Tag Archive for 'storage'

Regional Services Internship: The Manning Valley Museum

Photography by Marsha Rennie

Manning Valley Historical Society Museum. Photography by Marsha Rennie

The Manning Valley Museum was established in 1964 through the incredible foresight and hard work of local farming women. They literally drove around on the back of a ute from farm to farm calling for locals to empty their sheds! In 1966 the Society moved into what was previously a General Store first established in 1871 by the Duff family in which to house the museum collection. They did not have any museum skills but had a real passion for their community. Today the museum still operates without a Curator and the volunteers are much the same, coming with various experiences to work with a passion for preserving the history and objects within the walls of the old store.

As the textile ‘custodian’ of the Manning Valley Historical Societies Museum, I was delighted to be accepted, along with my colleague Mieke Van Werdt for a Powerhouse Museum Internship. I certainly had no idea what to expect and I was soon to learn the breadth of skills I could acquire and the capacity of a 5-day program to transform every aspect within our Regional museum.

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The art of box making. Photography by Marsha Rennie

The first day brought lessons in paper conservation with Margaret Jurasek. Paper conservation?? What would a textile manager possibly learn from a Paper Conservator? I was impressed to learn the importance of simple sand bags when displaying books and picked up a variety of skills from making mylar mounts and folders to the ‘art’ of box making – not just any lidded box but the hinged, foam lined, cotton tape enclosing, photo labelled type! Necessary skills for a textile volunteer in a low budget regional museum.

Across the room, I met the talented Gosia Dudek who shared with us the magic of building displays using simple ‘pins’, silicon tube and fishing line! She gave me real skills for presenting professional displays securely. Whilst in the conservation lab, we also learnt to absolutely not rub any preparation into our leather and timber objects. This is a revelation for decades of well-meaning volunteers everywhere armed with Mr Sheen or linseed oil!

Range of tools required by Conservators to build displays. Photography by Marsha Rennie

Range of tools required by Conservators to build displays. Photography by Marsha Rennie

In the basement, I not only got to visually feast on the collection but observe real storage solutions for our Manning Valley Museum. This rack on castors would be the ideal answer to our dilemma of storing large garment boxes in our back workroom. It would allow extra storage whilst being able to easily access our permanent shelving too small for garments.

Photography by Marsha Rennie

Photography by Marsha Rennie

Even when not actively engaged in a ‘lesson’ – opportunities to professionally ‘develop’ abounded. Just wandering through the ‘transit’ area and examining the Powerhouse Museum curators wish list items gave me reason to reflect upon our own accessioning choices now and into the future.

Anni Turnbull the Social History Curator, was the fresh set of eyes I needed to immediately see the opportunity to breathe life into our SES exhibit- a corner of our museum that had seemed like just another collection of objects. It was suggested that we dig up old newspaper articles of rescues that had been carried out by the men who had used the equipment.

Photography by Marsha Rennie

Photography by Marsha Rennie

Both Anni and Diana Lorentz explored the undeveloped potential of our museum to represent the story of our buildings history and this was best demonstrated by exploring the Powerhouse’s “What’s in store?” exhibit. Diana and Malcolm McKernan also helped me develop a strategy to highlight significant objects amongst our ‘clutter’, improve our signage and explore the potential for storage to be developed on the exhibit floor itself.

The internship surpassed all expectations. It was a pleasure and an inspiration to meet so many passionate and generous professionals giving freely of their time and knowledge to enhance our humble regional museum.

Marsha Rennie
Manning Valley Historical Society Volunteer

Conservator’s Corner- Preserving the Cyril Ruwald Collection

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Drawing by Cyril Ruwald. Collection; Powerhouse Museum

We have received funding for a project called TAM (Total Asset Management). The project focuses on our collection, rather than on exhibitions. The objective is to preserve, document and manage the collection so that it can be made more widely accessible.

One component of the project that is nearing completion is the rehousing of the Cyril Ruwald Collection. It consists of 1424 architectural plans and drawings including diazo prints, pencil and ink drawings, blueprints, negative photo-prints and monochrome photographs.

Cyril Christian Ruwald (1895-1959), was one of several architects who designed hotels for Tooth & Co during the 1930s and 1940s. He was instrumental in adapting the streamlined horizontal look of European modernism to hotel design. The collection is regularly viewed for research.

The project involved the following steps:

 

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Photography by Chris Brothers © Powerhouse Museum, all rights reserved.

Step 1: Rehousing – the collection, donated to the PHM in 1990, was originally housed in four large storage boxes, with 350 items per box. It was in poor condition, overall, primarily due to poor storage.

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Photography Powerhouse Museum © all rights reserved

Step 2: Photography – digital conservation photography of the Ruwald collection has now provided greater access to conservators, staff and clients. Conservation photography clearly documents all aspects of an object so that conservation staff can accurately report its condition. With items from this collection, photographs are taken of the front and back of each, and prints are made of those requiring conservation and condition reports, as well as after-conservation shots.

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Cyril Ruwald. Collection; Powerhouse Museum

The images were shot with a Canon 30D, EF 28-135mm lens and Elinchrom soft box studio lights. Studio lights are set at 45 degrees and equidistant from the subject, to provide flat and even illumination. Digital RAW originals of each of the images are kept – then using Photoshop CS3, they are resized to jpgs and the object identification number is added to each image, for uploading to our Collection Database K-EMu.

Step 3: Preservation – the individual requirements of each item were assessed and more fragile items, including blueprints and drawings on tracing paper etc., are interleaved with archive text, placed in Mylar sleeves or supported with archival backing boards as required.

A condition report is written for each item and the photographs are annotated to indicate areas of damage and deterioration. Drawings treated, so far, have had large tears, missing pieces, been stuck together, and tackiness and staining from adhesive tape. The drawings on tracing paper have been the most fragile and damaged.

They were carefully separated from each other and from any interleaving tissue between them. Tape, staining and tackiness, and fragments of paper from other drawings, were removed by swabbing with a cotton bud with petroleum spirits and lifting off with a scalpel. Fragments of paper were matched with holes and gaps in the drawings. Creases and folds were removed one by one by swabbing with a cotton bud dampened with di-ionised water, burnishing with a bone folder over a piece of Mylar, and pressing under weights.

Tears were repaired and missing pieces of paper re-attached. Tracing paper is a difficult material to work with because it cockles when it is wet, so two methods of sticking the paper together have been tested – dryish starch paste and Japanese tissue, or small strips of heat set tissue. The first method seems the best – it is stronger, despite the threat of cockling, and the heatset tissue does not stick as well to the tracing paper, so the first method will be used for future repairs on this collection.

 

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Photography by Powerhouse Museum © all rights reserved

The Ruwald collection has now been relocated to a new 23 drawer storage cabinet designed specifically for the flat storage of plans and drawings. The cabinet, made of zinc coated steel finished with a high quality powder coating, has perforated drawers allowing for ventilation of the works.

It is hoped that with the photographs available online, there will be less need to access the original drawings, reducing wear and tear on the original objects.

Following the family tradition, Cyril Ruwald’s grand daughter, Monica Earl, a Sydney Uni architecture student, recently won the Australian Institute of Architects NSW Design Medal for her redesign of Belmore Park.