocks 99

Stands, Wheel 104

Wheels, Metal 108

Wheels, Wooden 113

Appendix A 119

1 MARAD HERITAGE ASSETS CONSERVATION SURVEY AND REPORT

INTRODUCTION

The Maritime Administration (MARAD) retained the services of to survey and assess the collection of the agency’s heritage assets that is stored inside Warehouse 3, Cheatham

Annex, in Williamsburg, Virginia. The survey covered nearly 1,600 individual heritage assets, which included the following object groups: telescopic alidades, azimuth circles, barometers, ship’s bells, binnacles, binoculars, metal builder’s plates, plastic builder’s plates, chronometers, clinometers, compasses, engine order telegraphs, guns and pistols, life ring buoys, lights and lanterns, Lyle guns, name boards, plates and signs, gyro repeaters, sextants, ship’s clocks, wheel stands, metal wheels, and wooden wheels. There are several additional objects that were also surveyed, but are not part of any of these object groups. Examples of this include two axes and a log book.

The suvey included artifacts within object groups (top left and right), as well as miscellaneous objects such as the bullhorn (bottom left) and framed photographs (bottom right).

The on-site assessment was performed in January of 2016 by Debora Rodrigues and Catherine

Hayes, with information and support provided by MARAD personnel, including Barbara Voulgaris, Mathew Butram, Isiah Forward, and Arthur Kreider. Mr. Forward and Mr. Kreider also offered assistance during the inventory phase, helping to remove large and heavy objects from their storage locations and enable close-up inspections.

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The conservators conducted a general inspection of all objects, giving each one a conditional rating based on the following categorical ratings:

Excellent: Artifact is in sound physical condition, no damage or deterioration evident. No sign of pest infestation or mold. Item is in displayable condition.

Very Good: Artifact is in sound physical condition. Artifact may exhibit some minor deterioration rectifiable with cleaning.

Good: Artifact is generally in sound physical condition. Artifact may show some damage and deterioration and require a minor effort to make displayable.

Fair: Artifact shows moderate damage and deterioration. Artifact would require a more in-depth conservation effort.

Poor: Damage to artifact is extreme and clearly visible. Artifact would require major conservation effort.

See Appendix A for the results of the on-site physical inspection.

The conservators also performed a broad assessment of each object group, focusing on objects in poor condition, and visually inspected the environment in which collections are kept to determine needs for improvement. Given the large number of objects and the limitations of space within the existing storage facilities, the recommendations in this report concentrate more on stabilizing the artifacts and their surroundings rather than on long-term conservation and restoration efforts.

Further inspection, research, and analysis are needed to provide individualized treatment recommendations, which will be dictated by not only existing conditions, but also curatorial requirements for display. As such, the recommendations are meant to prevent future damage and maintain the collection in a stable condition and secure environment. While some of the recommendations can be performed by in-house personnel, certain treatments should be undertaken by or under the direct supervision of a conservator.

STORAGE FACILITIES

Most of the collection items are stored within a large room that has its own independent HVAC system, and is referred to as the “secure room.” This separate room was constructed within a large, non-temperature regulated warehouse enclosing approximately 1,500 square feet of floor space. The room is freestanding, having a setback of three to four feet from the exterior walls of the warehouse.

It has a steel beam and post structure and is walled in with fire-retardant laminate fiberboards.

Access is gained through a set of half-glass aluminum doors and two large roll-up doors (one in front and one in back). The drop-down ceiling is finished with fiber tiles, inset florescent lights, HVAC exhaust vents, and a standard ceiling mounted sprinkler system. The approximately 2 ½ foot x 3 ½ foot return vent for the HVAC system is located in the center of the west wall along with the system’s thermostat. The roof of the room is flat and is understood to be made of the same laminated board material used for the walls.

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Furnishing of the secure room includes several heavy-duty powder coated warehouse shelving racks along the walls and a continuous run of several chrome-plated steel baker’s rack type storage shelves down the center of the room. Set directly on the floor at the western end of the room is a rack made of unfinished 2 x 4 wood, which is used to house many of the wooden ship wheels. Tucked in each corner on either side of this rack is a galvanized tubular steel storage rack with four unfinished steel mesh shelves.

A second storage area is located along the exterior side of the north wall of the secure room. It is within the general warehouse area and not subject to any stabilized environmental controls. This area largely stores all but one of the ship bells, all of the Lyle guns, and a large number of name boards. These artifacts have been positioned on heavy-duty warehouse-style storage racks similar to those used within the secure room.

Review of current storage conditions indicate that a concerted effort has been undertaken by

MARAD to consolidate and carefully store artifacts. These include building a secured storage facility, installing storage racks, transporting artifacts to the central storage facility, and sorting, organizing, and providing location assignment of artifacts within this newly developed space.

(Left) The secure room, with heavy-duty metal shelves lining the wall and bakers-style shelves running down the center of the room. (Right) Inside the warehouse just outside the secure room, where larger objects such as the bells, Lyle guns, and name boards are stored.

GENERAL OBSERVATIONS

Higher elevations were found to be significantly warmer, by as much as 10° at ceiling level.

A palletized group of wheel stands is stored directly in front of the HVAC return vent.

Open joints in the concrete floor.

Two settling cracks in the floor, located in the southwest corner of the room.

Dirt and oil stained floor.

Palletized builder’s plates blocking aisle and entrance.

Use of nylon bands to hold artifacts to palettes.

Over-packing of boxes and palettes.

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Open shelving units.

The odor of oil and grease from the objects within the storage space.

(Left) Open joints in the concrete floor, gathering dirt and other debris. (Right) Oily staining on concrete floor near the doorway inside the secure room.

(Left) Framed objects stored on the floor, tucked behind a metal storage shelf. (Right) Empty boxes and boxes containing builder’s plates located in front of one of two roll-up doors.

Positive aspects to the work undertaken shows a level of care and conscientiousness. Notably, some of these include:

Heavy-duty powder coated warehouse shelving racks for storing heavy palletized artifacts.

Chrome-plated shelving racks for holding smaller, lighter artifacts.

Bolting of all shelving units to the floor.

Installation of shields at the base of each post.

Racking and bays off-set from walls, allowing for air circulation to avoid dead airspace and the potential for mold.

Leveled older concrete floors that fully cured and less prone to create dust.

Installation of a separate HVAC system for the secure storage area.

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Creation of large aisle space for forklift maneuvering and movement of larger artifacts.

Use of clean-burning propane forklift or electric-powered material lift.

Use of archival materials such as Ethafoam, archival boxes and boards, and acid-free tissue.

Use of plastic polyethylene palettes.

Grouping together of common artifacts.

(Left) Distance of shelves from walls allows for better air circulation. (Right) Grouping of similar artifacts on Ethafoam-padded metal shelves.

SHORT-TERM RECOMMENDATIONS

1. Clean out cracks and expansion joints in the concrete floor, provide backer rod (where needed), and caulk with appropriate sealant.

2. Install UV filters sleeves over florescent bulbs, if none are currently provided.

3. Keep lights off when storage space is not in use.

4. Lock storage door and limit access to space.

5. Install a mat in front of the door for wiping shoes.

6. Clean and seal concrete floor.

7. Reduce operating temperature of HVAC system to 60° Fahrenheit during heating cycles.

This should help with excess heating at higher elevations.

8. Remove any objects that are stored in front of the HVAC return vent and keep this area clear according to the manufacturer’s recommendations. This should help to regulate temperature in the room.

9. If possible, reduce the amount of active HVAC exhaust vents within the storage room to help control higher temperatures in this space. Consult with the HVAC manufacturer or installer prior to implementation to insure this is feasible.

10. Install directional vents to HVAC exhaust vents so that air blows away from artifacts.

11. Change out air filters frequently and use high-quality filters in system.

12. Continue organizing collections material to declutter aisle spaces.

13. Ensure roof of room is sealed a gainst water penetration by using tarps or roofing materials.

14. Mount top of galvanized steel storage rack (located in the western corners of the room) to the walls or ceiling to reduce movement.

15. Reduce number of items in over-packed boxes.

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16. Increase the amount of padding from tissue, Ethafoam, or archival barrier board between artifacts.

17. Replace colored Ethafoam sheeting with plain white Ethafoam because of the concern that the dye, which makes the foam pink, can affect the stability of the Ethafoam over time.

18. Drape or wrap artifacts in 4- or 6-mil polyethylene sheeting or Tyvek to protect against the accumulation of dust. When draping, ensure material extends beyond pallet edges.

19. Store paper artifacts (drawings, plans, etc.) wound over archival tubes to prevent them from collapsing and place within boxes until they can be flattened.

20. Elevate items currently set on the floor above six inches to minimize flooding concerns.

21. Clean or wipe away excess dirt, grime, grease, and other residues from artifacts.

22. Remove excess or active corrosion from artifacts.

23. Provide regular housekeeping that includes vacuuming floors and open shelves with a

HEPA-rated vacuum and wet cleaning of floor spaces with either water or mild solution of Simple Green in water, if necessary.

LONG-TERM RECOMMENDATIONS

1. Consider installing compact-track rolling museum cabinets. (This is a system of cabinets that roll along a track and save space by allowing cabinets to be compressed against one another.)

2. Create slotted storage boxes for plates to reduce the weight of a grouping against one another and allow for easier retrieval and inspection.

3. Provide archival boxes with custom cushioning for smaller artifacts.

4. Supplement humidity to room with a humidifier to elevate the humidity between 40% and

50%. It may be possible that the HVAC system has the capacity and can be retrofitted to allow this. Conversely, dehumidification may be required for summer months should the air conditioning system not automatically adjust humidity to the 40 to 50% range during normal operation. There are specific stand-alone units that can be used should humidity control within the existing HVAC system not be possible

5. Annually inspect the roof for signs of panel separation or pooling of water.

6. Store paper artifacts (drawings, plans, etc.) in a flat-file drawer cabinet, should they be flattened.

7. Devise a storage shelving system for framed artifacts and artworks.

8. Lay down sticky traps to monitor insect activity within the space to coincide with the implementation of an Intergraded Pest Management Program.

9. Look into the feasibility of segregating synthetic materials (plastics, rubber, etc.) to either a self-contained room where these materials are kept separate from the rest of the collection or by placing them in encapsulation bags containing sachets with oxygen scavengers, silica gel moisture absorbers, and pollutant absorbing carbon pellets. Encapsulation bag materials include MarvelSeal, Escal, and Filmpak.

OTHER COMMENTS AND OBSERVATIONS

Ideally, temperature and relative humidity (RH) within storage should remain constant with little variation. As seasons change, any fluctuations in temperature and RH should be gradually introduced. Strong maximum/minimum fluctuations on a daily basis are inadvisable and over time can lead to deterioration of the collection. The majority of the collection can withstand a lower

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temperature of 60° Fahrenheit without compromising the working properties of artifact materials

(such as adhesives or gaskets), while being favorable to synthetic materials to slow their deterioration. The lower temperature may also help with reducing heating costs.

Currently, the room was observed to have an RH reading of approximately 30% each day that the conservators were on site during the month of January. While the lower RH is beneficial to metals and most synthetic materials because it prevents active corrosion and deterioration, this reading is too low for the cellulosic materials such as wood, paper, and framed objects within the collection.

Cellulosic materials benefit from a more even RH of around 50% to prevent embrittlement and cracking.

Given the age and industrial nature of these collection materials, it should be assumed that some of the artifacts have lead-based paint systems and asbestos insulation for wiring, etc. Lead dust and asbestos may be prominent factors within the collection and handling of these items should be carefully considered. It may be prudent to wear good-quality dust masks when working with collection items directly. Wearing gloves is something that is also important and should be used when handling collections material. Gloves act as a barrier between the handler and the artifact.

They prevent corrosive skin oils from being left on the object and act as a barrier to protect against coming in contact with hazardous residues (lead dust, oil).

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OBJECT GROUP Alidades, Telescopic

NUMBER OF ITEMS 6

BRIEF DESCRIPTION

In general, the telescopic alidades consist of a tube with glass lenses mounted to the top of an azimuth circle. Materials include finished and unfinished brass, lead, sighting vanes, mirrors, glass, small electric light bulbs, synthetic leather-like cover material (possibly a polyvinyl chloride material), and rubber. One telescopic alidade consists only of the large tubular body and viewing lens.

Most are housed within finished wooden boxes that are furnished on the inside with wooden spacers and brackets, some of which have been padded with synthetic felt. The boxes appear to be constructed primarily of oak; they all have brass hinges, handles, and clasp closures. The wood finish appears to be clear or semi-transparent colored varnish or shellac. One telescopic alidade is housed within a plastic case (possibly thermoformed polystyrene), which has painted brass clasps.

GENERAL CONDITIONS

The collection contains three telescopic alidades that are considered to be in poor condition due to a significant amount of corrosion of the lead and brass metals. They also exhibit wear and loss of the finishes, as well as heavy soiling and greasy accretions. One alidade is equipped with a liquid glass “bubble-level” cylinder. A larger than normal air bubble in this level indicates a leak due to a broken seal.

In addition, there are two alidades in good condition and one that is considered to be fair. These three alidades exhibit some of the same conditional issues mentioned above, but to a lesser degree.

One alidade in good condition has metal deformation of the cap that protects the rubber eye piece, while another appears to be missing components. The alidade in fair condition has a cracked glass lens.

Other common conditional issues noted for the telescopic alidades include tarnishing of exposed brass; the presence of old polishing compound residues (which can promote corrosion); scratches and abrasions; and the application of labels, stickers, tape, and/or felt markings.

The condition of the boxes also varies. Overall, the finishes remain adherent and stable for most boxes; however, scratches, wear, abrasions, and soiling can be observed on all, the degree of which ranges from mild to severe. Several boxes have separation of wood joints and cracking to some of the wooden boards. The one plastic container has dents at corners and exhibits some wear of the finishes. It is important to note that the condition of the alidade does not always match the condition of the box. For example, the collection contains an alidade in good condition stored inside a box that is considered poor.

EXISTING STORAGE

The telescopic alidades are placed on an open steel shelving unit set in the middle of the secure room. The shelves have been lined with Ethafoam sheeting to pad the artifacts. All alidades are stored within their original wooden boxes. No dust covers are provided.

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RECOMMENDATIONS FOR STORAGE

1. Remove all telescopic alidades and accessories that are currently stored within their original boxes and store separately because the wood and plastic of these boxes can contribute to the corrosion of the brass and lead metals and the deterioration of synthetic materials (rubber, felt, etc.). Provide archival tags and label accordingly in order to match each telescopic alidade to its original box.

2. Wrap telescopic alidades and accessories in archival packing materials such as acid-free tissue and place within polyethylene bags to prevent the accumulation of dust, should custom-padded archival boxes be unavailable to house the artifacts. (Ideally, the alidades should be stored within archival boxes cushioned with acid-free tissue and inert foam material, but due to lack of space, this may not be possible.)

3. Place corroding lead components in heavy-duty polyethylene bags to isolate them from other collection material until they can be treated. Treatment will involve the removal of corrosion from lead components and coating with a conservation-approved lacquer or paint system to match existing paint.

4. Curtain shelving with 4-mil polyethylene sheeting to reduce dust accumulations on the artifacts.

5. Ensure telescopic alidade with the leaky bubble level remains upright. Since the leak appears to be very small, the little amount of liquid that remains within should not pose a significant concern for the collection. (The liquid is most likely ethanol.)

RECOMMENDATIONS FOR CONSERVATION TREATMENT

Although this is a small collection with only three artifacts in poor condition, immediate intervention is needed to prevent continued deterioration. Part of the recommendations are listed above under storage, in which the artifacts should be separated from their wooden containers – an important first step towards preventing further damage. More involved treatments may include stabilizing flaking paint and polishing tarnished brass components, which should be performed as deemed necessary for curatorial purposes due to display requirements. The recommendations below include more immediate efforts, which are needed to maintain a stable condition for the object group. This should be done prior to upgrading storage conditions.

1. Clean away loose surface dirt, dust, and corrosion using natural bristle brushes and light suction from a HEPA vacuum. Wrap the metal ferrules on brushes with tape (cloth or painters) to prevent scratches to the object, and screen the intake of the vacuum with a fine mesh to prevent pieces of the object from getting trapped within the vacuum. Use wooden applicator sticks or plastic probes to dislodge adherent dirt, as well as old polishing compound lodged within recesses.

2. For tenacious dirt and remnants of polishing compound residues, use a clean cotton cloth or cotton swab dampened with distilled water or a 3% solution of a conservation-grade detergent (Orvus WA Paste, Vulpex Liquid Soap, or Triton X-100 Surfactant) in distilled water. If using the latter, ensure complete removal of detergent by wiping with distilled water alone at the end. Use a cotton cloth to wipe dry. Do not immerse the artifact in the cleaning solution.

3. Wipe away any remaining grease and polishing compound residues with clean cotton cloths, chemical wipes, cotton pads, or cotton swabs dampened with an appropriate solvent such as odorless mineral spirits.

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4. Remove the various labels, stickers, and tape remnants because the adhesives within these products often promote corrosion and etching of finishes. This may require using wooden applicator sticks or scalpels to remove the majority of the adhesive, followed by the application of cotton swabs dampened with either warm water or an appropriate solvent to remove remaining residues.

5. Lightly clean wood finishes following procedures outlined in steps 1, 3, and 4 above.

6. Important Note: Perform testing of all cleaning methods mentioned above locally and individually on all objects prior to full-scale application to ensure surfaces are not adversely affected by the treatment. This is particularly true of shellac finishes, which are sensitive to prolonged contact with water.

VISUAL DOCUMENTATION

(Left and right) A brass telescopic alidade with painted and exposed metal and painted lead component. Note corrosion of both brass and lead, deterioration of finishes, heavy soiling, and greasy accretions.

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(Left and right) The oak box is promoting corrosion of the brass and lead components of the telescopic alidade stored within.

(Left and right) A telescopic alidade stored inside its wooden box. Like the alidade, the box is considered to be in poor condition. It exhibits opening of joints, splitting of the wood, tarnishing of brass components, labels, and red felt marker writing.

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OBJECT GROUP Azimuth Circles

NUMBER OF ITEMS 11

BRIEF DESCRIPTION

Each azimuth circle consists of a flat metal ring made of a copper alloy metal (presumed to be admiralty brass) with graduated degree marks inscribed into the surface. Fastened to the ring with brass screws are finger lugs, sighting vanes, a lead metal bracket, and mirrors. The lugs and screws for a few of the circles have been plated with either nickel or chrome. Other components (except for the mirrors) have a painted finish. For some of the circles, portions of the brass are left unfinished and appear to have been polished at one time.

Most circles are housed within finished wooden boxes that are furnished on the inside with wooden spacers and brackets, some of which have been padded with synthetic felt. Although there are variations, oak, mahogany, and pine appear to be the main types of woods used in the construction of the boxes. The wood finish looks to be clear or semi-transparent colored varnish or shellac. Most if not all of the box interiors are unfinished and unlined, showing bare wood. One azimuth circle was found housed within a black plastic case, which is possibly Bakelite.

GENERAL CONDITIONS

The azimuth circles remain whole and sound. They are in fair to good condition, with most in the latter category. Some corrosion has developed on the metal components; it appears to have formed either in response to the environment or from the presence of residues such as oil (due to use).

Common observations on the condition of each azimuth circle can be found. These tend to be:

tarnishing of exposed brass; blue/green corrosion of brass from corrosion salts and wood acids;

bulky and powdery white corrosion on lead, which varies from mild to moderate; missing components; scratches and abrasions, which has promoted minor losses to finishes; greasy deposits, which in some cases has induced a dark green waxy corrosion product due to the presence of fatty acids; old polishing compound residues, which can promote corrosion; and adhesive labels, remnants of tape, black felt marker writings, and pencil marks (applied to several of the azimuth circles and/or their respective boxes).

Wooden boxes are largely whole; however, one is missing its hinge pin. The unfinished wood in the interior of some of the boxes have localized smudges and discoloration from use. Some minor cracking in the wooden panels and opening of the joints can also be observed. Finishes remain adherent and stable for most boxes; however, scratches, wear, and abrasions can be found on all, the degree of which varies from mild to severe. The plastic case exhibits some scratches and abrasions and mild tarnishing of the back hinge. It is also missing its locking mechanisms.

EXISTING STORAGE

The azimuth circles are placed on an open chrome-plated steel shelving unit set in the middle of the secure room. The shelves have been lined with Ethafoam sheeting to pad the artifacts. Some of the circles are stored within their original wooden boxes. The shelves do not have any curtaining to prevent dust from accumulating on surfaces.

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RECOMMENDATIONS FOR STORAGE

1. Remove azimuth circles that are within their original boxes and store separately because the unfinished wood of these boxes can contribute to the corrosion of the circles, particularly the lead metal components. Label accordingly with archival tags to match the azimuth circles to their original boxes.

2. Wrap circles in archival packing materials such as acid-free tissue and place in polyethylene bags to prevent the accumulation of dust, should custom padded archival boxes be unavailable to house the artifacts. (Ideally, the circles should be stored within archival boxes cushioned with acid-free tissue and inert foam material, but due to lack of space, this may not be possible.)

3. Place corroding lead components in heavy-duty polyethylene bags to isolate them from other collection material until they can be treated. Treatment will involve the removal of corrosion from lead components and coating with a conservation-approved lacquer or paint system to match existing paint.

4. Curtain shelving with 4-mil polyethylene sheeting to reduce dust accumulations on the artifacts.

The object group does not contain any artifacts in poor condition. The immediate conservation steps listed below are recommended to maintain the collection in stable condition. Additional conservation treatments, which have not been listed, include stabilizing finishes such as flaking paint, polishing tarnished brass, or refinishing some of the circles and boxes. These treatments are not necessary for storage requirements, but can be undertaken as part of curatorial requirements for display.

1. Clean away loose surface dirt, dust, and corrosion using natural bristle brushes and light suction from a HEPA vacuum. Wrap the metal ferrules on brushes with tape (cloth or painters) to prevent scratches to the object, and screen the intake of the vacuum with a fine mesh to prevent pieces of the object from getting trapped within the vacuum. Use wooden applicator sticks or plastic probes to dislodge adherent dirt and old polishing compound lodged within recesses.

2. Wipe away remaining grease and polishing compound residues with clean cotton cloths, chemical wipes, cotton pads, or cotton swabs dampened with an appropriate solvent such as odorless mineral spirits.

3. For more tenacious dirt and remnants of polishing compound residues, use a clean cotton cloth or cotton swab dampened with distilled water or a 3% solution of a conservation-grade detergent (Orvus WA Paste, Vulpex Liquid Soap, or Triton X-100 Surfactant) in distilled water. If using the latter, ensure complete removal of detergent by wiping with distilled water alone at the end. Use a cotton cloth to wipe dry. Do not immerse the artifact in the cleaning solution.

4. Remove the various labels, stickers, and tape remnants, given that the adhesives within these products often promote corrosion and etching of finishes. This may require using wooden applicator sticks or scalpels to remove the majority of the adhesive, followed by the application of cotton swabs dampened with either warm water or an appropriate solvent to remove remaining residues.

5. Lightly clean wood finishes following procedures outlined in steps 1, 2, and 4.

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6. Important Note: Perform testing of all cleaning methods mentioned above locally and individually on all objects prior to full-scale application to ensure surfaces are not adversely affected by the treatment. This is particularly true of shellac finishes, which are sensitive to prolonged contact with water.

(Left) The azimuth circles are stored inside their wooden boxes, which are placed on Ethafoam-padded metal shelving units.

They are located in the bottom row, below the chronometers. (Right) Two additional azimuth circles are stored on the top shelf, next to the binoculars.

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OBJECT GROUP Barometers

NUMBER OF ITEMS 11

BRIEF DESCRIPTION

The collection includes brass, aluminum, and wood barometers with glass or plastic covers. Seven are made of brass, two of aluminum, one of wood, and one of an unknown metal, possibly chrome-plated brass or aluminum. In general, the barometers appear as small flat-bottomed canisters with flat glass faces under which painted or printed dials with gradient marks and indicator arms are mounted. Dials are either brass or plastic. One of the aluminum barometers is set on a painted wood mount, while one of the brass barometers comes within its original cardboard and foam packaging and instructions. There is also a brass metal barometer that has been set into a decorative finished wood case, a portion of which has been carved to look like a coil of rope. Several of the brass barometers appear to have an unknown clear protective coating (possibly lacquer).

GENERAL CONDITIONS

The majority of the barometers are in fair condition. The barometer that is stored in its original packaging is considered to be in excellent condition. Only one is in poor condition, mostly due to the extent of heavy and active corrosion products that are present on the surface of the brass case and adjustment screw. The other brass barometers are found to exhibit mild to heavy tarnishing with some corrosion.

Other conditional issues include labels and tape adhesive residues, some slight deformations, wear of wood and brass finishes, paint accretions, abrasions, linear scratches and fogginess of plastic covers, and oxidation and dulling of aluminum components. The aluminum barometer set on a wood mount has two missing mount screws, and one of the brass barometers has slight detachment of the glass within the bezel. These two conditions create some instability. A few brass barometers contain polishing compound residues, especially noticeable in crevices.

The barometers are stored on an Ethafoam-padded open steel shelving unit located in the center of the secure room. One barometer is kept contained within its original cardboard packaging. No dust covers are provided.

RECOMMENDATIONS FOR STORAGE

1. Remove the barometer that is within its cardboard packing and store separately. Label accordingly with archival tags to ensure matching the barometer to its original packaging and instructions.

2. Wrap the barometers in archival packing materials such as acid-free tissue and place within polyethylene bags to prevent the accumulation of dust, should custom-padded archival boxes be unavailable to house the artifacts. (Ideally, the barometers should be stored within archival boxes cushioned with acid-free tissue and inert foam material, but due to lack of space, this may not be possible.)

3. Curtain shelving with 4-mil polyethylene sheeting to prevent the accumulation of dust and other debris on the artifacts.

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RECOMMENDATIONS FOR CONSERVATION TREATMENT

For the most part, the collection of barometers is in relatively stable condition. The exception to this is the barometer with heavy and active corrosion. Immediate recommendations are as follows:

1. Perform general cleaning of barometers prior to providing additional archival protection.

Use a soft bristle brush to remove loose dust and corrosion from surfaces. If the brush has a metal ferrule, cover this with painter’s tape to prevent from scratching the object. For dried dirt that is firmly attached, use a stippling brush or wooden toothpicks/bamboo skewers to loosen. The aid of a HEPA vacuum set at low suction will help to contain dust particulate.

2. For tenacious dirt, use a clean cotton cloth or cotton swab dampened with distilled water or a 3% solution of a conservation-grade detergent (Orvus WA Paste, Vulpex Liquid Soap, or

Triton X-100 Surfactant) in distilled water. If using the latter, ensure complete removal of detergent by wiping with distilled water alone at the end. Use a cotton cloth to wipe dry.

Do not immerse the artifact in the cleaning solution.

3. If polishing compounds are not removed with cleaning above, spot clean these areas with wooden probes (the sharp end of a bamboo skewer) and/or cotton swabs. Dampen swabs with odorless mineral spirits as needed, testing beforehand to determine stability of finishes.

4. For the brass barometer in poor condition, remove excessive corrosion by successive wiping with distilled water, using a clean cotton cloth. Any hard bits of corrosion products can be loosened and removed with wooden or stainless steel probes.

5. Remove the various labels, stickers, and tape remnants as needed because the adhesives within these products often promote corrosion and etching of finishes. This may require using wooden applicator sticks or stainless steel scalpels to remove the majority of the label and adhesive, followed by the application of cotton swabs dampened with either warm water or an appropriate solvent to clean away remaining residues.

6. Ensure loose components are identified and secured to prevent any future damage. Method of securement will be identified after an inspection of each artifact. There is one loose glass cover and a loose wooden mount.

7. Important Note: Perform testing of all cleaning methods mentioned above locally and individually on all objects prior to full-scale application to ensure surfaces are not adversely affected by the treatment.

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(Left) A brass barometer in poor condition, with active corrosion on the case. It appears to have a clear unknown coating, possibly lacquer. (Right) Note the powdery blue corrosion on the adjustment screw at top.

(Left and right) Front and back sides of the barometer set into a wooden case, showing labels, scratches, and damage to finishes.

(Left and right) An aluminum barometer on a wood mount. Note missing and loose screws. The existing screw exhibits corrosion.

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(Left) A barometer with tarnsihing of brass components, giving it a mottled appearance. (Right) The barometers are stored alongside the collection of ship’s clocks, on metal shelves lined with thin sheets of Ethafoam.

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OBJECT GROUP Bells, Ship’s

NUMBER OF ITEMS 65

The majority of the collection consists of bronze bells with a paint system finish, which includes coats of both primer and paint, as well as bronze bells without a paint finish. There are also two brass bells, three chrome-plated bells, and one steel bell with a paint finish system. Several of the bells still have their clappers, which are either attached or loose, and most of these have a section of rope (either fiber or nylon) still tied in place. Quite a few have arms or mounting systems, often showing distinct cut marks from cutting and freeing the bells from their ships. Painted bells include those that are entirely painted on both the exterior and interior, as well those that are painted on the exterior only, with exposed metal on the interior. A few bells show evidence of having been painted on more than one occasion.

Although all of the bells exhibit some form of deterioration, most are found to be in relatively stable condition. Observable damage includes flaking and loss of the paint system finish, as well as chalkiness, soiling, and staining in areas where the paint is whole and continuous. The bronze exhibits the typical light compact corrosion that is consistent with age and weathering, while the iron

(seen on the mounting systems) displays more advanced deterioration, including loose and active corrosion. Rust staining from run-off corrosion of the iron components and scorch stains and marks from cutting of the mount system to free the bells can be observed on both the exposed bronze and painted finishes.

Most of the bells contain labels, tape, paint accretions, and felt marker writings, as well as minor scratches and a few dings and dents. One bell in poor condition has a large vertical crack running from the bottom edge to the shoulder, while two others have an unusual amount of heavy and dark staining from atmospheric pollutants or other unknown source. There is some lifting and loss of the plating material on one of the chrome-plated bells, and the two brass bells exhibit moderate tarnishing. All bells contain a layer of dust and dirt, sometimes quite heavy.

The bells rest on wooden pallets, which are placed on metal shelves inside the enclosed warehouse area, which has no environmental control. The number of bells per pallet varies, depending on the size of the bells: one pallet holds two large bells, while another contains six medium-sized bells.

Heavy-duty construction paper and cardboard cushioning are used to keep the bells from touching each other or from coming in direct contact with the nylon straps that are occasionally used to hold the bells in place. A few pallets have wood blocking to help secure the bells and clappers and prevent them from moving.

Clappers are either still attached to the bells or stored loosely on top of the pallets, next to what are presumably their respective bells. Several clappers are stored inside an open steel mesh basket on top of one of the pallets. A few of the larger bells overhang the border of the pallet on which they

20 MARAD HERITAGE ASSETS CONSERVATION SURVEY AND REPORT

rest. Sections of rope fall through the pallet and dangle below. Paint flakes and loose debris also drop through the pallet openings.

1. Transfer bells to polyethylene pallets, which are more archival than the existing wooden pallets. Bells should be positioned on their bottoms, which for some would mean the removal of the clapper within. When removed, label accordingly with archival tags to match the clapper to its original bell, and store with other loose clappers.

2. Provide inert Ethafoam padding on top of the pallets as a separating layer between the pallets and the bells. For bells with attached clappers, custom cut the foam to allow room for the clapper, if needed. Provide venting ports for interior spaces to allow for the passage of air and prevent the trapping of moisture.

3. To prevent dust from accumulating on the bells, drape plastic or cloth curtains around the metal storage shelves. If using plastic, providing a heavier 6-mil sheeting for durability and stability. Do not seal plastic to prevent condensation.

4. Center the bells on the pallets, so that there is no overhang of any portion of the bell beyond the pallet edges. To help secure the bells in place, use high-density closed-cell polyethylene foam blocking as necessary, as well as ratchet straps with nylon webbing, since they tend to be less abrasive and have a higher weight to sheer ratio than the existing plastic straps.

5. Remove existing non-archival cushioning and provide inert foam material to cushion and protect bells as needed.

6. Maintain the bells in an even temperature (68oF) low-humidity environment, ideally below

55% relative humidity (RH). If needed, move to an area with better climate control.

7. Contain loose clappers within archival boxes, separated and cushioned with hard-density inert foam as needed to keep them from moving around and rubbing against one another.

Another option is to provide a separate box for each clapper, but this will require additional space.

Beyond the general surface cleaning and additional items recommended below, which should be performed prior to upgrading storage conditions, treatment will be a curatorial decision regarding the aesthetics of the bell. The least invasive approach will be to clean the bells, remove any disfiguring accretions, provide protective sacrificial coatings for the exposed metal components, and consolidate and stabilize the finishes.

A full restoration that includes removing unstable finishes and refinishing the bells with a new paint system or performing deeper cleaning (complete removal of tarnishing and corrosion) and providing a polished finish necessitates more aggressive means, which would ultimately destroy the natural weathering and patina that has developed over time. Certain bells, however, would benefit from such a restoration. This is a curatorial decision that requires some thought and discussions to decide on the best treatment option for each individual bell.

It is important to note that the surface corrosion observed on the bronze is generally compact and stable and should act as a passivating layer, which will hinder more advanced corrosion, especially if

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kept in a stable environment. The iron corrosion, however, poses some threat of continued deterioration during times of elevated humidity.

The more immediate recommendations include the following:

1. To remove the heavy layer of dirt and dust, as well as loose paint and corrosion, perform a general cleaning of the bells using a museum HEPA vacuum with a brush nozzle attachment. Where needed, use a soft natural bristle brush or stipple brush to help free embedded dried dirt from crevices.

2. Remove all loose active iron corrosion from iron components with stainless steel probes, and/or stainless steel wire brushes. Contain debris and dust with a HEPA vacuum.

3. For the removal of tenacious dirt and grime, perform deeper cleaning with a 3% solution of a conservation-grade detergent (e.g., Orvus, Vulpex, or Triton X-100) in distilled water. Use clean cotton rags, natural and nylon bristle brushes, and cotton swabs dampened with the cleaning solution to lift the dirt and grime. Follow with distilled water alone to remove any residual detergent solution. Rinse well areas of iron corrosion to flush away any corrosive salts that may be trapped within these areas. Do not immerse artifact in any of the cleaning solutions. Blot standing water from surfaces with clean cotton towels. To expedite the drying of the bells, particularly of the areas of iron corrosion, use fans to move air over the newly cleaned bells.

4. For especially greasy accretions, follow with odorless mineral spirits alone to remove residual grease. As before, clean with dampened rags and swabs. The use of wooden probes

(toothpicks or the sharp ends of bamboo skewers) and bristle and stencil brushes may help to dislodge embedded dirt and grime from crevices and joins.

5. Remove the various labels, stickers, and tape remnants as needed because the adhesives within these products often promote corrosion and etching of finishes. This may require using wooden applicator sticks or stainless steel scalpels to remove the majority of the label and adhesive, followed by the application of cotton swabs dampened with either warm water or an appropriate solvent to clean away remaining residues.

6. An additional treatment for areas of iron corrosion may include applying a brushable “rust convertor” – a latex-based coating that converts the unstable corrosion into a stable product, and seals it to prevent corrosion from reforming. It should be noted that the application of this product will promote a blackening of exposed iron surfaces due to the presence of tannic acid within the product, and that the latex dries to form a clear conforming film with a low gloss.

7. Important Note: Perform testing of all cleaning methods mentioned above locally and individually on all objects prior to full-scale application to ensure surfaces are not adversely affected by the treatment.

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(Left) The bells are stored on metal shelves located just outside the secure room. (Right) They are placed on wooden pallets, sometimes with a large piece of construction paper or cardboard cushioning for added protection.

(Left) Six medium-sized bells stored on one pallet. (Right) Wood blocking provides additional protection to keep the two large bells in place during moving.

(Left) Black felt writing on a bell. (Right) Staining of painted finishes from corrosion of iron components.

23 MARAD HERITAGE ASSETS CONSERVATION SURVEY AND REPORT

(Left) Several clappers stored together on an open steel mesh basket, placed on top of a wooden pallet. (Right) Dust, dirt, paint flakes, and other debris often fall through pallet openings onto artifacts stored below.

(Left) Significant loss of the paint finish system and delamination of the chrome plating material. (Right) Heavy greasy residues on a bell.

(Left) Plastic straps help to secure the bells in place, with cardboard providing some protection from direct contact.

(Right) The bell overhands the pallet edge slightly.

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(Left) Evidence of multiple painting campaigns on a bronze bell, with considerable loss and active flaking of paint.

(Right) Tape residues on the painted finish of a bronze bell.

(Left and right) Two bells with heavy surface pollutants. Note the scorch marks on the arm of the bell on the left.

(Left) A brass bell in very good condition, with minor tarnishing, scratching, and corrosion. (Right) Bronze bell with an iron bracket. Note the molten metal and scorch marks from cutting the bracket to free the bell.

25 MARAD HERITAGE ASSESTS CONSERVATION SURVEY AND REPORT

OBJECT GROUP Binnacles

NUMBER OF ITEMS 14

BRIEF DESCRIPTION

Each binnacle consists of a hollow circular stand fitted with a metal hood with glass viewing ports.

Inset into the top of the stand under the hood is a navigational compass suspended on a gimbal, and for some binnacles an electric light. The majority of the binnacles are comprised of both finished and unfinished brass, painted iron, wood, glass, electrical cord, plastic, and rubber. Most of the stands are made of wood (most likely teak) with a clear or colored finish; however, some wood stands have had a paint coating applied on top of the original finish.

Positioned on either side of the hood are two iron spheres set on two brass brackets, which are fastened to the stand. Typically inset into the front is a small door, light switch, and push/pull lever to control a metal dampener within the stand, while on back a brass flinder's tube has been fastened.

Several of the flinder’s tubes still retain their soft iron bars, while several others contain pieces of wood inside. Another tube has a brass chair with a wooden stopper attached. Some hoods are equipped with a top window port with covers and lantern chimneys.

One binnacle consists of just the wooden stand – the hood and compass components are not present. Two binnacles were found to have aluminum metal stands. Additionally, some of the binnacles that were originally illuminated by lantern light have been electrified. Paint has been used as a coating system either over the whole binnacle or as a select application over specific components such as the iron spheres or the interior of the hood. In some instances, the presence of sheeting, drip marks, brush strokes, and voids in the top coat indicate that most have received multiple paint applications.

GENERAL CONDITIONS

The condition of the binnacles ranges from fair to poor. The majority are in fair condition, with three considered to be poor. Conditions such as general soiling, corrosion of brass and iron, broken glass, missing components, scratches and abrasions, and paint accretions were found throughout.

By far the greatest issue is the deterioration and loss of finishes, both on the metal and the wood.

Other common conditional issues include: tarnishing of exposed brass; loss of fluid in compass bowls due to gasket failure; dents and deformations, particularly of the hoods; stickers, labels, tape residues, and felt marking inscriptions; water damage to wooden bases with associated losses to finishes and black staining from mold growth; deterioration of synthetic materials such as plastic, rubber, and electrical cords; greasy…