J-2_Conservation_Survey_and_Report_Part_2.pdf

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39 MARAD HERITAGE ASSETS CONSERVATION SURVEY AND REPORT

Two similar builders’ plates. The plate in good condition (left) appears to have had a patina finish; it is tarnished with greasy residues. The plate in poor condition (right) has a poorly-applied semi-opaque coating, which exhibits sheeting, drip marks, and loss. The loss is exposing what may be originally polished surfaces.

(Left) Non-original paint on the front of the plate, sections of which have been scratched away to expose information about the vessel. (Right) Red coloration is most likely residues from a primer coat.

(Left and right) Some of the smaller plates are stored inside plywood boxes, with ethafoam sheeting and bubble wrap between plates.

40 MARAD HERITAGE ASSETS CONSERVATION SURVEY AND REPORT

(Left) The engraved copper sheet is the only plate of its kind found within the group of items surveyed. The plate is discolored from residues and tarnish. (Right) An example of a chrome-plated plate with an unknown yellowed clear coating (possibly a lacquer) over the surface.

(Left and right) Storage of the metal builder’s plates in large heavy-duty cardboard boxes, with large pieces of cardboard between plates. Nylon strapping around boxes provide some additional support.

41 MARAD HERITAGE ASSETS CONSERVATION SURVEY AND REPORT

OBJECT GROUP Builder’s Plate, Plastic

NUMBER OF ITEMS 578

BRIEF DESCRIPTION

The object group of plastic builder’s plates is the largest within the collection of heritage assets stored in Warehouse 3, Cheatham Annex. The plates are made of Bakelite, and have a black background with off-white or light yellow lettering. A few have a thin red border. The colorations viewed within the plates are the result of laminating layers of colored Bakelite, typically white between black. The routing or carving out of letters in the plate reveals the inner contrasting colored lamination for clear legibility of the sign.

The plates are rectangular in shape, with holes at all four corners for mounting on the wall. A few plates have a wood mount, perhaps as a way to display them away from their ships. Several plates have beveled edges, as opposed to the typical straight edges found for most signs.

GENERAL CONDITIONS

The majority of the collection is considered to be in fair to poor condition. Plates in very good to excellent condition have only a few minor scratches, which can be removed with polishing, as well as minor accretions and old accession labels on the back side. Many retain their glossy luster. Plates in good condition exhibit some wear of finishes, and usually have paint splatters, labels, and other accretions.

Plates in fair to poor condition will require considerably more effort to repair, especially those in poor condition, many of which have a thick layer of paint applied over the entire front side – a result of painting the ship without protecting the plates. For the most part, these thick coats of primer and paint have rendered the plates illegible. Furthermore, the paint coating is generally highly deteriorated, with alligatoring, flaking, and loss. In cases where the paint has been removed from the plates, a red hazing is often left behind, which appears to be residues from the primer coat.

Plates that are not entirely overpainted frequently have paint splatters on the front and back or overspray of paint around the edges, again a result of not providing proper protection during maintenance of the ship. A large number of plates have broken corners, cracks, and old accession labels stuck to the back sides, and several have rust staining at the mount holes from corroding iron screws. A few plates still have their iron screws attached, while others have metal tie wires wound through one of the mount holes. All of the plates in poor condition have lost their high-gloss finish.

EXISTING STORAGE

The plates are stored in large open plywood and cardboard boxes, as well as in smaller enclosed cardboard boxes and archival boxes with lids. Thin sheets of Ethafoam separate the plates in both the large and small boxes. For the most part, the square Ethafoam sheet covers only a portion of the plate. Bubble wrap placed between plates can also be observed in the large boxes. The plates are stacked vertically in the larger boxes and horizontally in the smaller boxes. All of the boxes sit on plastic pallets. The smaller boxes are stacked one on top of the other, divided between two pallets. These two pallets are located directly in front of a roll-top door.

42 MARAD HERITAGE ASSETS CONSERVATION SURVEY AND REPORT

RECOMMENDATIONS FOR STORAGE

1. Separate plastic plates that are stored with metal plates and store with the other plastic plates.

2. To slow the degradation of the Bakelite, store plastic plates under the environmental conditions of a) a cooler room temperature of 60°F, b) a relative humidity of around 40%, c) good air ventilation, and d) low to no light.

3. Wrap plates with non-textured spun-bond Tyvek sheets prior to placing within boxes. Use

Ethafoam sheeting cut to the length and width of each plate as interleaving between the

Tyvek-wrapped plates.

4. Provide archival boxes to store the plates, sectioning the collection into smaller groups of plates within each box. Box lids should be left off to improve ventilation of any volatile compounds that the plastic may emit.

5. If possible, and room allows, store the plates vertically in Ethafoam-padded and slotted polyethylene crates to keep plates in place and prevent them from leaning against one another or falling over to one side. The crates will improve air circulation around the plates to assist in slowing any inherent degradation with the plastic. The longest length of the plate should sit horizontally and the shortest vertically. Loosely drape crated and boxed plates with Tyvek to stop dust accumulating over the plates.

6. Remove plates that are mounted to wooden boards and store separately. Label accordingly with archival tags to match plates to their original boards.

7. If mount screws are not removed, increase padding when accommodating these plates so that the screws do not scratch adjacent plates.

8. When space allows, relocate plates to a location away from rear roll-up door.

RECOMMENDATIONS FOR CONSERVATION TREATMENT

This is a large collection with numerous objects in poor condition. Conservation and/or restoration of these plates will entail considerable efforts. For the most part, the plates in poor condition are stable, and so the short-term recommendations are meant to prevent further damage. More in-depth efforts will require curatorial discussions to decide on treatment options, which range from cleaning and stabilization to complete restoration, in which paint coatings are removed, missing sections replaced, lettering reinstated, surfaces polished, etc.

The more immediate recommendations are for a general cleaning, in which the heavy layer of dust and dirt, flaking and loose paint, and any greasy accretions are removed. This should be undertaken prior to upgrading storage conditions.

1. Perform general cleaning of the plates using a soft bristle brush to remove loose dust 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 wooden probes to loosen.

The aid of a HEPA vacuum set at low suction will help to contain dust particulate. During cleaning, remove all loose paint flakes as needed.

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

43 MARAD HERITAGE ASSETS CONSERVATION SURVEY AND REPORT

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. Remove iron screws from plates and label and store separately. If corroding, clean screws prior to storage with wool pads and/or metal brushes, and/or by light sanding with appropriate grit sandpaper, and wipe away debris with a tack cloth moistened with odorless mineral spirits.

4. Remove and dispose of all metal tie wires.

5. Remove the various labels, stickers, and tape remnants as needed because the adhesives within these products often promote the 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. Important Note: Test all cleaning methods on objects first prior to full-scale application to ensure surfaces are not adversely affected by the treatment.

VISUAL DOCUMENTATION

An example of a plate in excellent condition (left) and in poor condition (right). Note losses, paint accretions, surface damage, and illegibility of the latter plate.

(Left and right) Two samples of framed plates, probably as a way of displaying them once off their ships.

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(Left) A plate with a small bronze plaque attached. (Right) A few plates have a red border, as seen here.

Various types of paint accretions on the plates, with overspray concentrated at edges (left) and splatters on the backside

(right).

Two plates in poor condition, with damage to original finishes (left) and overpaint on the front and significant losses at corners (right).

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(Left) A plate with a thick layer of overpaint, rendering it illegible. (Right) A red coloration that appears to be residues from the primer coat.

(Left and right) Front and back sides of a plate that was overpainted. The paint is hightly deteriorated, with alligatoring. On the back, paint drips and red coloration from the primer coat. Note the addition of metal inserts at edges.

A plate in good condition (left) and one in fair condition (right). The latter has more paint accretions and damage to surface finishes.

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(Left and right) Builder’s plate with severe cracking and delaimination of plastic, which appears to have been promoted by solvents within a paint system that once covered the plate, and the subsequence solvent removal of that paint. This plate is considered to be in poor condition.

(Left) Builder’s plates within archival and cardboard boxes, where they stored horizontally. (Right) Plates interleaved with bubble pack and Ethafoam, leaning against one another within a plywood box.

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OBJECT GROUP Chronometers

NUMBER OF ITEMS 9

BRIEF DESCRIPTION

In general, each chronometer is a circular canister-shaped, timepiece with a painted dial face and convex glass face (watch glass). The assembly of components, which makes up the chronometer, is largely comprised of brass. Accessories include a winding key, a gimbal, and an arm with thumbscrew to hold the timepiece inverted for winding. Several of the chronometers were found to have an unknown clear coating, and many have been housed within a finished felt-lined wooden traveling box, which is fitted with a leather strap equipped with a brass buckle and rivets, latches, and hinges.

The brass chronometers are suspended on a gimbal within a decorative finished wooden display box. The chronometer display box typically has a hinged wooden lid to protect a glass viewing window. A second hinge set lower in the back allows the upper half of the case to open, so that the chronometer can be accessed. The display box also has handles, button latch closure hardware, hinges, and corner inlays – all of which are made of brass. Ephemeral items (such as repair tags, manufacturers’ labels, etc.) can be found tucked inside many of these boxes.

Wood types vary from box to box; however, mahogany and teak appear to be the main species used in the construction of the traveling and display boxes. Wood finish appears to be clear or semi-transparent colored varnish or shellac. The high gloss and “white water” appearance of some of the finishes to the boxes may be indicative of a shellac base finish known as a “French Polish.” The interior of the traveling box usually has a paper, metal, or plastic label recording the manufacturer.

GENERAL CONDITIONS

The chronometers themselves are in good to fair condition. None are considered to be poor.

However, one chronometer in fair condition appears to be missing a component, while another is noted as off its mount and loose inside the box, creating some instability. And while most chronometers exhibit mild to moderate tarnishing, there is one that displays moderate and active corrosion of the brass.

The condition of the boxes in which the chronometers are housed range from good to poor, given that some have separation of joints, lifting of panels, cracking in the wood, and missing or damaged covers. One box contains a leather strap that is broken and brass fasteners that are corroded. The presence of stickers, labels, and tape adhesive residues is also common, as are scratches, dents, gouges, and abrasions. During inspection, a small amount of fine wood dust was found on an exterior back corner of one box, indicating a possible insect infestation. Missing or loose hinge pins and flaking of varnish applied over the decorative brass (inlays) set into the wood at the corners has also been noted.

EXISTING STORAGE

The chronometers 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. Some of the chronometers are stored within their original wooden traveling boxes. No dust covers are provided.

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RECOMMENDATIONS FOR STORAGE

1. Remove chronometers and their brass accessories currently stored within their original display cases and store separately because the wood of the boxes can contribute to the corrosion of the brass.

2. Wrap chronometers 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 chronometers 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. Separate the chronometer box that had the fine dust on it from the others by placing it in a large 4-mil polyethylene bag and sealing for monitoring of any pest activity. The bagged box should be sealed inside another 4-mil polyethylene bag as an extra barrier.

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

Since none of the chronometers were found to be in poor condition, the immediate conservation treatment steps listed below are based on maintaining a stable condition for the object group.

Although there are some boxes that are categorized as poor, with proper cushioning and packaging during storage, their condition should remain unchanging and not worsen.

1. Clean away loose surface dirt and dust using natural bristle brushes and light suction from a HEPA vacuum. Wrap brushes that have metal ferrules with painter’s tape to avoid scratches 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 lodged within recesses.

2. Inspect all wooden boxes within the collection, especially artifact 2011.003R.0577, and continue to monitor for the appearance or reappearance of any fine dust that may be attributed to an active infestation. Isolate any boxes that exhibit this type of dust by bagging as noted above. Treatment will depend on the extent and type of infestation, if an infestation is confirmed. One of the more benign treatment methods for this type of infestation is by subjecting the object to an anoxia environment for a period of time.

3. 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.

4. Wipe wooden boxes with a clean microfiber cloth to remove dirt. If needed, a slight dampening of the cloth with distilled water may be used to work off adherent grime.

5. Reduce excessive corrosion by probing with wooden or plastic applicator sticks. Use suction from a HEPA vacuum as noted above to contain loose corrosion products. Following removal of corrosion, perform localized cleaning of these areas as noted in step 3.

6. 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

49 MARAD HERITAGE ASSETS CONSERVATION SURVEY AND REPORT

application of cotton swabs dampened with either warm water or an appropriate solvent to remove remaining residues.

7. Ensure the stability and safety of any loose components prior to removal of chronometers from boxes and cleaning and storage procedures. Label and bag loose components (such as hinge pins) accordingly.

8. 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 and right) Storage of the chronometers within their wooden boxes, set on Ethafoam-padded metal shelves.

(Left) Wooden box for artifact number 2011.003R.057, containing various labels and stickers on surfaces. Note the leather strap. (Right) Close-up image of same box showing a small amount of fine dust at the corner, which may indicate a possible insect infestation.

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OBJECT GROUP Clinometers/Inclinometers

NUMBER OF ITEMS 6

The sub-collection of clinometers/inclinometers is fairly small; it includes three clinometers with bubble-type spirit-filled glass tubes and three pendulum-type clinometers. Of the three tube clinometers, there is one single-tube and one double-tube, in which the tubes are recessed within a

Bakelite panel. The third is a double-tube clinometer on a stainless steel panel. The pendulum-type clinometers are made of Bakelite, and all appear to have a non-original paint coating. Two are painted green and one is black. While the tube clinometers are rectangular in shape, the pendulum-type clinometers are round.

The one stainless steel clinometer has some iron corrosion as well as labels and remnants of labels on the front, and black felt writing and heavy striations/scratches on the back. The striations/scratches may be a result of improper cleaning. The two Bakelite tube clinometers exhibit heavy soiling, and both have what appears to be a non-original Bakelite plate attached to the front that reads, “KXEK.” One has what looks to be a black marble in place of the air bubble in the liquid.

Flaking and loss of the non-original paint coating can be observed on all three pendulum-type clinometers. They also have labels and tape adhesive residues, overpaint on the glass and Bakelite surfaces, and general overall soiling. One is missing a threaded screw from the glass face, while the glass on another is slightly loose.

The clinometers/inclinometers are stored on open metal shelves located in the middle of the secure room. A thin layer of Ethafoam sheeting separates the artifact from the metal shelfing unit. No dust covers are provided.

RECOMMENDATIONS FOR STORAGE

1. Wrap clinometers/inclinometers in archival packing materials such as acid-free tissue.

2. Given the glass component of these devices, do not stack the clinometers. Vertical storage of plate clinometers in an archival box would require creating appropriately sized braces and padding from Ethafoam. (Ideally, the clinometers should be stored within archival boxes, but due to lack of space, this may not be possible.)

3. Place Bakelite clinometers within archival trays or baskets to improve ventilation of any volatile compounds that the material may emit. Cover with Tyvek or acid-free tissue to protect from dust accumulation.

4. To slow the degradation of the Bakelite, store plastic clinometers under the environmental conditions of a) a cooler room temperature of 60°F, b) a relative humidity of around 40%, c) good air ventilation, and d) low to no light.

5. Drape shelving with 4-mil polyethylene to prevent the accumulation of dust and debris on the

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RECOMMENDATIONS FOR CONSERVATION TREATMENT

Overall, the collection of clinometers/inclinometers is in good to fair condition. None were found to be poor. Immediate treatment recommendations are therefore limited to the following to keep the collection stable:

1. Perform general cleaning of clinometers prior to additional archival protection and/or polyethylene sheeting. Use a soft bristle brush to remove loose dust 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 more 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. Inspect loose glass component on the one clinometer to ensure it is stable. Provide any additional support as needed.

4. Remove the remaining 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 clean away remaining residues.

5. Important Note: Perform localized testing of cleaning methods to ensure surfaces are not adversely affected by the treatment.

(Left and right) Two Bakelite clinomters with multiple accretions, including paint splatters, labels, and tape adhesive residues. A considerable amount of soiling can also be observed on the glass surfaces of the clinometer on the right.

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Two double-tube clinometers, with bubble-type spirit-filled glass tubes – one backed with stainless steel (left), the other with Bakelite (right). What appears to be a non-original Bakelite “call sign” plaque is attached to the clinometer on the right, perhaps replacing a slightly larger plaque, as evidenced by the footprint left behind.

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OBJECT GROUP Compasses

NUMBER OF ITEMS 13

BRIEF DESCRIPTION

A majority of the compasses are large circular canisters with flat glass bottom bowls, comprised of finished and unfinished brass, a card dial face with degree gradient markings, and a flat glass face.

These compasses are heavy, and they have a robust contoured mount bracket at the bottom, which allows for light transmission through the bowl when they are suspended.

There are four smaller compasses in this object group that are for lifeboats. They have a canister shape with a solid flat bottom and flat glass face to view the graduated dial card. The canisters are made of brass that has been painted. Two of the smaller lifeboat compasses are held within a painted cylinder with a mount post on both sides and a convex brass cover. The other two lifeboat compasses are mounted within rectangular cases made of sheet brass that has been cut and folded into shape. The cut sheets were joined together by crimping, riveting, and soldering. Inset into the front is a small square glass viewing window. Mounted to one side is a small chimney into which an illuminating lantern and light reflector is set. A plastic handle is mounted to the top of each case.

For the whole object group, only some of the compasses are equipped with gimbals. Most contain a liquid, presumed to be mineral spirits. One compass is a small version of a binnacle, and has a polished brass hood and powder coated body. Another compass is stored within a finished wood box. A wide range of materials from finished and unfinished brass, glass, plastic, chrome plate, and iron were found for all the compasses.

The majority of the compasses are in fair condition, with a couple in good and a couple in very good condition. Three compasses are considered to be poor. Most are whole and stable. Some, however, have large air bubbles in them, indicating that the gasket material keeping the reservoir sealed has failed. One compass in poor condition displays clear evidence of leakage, which is occurring between the glass panels of the face. Also, the lid of its box is detached and missing hardware. The two other compasses in poor condition exhibit tarnishing and corrosion of brass, and one has missing components due to breakage.

Additional conditional issues include: wear and deterioration of wood finishes; opening of joints;

accretions; application of labels, stickers, and tape; lifting and flaking of paint finishes with some losses; corrosion of screws; greasy deposits and residues; deformations; thick layers of dust and dirt;

and scratches and abrasions.

The compasses are placed on an open steel shelving unit set in the middle of the secure room.

Many are balanced on their gimbal and contoured mount brackets. Even though the shelf has been lined with Ethafoam sheeting, the compasses are somewhat precariously placed. No dust covers are provided.

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RECOMMENDATIONS FOR STORAGE

1. Remove the compass that is currently stored within its wooden box and store separately because the wood of these boxes can contribute to the corrosion of the brass. Label the two items with archival tags for matching.

2. Provide custom-cut Ethafoam blocking to position under and around compasses that are placed on open shelving to add support and stability, should custom-padded archival trays be unavailable to house the artifacts.

3. Given that some of the seals to the compass bowls have failed, maintain compasses in an upright position to avoid the fluid from leaking out.

4. Drape shelving with 4-mil polyethylene plastic sheeting to reduce dust accumulations on the

Although there are three compasses in poor condition, they do not require immediate treatments beyond what is recommended under storage and below for all compasses. Given that their condition is stable, short-term efforts are meant to prevent future damage and deterioration. More in-depth treatments will require stabilizing existing finishes, refinishing certain components, and polishing tarnished brass.

Recommendations for the collection are as follows:

HEPA vacuum. Wrap brushes that have metal ferrules with painter’s tape to prevent scratches, and screen the intake of the vacuum with a fine mesh to prevent piece of the object from getting trapped within the vacuum. Use wooden applicator sticks or plastic probes to dislodge adherent dirt and old polishing compound residues lodged within recesses.

2. For tenacious dirt found on the compasses, 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. Reduce excessive corrosion on both brass and iron components by probing with wooden or plastic applicator sticks. Use suction from a HEPA vacuum as noted above to contain loose corrosion products. Following removal of corrosion, perform localized cleaning of corroded areas as noted in step 2.

4. Remove 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. Important Note: Test all cleaning methods prior to full-scale application to ensure surfaces are not adversely affected by the treatment.

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(Left) Storage of the compasses on metal shelving, which is padded with Ethafoam sheeting. (Right) These compasses are balanced on their gimbals and contoured mount brackets.

(Left and right) The only compass in the collection that is stored within a finished wooden box. It is considered in poor condition due to leaking of liquid, which can be observed occuring between the glass panels of the face.

(Left) A lifeboat compass in fair condition, exhibiting brass and iron corrosion, wear of finishes, and various labels.

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(Left and right) A ship’s compass in very good condition, exhibiting mild tarnishing of brass. Note duct tape and label.

(Left) A ship’s compass in poor condition, with tarnishing of brass and moderate to heavy corrosion. (Right) Three lifeboat compasses, all of which are in fair condition.

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OBJECT GROUP Engine Order Telegraphs

NUMBER OF ITEMS 16

BRIEF DESCRIPTION

In general, the collection of engine order telegraphs consists of large circular barrels mounted on top of tall square or round stands. The bases of the stands flare out and have numerous holes around the edges for the insertion of bolts for mounting. Inset into either side of the barrel behind protective covers are dials imprinted with navigation terms for ship operation. Indicators with handles are mounted at the center of the dial face and pivot over the barrel to align with the navigation terms. Some of the telegraphs have the cables used to transmit signals to and from the engine room within the stands, while others are fitted with external signal command bells.

The main material types used for these artifacts are brass, iron, chrome, glass, paint, plastic, and rubber. Paint has been used as a coating system on all but one of the telegraphs. In some instances, the presence of sheeting, drip marks, brush strokes, and voids in the top coat indicate that most of painted telegraphs have received multiple paint applications. Some of the dials are glass, while others are plastic or painted metal. One telegraph is made entirely of brass and has an engraved dial face on one side; another has fiber cordage knotted around the indicator handle.

The condition of the telegraphs ranges from good to poor, depending on whether components are missing or broken, as well as on the stability of the paint coating system. Of the seventeen engine order telegraphs in the collection, nine are found to be in poor condition and five in fair condition.

Only three are considered as good.

In general, the paint finishes are flaking with large areas of loss, as well as dull and chalky from exposure to an exterior environment, indicating an overall breakdown and failure of the coating system. Other common conditional issues include: corrosion of metal (particularly for three telegraphs); tarnishing of exposed brass; greasy deposits and residues (sometimes quite heavy); old polishing compound residues (which can promote corrosion); stickers, labels, tape residues, and felt marking inscriptions; paint accretions; broken components such as dial faces; dents, scratches, and abrasions; deterioration of plastic and rubber; and watermarks from water ingress.

All plastic dial faces show signs of deterioration in the form of overall yellowing and browning, which is a general indication of instability in the composition of the plastic. Some dial faces were found to have the development of localized brown spots, indicating hydrolysis of the plastic with atmospheric water to create acidic byproducts. For one of the telegraphs, the dial face is warped, which suggests that it was subjected to an excessive amount of heat at one time; the plastic dial is creating vapor droplets, condensed on the inside face. The two dial faces of another telegraph both have cracked glass covers; this appears to have been caused by impacts from adjacent telegraphs.

Both glass dials for another telegraph have been broken, with the shards gathered together in a

“Zip-Lock”-type bag, which has been placed on the pallet next to the telegraph.

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EXISTING STORAGE

Most of the telegraphs are lying on their sides on plastic pallets, with three to a pallet. The top-heavy construction of the unmounted telegraphs makes this necessary. A single band of nylon strapping has been wrapped around both the pallet and the telegraphs to prevent them from falling off the pallet. Some of the plastic straps have cardboard barriers between them and the artifact, whereas others do not. Archival barrier board has been inserted between telegraphs that are close together and in danger of rubbing against each other during lifting.

The palletized telegraphs are stored uncovered on an open steel shelving system either directly on a shelf or on top of large heavy-duty non-archival cardboard boxes containing life rings. The shelves do not have any curtaining to prevent dust from accumulating on the surface.

1. Retrofit pallets with Ethafoam-cushioned painted blocks of wood and Ethafoam blocking to create slots into which the telegraphs will fit to avert rocking and shifting of the palletized telegraphs during movement. The addition of materials will also provide added support for the artifacts to prevent wear. Until this can happen, increase the amount of padding between all the telegraphs by using Ethafoam and additional barrier board.

2. Consider switching to good-quality, reusable ratchet straps with nylon webbing, since these tend to be less abrasive and have a higher weight to shear ratio than the plastic strapping.

Insert Ethafoam padding between the strap and artifact as needed.

3. Drape pallets or curtain shelving with 4-mil polyethylene sheeting to reduce dust accumulations.

4. To slow the degradation of the plastic, store telegraphs with plastic dials under the environmental conditions of a) a cooler room temperature of 60°F, b) a relative humidity of around 40%, c) good air ventilation, and d) low to no light.

5. Gather up loose and dislodged glass shards from broken dials and store in an archival box.

Layer between sheets of acid-free tissue to keep shards separated from each other and prevent additional breakage. Use archival tags to label matching pieces accordingly before separating.

Failing paint systems should be removed and replaced and polishing of tarnished brass components should be performed as a requirement of display. Curatorial consideration should be given as to whether some telegraphs should be repainted at all, since during inspection some appear to have had multiple painting campaigns, making the original paint scheme difficult to determine. Additionally, others or portions of others may have been polished originally and not have had a paint coating.

Further research will be needed to determine appropriate treatment options.

This collection contains a large number of artifacts in poor condition. The following immediate conservation treatment steps are based on providing a stable condition for the entire object group and prevent further deterioration of those in poor condition:

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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 heavy grease and polishing compound residues with clean cloths (heavy-duty paper towels or chemical wipes) and cotton swabs dampened with an appropriate solvent such as odorless mineral spirits.

3. 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.

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 clean away remaining residues.

5. Perform a detailed inspection of all plastic dial faces to determine appropriate short- and long-term treatment options. This should be done sooner rather than later, given that most appear to be actively deteriorating.

6. Inspect and provide stable conditions for broken glass components that remain installed within the telegraphs because they cannot be removed. To prevent the shifting of broken glass within telegraphs until such a time that they can be treated, cover broken glass with layers of acid-free tissue that has been brushed with wheat starch paste adhesive (paste sometimes can be bought from book binders or within Asian markets). Two to three layers should suffice.

7. Important Note: Test all cleaning methods mentioned above prior to full-scale application to ensure surfaces and finishes are not adversely affected.

(Left and right) Storage of the engine order telegraphs in the secure room, placed on plastic pallets on top of metal shelving units. Some of the pallets sit directly on heavy-duty cardboard boxes, which house other artifacts.

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(Left) A single band of nylon strapping provides additional protection for the telegraphs, which are laid on their sides.

(Right) An uncoated engine order telegraph made entirely of brass. Note tarnishing and mild corrosion of surfaces.

(Left) Small conchoidal fracture to glass cover from an impact. Note the deep yellow color and speckling of brown spots of the degraded plastic dial. (Right) Broken glass cover over a printed metal dial. Glass was found to move slightly when touched. Note tidelines and corrosion on right side where water infiltrated the housing at one time.

(Left and right) Severe flaking of paint, and corrosion of the metals are conditions that categorize this telegraph as poor.

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(Left and right) An engine order telegraph in poor condition, with considerable flaking of paint and severe discoloration of the plastic dial face. One of the housings for the dial face is bent away from the stand, as seen on the right.

(Left) This telegraph is missing a dial face. (Right) Broken dial face on a telegraph. The plastic bag next to the telegraph holds the broken shards of the face.

(Left) Heavy soiling and accretions. (Right) Deformation of metal at the base.

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(Left) Duct tape on paint finishes. (Right) Tarnishing and corrosion of exposed brass components, and a crack running through the glass cover.

(Left) Exposed brass with greasy accrections, tarnishing and corrosion. (Right) Heavy layer of paint with noticeable drip marks.

(Left) Three telegraphs stored on a plastic pallet. Note single band of nylon strapping providing added protection, and the close proximatity of telegraphs to each other. (Right) Heavy iron corrosion and deterioration of paint finishes at the base of a telegraph. Corrosion appears to be non-active, having formed as the result of a moist environment prior to storage within the secure room.

64 MARAD HERITAGE ASSETS CONSERVATION SURVEY AND REPORT

OBJECT GROUP Guns and Pistols

NUMBER OF ITEMS 4

The collection of guns and pistols is small, with only four items. It includes one line-throwing pistol and three flare guns. The pistol, which has a long barrel and a pistol grip and trigger, is made of steel, except for the grip and barrel handle, which are stained wood. The blue-black appearance of the steel appears to be bluing, which is a protective finish against rust. The three flare guns are made of steel with plastic grips. The steel has a black paint finish along the spine and back of the barrel; the rest is exposed metal.

The collection is in very good to fair condition; no items were found to be in poor condition. The line-throwing pistol is considered to be in the best condition, with minimal corrosion and a minor loss at the base of the wooden handle. The bluing finish is not continuous, with some loss, but this does not diminish the overall aesthetic of the pistol. Minor to moderate corrosion can be found on the flare guns, with moderate loss of the black finishes, greasy accretions and residues, and labels stuck on surfaces. One pistol has clear tape wrapped around the end of its barrel, while the exposed steel of another has a mottled appearance from mild corrosion that has formed in conjunction with the creasing and folding pattern of where tape adhesive was in contact with surfaces.

The four artifacts are stored on metal shelving lined with Ethafoam sheeting, located in the middle of the secure room. No dust covers are provided.

1. Wrap the guns and pistols loosely in archival packing materials such as acid-free tissue to improve ventilation of any volatile compounds that the material may emit. (Ideally, the guns and pistols should be stored within archival trays cushioned with acid-free tissue and inert foam material, but due to lack of space, this may not be possible.)

2. To slow the degradation of the Bakelite grips, store guns under the environmental conditions of a) a cooler room temperature of 60°F, b) a relative humidity of around 40%, c) good air ventilation, and d) low to no light.

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

4. Given that these are guns/pistols, consider providing locked storage for these items (such as a gun safe).

The collection is in relatively good condition and does not require any major conservation efforts at this time. Existing conditions are stable; there is no scaling, flaking, or pitting. As long as the artifacts are kept in a clean and dry environment, the metal and wood surfaces should remain unchanging. (Recommendations for plastic components are above under storage.)

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The more immediate recommendations are as follows:

1. Undertake general cleaning of the collection prior to providing additional storage protection.

Do this by removing any loose dirt and dust with a soft bristle brush. 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. Vacuum away any residues with an adjustable powered HEPA vacuum, brushing the dust towards the nozzle.

2. Perform spot cleaning to remove any greasy or oily accretions from the metal components.

Use cotton swabs dampened with mineral spirits, replacing as they become soiled. This will also avoid scratching the surface with accumulated grime and any loosened corrosion products. Wipe dry with a clean cotton cloth. Conduct testing to ensure that solvent cleaning does not damage surfaces or finishes, such as the bluing on the steel, and protect wooden components during spot cleaning.

3. Remove clear tape wrapped around barrel of gun. Clean with appropriate solvent as described above to remove tape adhesive residues. The tape may be holding components together; prior to removal, ensure that procedures do not create any unstable conditions for the artifact.

4. Remove the remaining 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 clean away remaining residues.

(Left) The collection of guns and pistols, with three flare guns and one line-throwing pistol. (Left) The pistol appears to have a bluing finish. The label should be removed from the barrel to prevent deterioration of the finish.

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(Left) A flare-gun with clear tape wrapped around the end of its barrel, mild corrosion on steel components, general soiling, and loss of paint finishes. In spite of this, the gun is considered to be in good condition. (Right) This flare gun would benefit from a thorough and in-depth cleaning to remove the existing mottled appearance, which detracts from its overall aesthetic. The remnants of labels should also be removed to prevent further corrosion of surfaces.

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OBJECT GROUP Life Ring Buoys

NUMBER OF ITEMS 52

There are six types of life rings of buoyant material: 1) soft foam with a paint finish; 2) hard foam with a paint finish, 3) foam with a hard-shell painted finish; 4) foam core and painted hard outer layer made of a wrapping of either fiberglass or canvas; 5) hard colored plastic; and 6) hard plastic with a paint finish. All types are fluorescent orange in color, and most have silver metallic reflective tape applied around the body of the buoy at four evenly spaced points. Hard plastic floating water lights are attached to several of the buoys, and all of the buoys have ropes made of either fiber or nylon. The black stencil-applied letters are both spray and hand painted. Small brass manufacturer’s plaques can be found attached directly to some of the buoys. Several of the buoys have nylon webbing beckets; two have canvas webbing. It should be noted that the inner foam used for most of the buoys appears to be polyurethane.

The buoys range from excellent to poor condition, with the majority falling somewhere in the middle, between fair and very good. The hard plastic buoys tend to be in better overall condition, given the resiliency of their material, while the soft foam buoys exhibit the greatest amount of deterioration. The buoys in the poorest condition have multiple tears as well as peeling and cracking paint. One buoy has a large loss, approximately 4” x 6”, exposing its inner foam core. Most of the applied reflective tapes have sticky surface residues and a yellowed discoloration, indicating that they are actively deteriorating. Additionally, the reflective carrier portion of the tape can be seen separating from the adhesive side of the tape on some of the rings.

Surface dirt and grime can be found on all of the buoys, with several exhibiting heavy soiling and accretions, including paint splatters and labels. Their storage has promoted certain conditional issues, such as distinct rope and reflective tape impressions on the surface of the buoys (especially those that are not hard plastic). A few buoys have faint stenciled writing on the back side, most likely a result of transfer from resting directly on another buoy. The brass manufacturer’s plaques are often corroded or overpainted.

The collection of life ring buoys is stored inside four oversized cardboard boxes, stacked both vertically and horizontally in order to fit the maximum amount of buoys within each box. The buoys with water lights are stacked vertically, usually at the bottom of the pile, with the lights in the center. The ropes are often tangled together, overlapping with other buoys. The cardboard boxes, three of which have lids, do not appear to be archival. They rest on top of plastic pallets placed on metal shelving; one box is on the concrete floor, also elevated by a pallet.

1. Repackage collection to reduce the number of life ring buoys stored together in one box, given that the weight is contributing to some of the damage observed.

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2. Provide an archival-safe chemically stable material such as an acid-free box to pack the life ring buoys, interleaving with 4-mil polyethylene sheeting between layers to keep the buoys from touching one another. This will help to prevent the impression and transfer of residues from deteriorating reflective tape and stenciled letters from one buoy to another.

3. Store buoys so that the ropes are not pinned between rings. Do this by cushioning with archival-quality foam material as necessary to prevent the ropes from pressing against and forming impressions on the body of the buoy.

4. To slow the degradation of the synthetic materials (foam, plastic, rubberized paint) used in this…