Carnegie Museum of Natural History

One of the Four Carnegie Museums of Pittsburgh

Collection Care and Conservation

by

Risk Assessment, or how to keep your collection intact

By Gretchen Anderson, Conservator, and  Suzanne B. McLaren, Chair of Collections

What are the risks to a museum’s collection?  

specimen in a box with partially eaten label

Figure 1: The risks of damage are varied. This photograph illustrates the potential risk of loss of data. The label has been partially eaten by silverfish, damaging not only the paper but ingesting the all-important data about this specific specimen.  

The museum is currently engaged in a two-year Risk Assessment process funded by a grant from the Institute of Museum and Library Services (IMLS). We are reviewing a spectrum of potential risks to our collections. This includes everything from fire and water damage to earthquake and pest damage that could affect the Museum’s more than twenty million specimens and objects, both behind the scenes and on exhibit.

Forty staff members from across the museum attended a weeklong workshop led by our consultant, Rob Waller of Protect Heritage, who has been refining a model of how to quantify risks for more than twenty-five years. This was meant to get us all on the same page when we begin to focus on our individual collections.  The workshop offered everyone a chance to see and talk about their individual collections. For most of us, we call this fun. This gave each of us an appreciation for risks to distinct types of collection material. The risk for stone and metal will be quite different than the risk for organic material like birds and plants.

researchers around a table

Figure 2: Curators, collection managers, curatorial assistants, educators, exhibits staff, engineers, maintenance and security staff attended the workshop.

researchers looking at computer

Figure 3: The workshop had several days of small group interaction. Here Vertebrate Paleontology Collection Technician Linsly Church, Anthropology Collection Manager Deborah Harding, Collection Associate Marion Burgwin and Minerals Collection Manager Debra Wilson discuss definitions of risk.

We hired Collection Associate Marion Burgwin to work with various staff members on gathering quantitative information on risk from each collection. Collections are divided into twenty-nine units, based on scientific discipline, preservation type and primary use. For example, the Bird collection has four units: study skins & skeletons, nests & eggs, taxidermy, and fluid collections. It is detailed and tedious work – but Marion also gets to see all the cool collections.

researchers looking at specimens

Figure 4: Birds Collection Manager Steve Rogers and Collection Associate Marion Burgwin viewing a collection of bird wings. Burgwin is entering the data directly into the Preservation Heritage Data Base.

Nearly one year into the project, Conservator Gretchen Anderson and Chair of Collections Suzanne McLaren had the good fortune to present the project and network with colleagues at the annual conference of the Society for the Preservation of Natural History Collections in New Zealand.  Sharing information like this is an important aspect of the support we receive from agencies like IMLS.

two researchers and their poster

Figure 5: McLaren and Anderson with the Risk Assessment poster at the 2018 SPNHC annual conference, Dunedin New Zealand.  

yellow-eyed penguin

Figure 6: A New Zealand native  – a highly endangered yellow-eyed penguin.

 

 

Gretchen Anderson is a conservator and the head of the Section of Conservation and Suzanne McLaren is the collection manager for the Section of Mammals at Carnegie Museum of Natural History. Museum employees are encouraged to blog about their unique experiences and knowledge gained from working at the museum.

by

5 Surprising Conservation Facts

cleaning a panda diorama

by Kathleen Bodenlos

Gretchen Anderson is a conservator at Carnegie Museum of Natural History. She is restoring a panda diorama that will be prominently placed in our newly renovated gift shop. (Stay tuned for more on the gift shop in the next few weeks).

Here are 5 surprising things about conservation of a diorama.
1. Less is more: Use as few chemicals as possible

  • Soot sponges, water, and vacuums are the top
    choices in lieu of harsh chemicals. Water is one of the most powerful solvents!
  • Gretchen begins with a fan brush and a HEPA (high-efficiency particulate air filter) vacuum to remove as much dust and arsenic traces as possible.
  • She is wearing a protective face mask and gloves to protect herself from any arsenic that might be stirred up.
  • Soot sponges are a rubber sponge designed to absorb soot and are used dry. Another handy tool is a makeup sponge. A make-up sponge is used when just a little tiny bit of water is needed to move the dirt.
  • Particulate dust (dust, dirt and soot) is extremely damaging to museum collections. It is best to remove it.
sponge covered in dust

2. Some conservationists also do a little restoration on paint

  •  When in doubt go lighter to match a color
  • Think impressionism and mottle with several colors if possible. A good example is the natural colors on a rock.
restored panda diorama

3. Move ‘em up and head ’em out—RAWHIDE!

  • For many older dioramas, the skin of the animal is literally a raw hide. They are often treated with arsenic to keep the hide from becoming infested with insects and being eaten/damaged
  • Mercury, and other pesticides were also used to prevent insect attack on some museum collections.
  • A sealed exhibit case helps to keep the diorama safe from damage. Dust and insects are kept out. If there are any pesticides inside the case these are kept in – protecting the public.
  • Plant material
    ·  Not all of it is fake. Some of the actual plant materials are painted to make them look alive
    ·  Even a non-expert can discern what is fake and what is real upon close examination
  •  Save money—use less
    ·  When washing clothes the soap is to keep dirt from settling back on clothes
    ·  Agitation and water are the real cleaner
    ·  Use 1/3 less soap and your clothes will be clean
    and you will ensure that all the soap is removed which will help protect your
    skin

Kathleen Bodenlos is the Director of Marketing at Carnegie Museum of Natural History. Museum employees are encouraged to write about their unique experiences.

by

Remembering Restoration

Grand Staircase muralHave you ever noticed two dark squares in the mural on Carnegie Museum of Natural History’s grand staircase?

When you’re taking in the grandeur of three stories of paintings that make up The Crowning of Labor mural the squares are easy to miss.

In the small squares, the paintings colors are darker and less vibrant because they’re covered in a thick layer of soot – a relic from Pittsburgh’s smoggy past.

Pittsburgh was famous for its bad air quality, a result of steel mills that made the city prosperous for decades.  Their effects were known to blacken school children’s white uniforms, the façade of buildings, and even art. The entire mural was dark and obscured by soot until it was restored in 1995, by a team of Carnegie art conservators.

The conservators left a small piece of unrestored painting on the second and third floors, as a reminder of Pittsburgh’s past and of the work it took to preserve this amazing piece of art.