An Introduction toConservation at MOA

Nikita Johnston, UBC Museum of Anthropology Intern2012This Conservation Handbook is intended to provide thevolunteers at the UBC Museum of Anthropology (MOA) with abasic understanding of conservation. It will briefly discuss key
themes, concepts and practices of conservation as well as
focus on some of the specific questions you may have about
conservation at MOA.

Table of Contents
What is conservation? ........................................................... 3
Documentation ........................................................... 3
Preventive Conservation ............................................. 3
Treatment ................................................................... 4

1

Research ...................................................................... 4
The Museum Environment .................................................... 5
Light............................................................................. 5
Relative Humidity ........................................................ 7
Temperature ............................................................... 8
Air Quality ................................................................... 9
Dust ........................................................................... 10
Pests .......................................................................... 11
Handling & Mounts .............................................................. 15
Mounts for Totem Poles and Cedar Carvings ................... 18
Objects on Display ............................................................... 19
Rotation .................................................................... 19
Cleaning..................................................................... 19
Preserving our Unique Collections .................................... 20
Who decides what is conserved?.............................. 20
Preservation of Totem Poles and Large Cedar
Carvings ..................................................................... 21
Preservation Problems (Outside) .............................. 22
Preservation Problems (Inside) ................................. 25

Glossary................................................................................ 27
For More Information: .......................................................... 28
Bibliography ......................................................................... 29

2

What is conservation?
The Canadian Association for Conservation (CAC/CAPC 2009)
defines conservation as:

3“All actions aimed at the safeguarding of cultural property for the
future. The purpose of conservation is to study, record, retain andrestore culturally significant qualities of the cultural property as
embodied in its physical and chemical nature, with the least possible
intervention. Conservation includes the following: examination,
documentation, preventive conservation, preservation, treatment,
restoration and reconstruction.”

The conservation staff at MOA are responsible forsafeguarding the Museum's collections and ensuring theirlong-term preservation through both damage prevention andtreatment. Conservators at MOA focus on four main areas ofcollections care and management:
Documentation
This involves recording all
treatments, cleaning or repairs
performed on an object using
standardized condition andtreatment reports andphotography.
Basket photographed with ascale and colour checker.
Ba
Preventive
Conservation

Preventive Conservation involves maintaining an environmentthat will stop, or at the very least, slow down the deterioration

of objects. To do this, conservators monitor and control suchfactors as light, air pollution, humidity and temperature.
Additionally it involves minimizing damage to objects causedby pests.
Treatment
Any method of direct intervention performed when thedeterioration of an object cannot be stopped or slowed using
external measures (i.e. preventive conservation), or theconceptual or artistic integrity can no longer be appreciateddue to a high degree of loss. Treatment may involve
stabilization, repair, or in extreme cases restoration.
Treatments are cumulative, meaning that with each additional
treatment alterations or changes to the piece increase in
number, for this reason there is an ethical obligation tominimize the number of treatments performed, as every
additional treatment takes the object further away from its
original state.
Research
An often overlooked aspect of conservation, research
conducted by conservators may include:






Developing new forms of treatment.
Testing materials used in treatment, storage or display forsuitability and to ensure that they do not produce
dangerous by-products.
Testing conducted to better understand the mechanism ofdeterioration
Identification, such as in the analysis of paint samples fortheir chemical components to determine whether the paintis a historical or modern product.

4

The Museum Environment
Light

5

Fading, darkening, yellowing, embrittlement, stiffening andother chemical and physical changes can all be caused bylight. Light damage is accumulative and irreversible, althoughdamage can be stopped by removing an object from the lightsource.
Certain colours, dyes, or paints are
particularly susceptible to fading.
These are referred to as fugitive
colours, dyes or inks. Notice thecolours on the surface of a basketlid (top left) that has been kept outof the light, compared to its exterior
surface, which has been exposed
to light while on display (bottom
left). You will notice that the purple
figure has almost completely
disappeared on the outside
surface.

Light can also be extremely
damaging to the overall stability ofanobject. Deterioration caused by
Woven basket showing
extensive light damage on thelight includes accelerated aging as
exterior surface of the lid.
well as a weakening of themolecular structure. This is very
common in textiles and paper objects. Light is also a catalyst
for chemical reactions which can increase deterioration.

It is important to be aware of the types of objects that are lightsensitive. Light sensitive objects include: inks, paper,
photographs, watercolours, feathers, furs, leathers and skins.
A rule which conservators must always consider every time an
object is exposed to light for display or research purposes isknown as the Reciprocity Law, which states:“Low light levels for extended periods cause as much damage ashigh light levels for brief periods.”

In order to preserve the collections in storage and on display,conservation staff monitor the light levels (using a light meter),and control the amount of light used to illuminate objects inorder to limit the damaging effects of light. Additionally forobjects on display, conservators rotate (i.e. remove fromdisplay for a period of time) those that are particularly lightsensitive.
The visible storage located in the MVG is particularly
challenging for conservators at MOA. Most museums have
objects on continuous rotations, rarely having objects onpermanent display.
The Multiversity Galleries at MOA are unique in that theobjects housed in the exhibit cases are permanently on
display. These objects are illuminated, from 6:00 am to 7:00
pm for the 20-30 years of their exhibit lifetime. It is therefore
the job of conservators at MOA to continuously monitor theeffects of light on these collections and assess their condition.
Objects that are sensitive to light are rotated on a yearly basis.

6

Relative Humidity
Relative Humidity or RH is the amount of moisture present in
the air at a specific temperature compared to how muchmoisture the air could hold when saturated. RH is expressed
as a percentage.

7

Sources that can affect changes in RH include exterior
humidity levels, rain, bodies of water, pipe systems, wetmopping and even people.
Incorrect or widely fluctuating RH is implicated in thedeterioration of almost every material type including bothorganic and inorganic objects. Organic objects sensitive tochanges in RH are called hygroscopic.
High levels of RH may cause anincrease in chemical reactions, asmany chemical reactions requirewater. High RH can lead tocorrosion in metal objects,
efflorescence on ceramics or glass,and mold growth on organic
objects. High RH levels have also
been implicated in increased insect
and pest activity.

Haida pot (1441/1)
showing active corrosion.

Extremely low RH levels can cause shrinking, cracking, andwarping in wood and ivory. Low RH may also cause stiffening
or flaking of paint, photographic surfaces and adhesives. Low
RH can also lead to the desiccation of plant material such asthat used in basketry.

Rapidly fluctuating RH levels will cause hygroscopic materials
to swell and contract as the water content changes. These
dimensional changes will eventually lead to damage anddeterioration.
Different material types preserve better at different levels of
RH but a standard RH has been set for general museums with
mixed collections: 50% RH with fluctuations of 5% either way(i.e. 45%-55% RH). For collections of metal objects, a lower
RH around or below 30% is ideal, as this will control thedevelopment of corrosion.
Conservators at MOA used silica gel, a material that acts as ahumidity buffer, which will add or release moisture to maintaina desired RH. You may have seen small boxes of silica insome of the drawers containing metal objects in theMultiversity Galleries. This has been done to help lower the RH
levels to protect these objects from the effects of corrosion.
To learn more about silica gel and its uses refer to: CCI Technical Bulletin 10: Silica Gel

Temperature
Extremes in temperature and rapid fluctuations can directly
affect collections in a number of ways.
Higher temperatures cause chemical reactions to increase. In
particular paper and photographs as well as early plastic arevery susceptible to high temperatures, which will cause
increased deterioration.
A rule of thumb when dealing with temperature is that chemical
reactions double with every increase of 10oC.

8Warmer temperatures promote increases in biological activity.
Insects will consume more and breed more quickly. Mold will
also grow at increased rates within certain temperature ranges.
Higher temperatures can also cause certain materials tosoften, or adhesive and lacquers to fail or become viscous.

9

Recommended conditions in museum spaces where visitor orstaff comfort is a factor is 18-20oC, with minimal fluctuations(i.e. +/- 2oC). However maintaining a temperature between 1525oC is the acceptable standard for general museums with
mixed collections. In areas such as storage rooms, where the
comfort of staff is less of a concern temperatures can be kept
at lower levels, although maintained above freezing.
Most material types do well at lower temperatures however
certain materials such as plastics, modern paints and coatings
may become stiff or brittle as temperatures decrease.
Air Quality
Deterioration caused from impurities or pollutants in the air canbe extremely damaging to collections. These pollutants comefrom contaminants produced both inside and outside themuseum.
Main culprits include: Sulphur dioxide, hydrogen sulfide and nitrogen dioxide fromindustrial pollution, the burning of fossil fuels, and car
exhaust.
 Formaldehyde, formic and acetic acid from a variety of
construction materials.
 Ozone from photocopiers and printers.
These gaseous pollutants are reactive chemicals that can
attack objects within the museum’s collections. For example,
when sulfur or nitrogen compounds are combined withmoisture (e.g. due to incorrect or high levels of RH) they form

sulfuric and nitric acids which cause deterioration in a varietyof objects.
Indoor air pollutants mainly come from building materials
including: wood and wood by-products (e.g. plywood), fabrics,
carpeting, glues, paints, varnishes, and cleaning products. It is
for this reason that materials used in the construction ofstorage and display cases and cabinets at MOA are
extensively tested, to ensure that they do not off-gas harmful
pollutants.
One way the conservators at MOA deal with damaging
pollutants is by placing activated carbon among objects known
to off-gas. Activated carbon is a pollutant scavenger that has amolecular structure that traps damaging off-gases. You may
have noticed small boxes containing activated carbon in someof the drawers in the MVG.
Dust
Far more obvious than gaseous pollutants are particulate
pollutants or dust. Quickly recognizable, dust can cause anumber of problems.
Particulate pollutants or dust are solid particles suspended in
the air and come from both indoor and outdoor sources.
Common pollutants are: dirt (including silica particles), soot,ash, skin cells, pollen and grease.
Silica particles can be extremely damaging as they areabrasive and can scratch or abrade the surface of an object.
Particulates like pollen, and skin cells can be attractive topests, as a food source.
Dust is also dangerous for collections because it can attract
moisture and gaseous pollutants to the surface of objects,

10which can allow for chemical reactions (noted above) to occur
directly on an object.
Pests

11

Pests in museums that can cause damage to collections arecalled biological agents and include: insects, fungi andvertebrates such as mice and birds. Damage caused by thesebiological agents are results of their feeding or nesting
behaviour. Additionally certain types of pests may attract othertypes by providing a food source, or an ideal habitat. Examples
include mold-attracting insect activity, or the nests ofvertebrates creating an ideal habitat for breeding insects.
Organic objects in collections are directly affected by pests.
Pest populations within museums are controlled and monitored
through an Integrated Pest Management program (IPM).
These programs provide strategies for controlling andmonitoring pest populations. This may include:
1.

2.
3.
4.

Controlling environmental factors to ensure that they
are not desirable to pests. For example, cooling aroom to below 15oC is often effective in slowing or
stopping the growth, feeding, and breeding of insects.
Establishing good housekeeping practices andbuilding maintenance.
Placing traps around the storage and display areas tohelp monitor and track pest activity.
Establishing food and drink free zones in any space inwhich collections are housed either for storage ordisplay.

There are a variety of pests which are extremely damaging tocollections. Some common pests, and those occasionally dealt
with by conservators at MOA include:Carpet beetles in the larvae
stage of their lifecycle feed ona variety of materials including:fur, feathers, wool, hair, andskins. The larvae are hairy inappearance and leave casingsas they grow into adulthood.

An adult Carpet beetle(Anthrenus), note the indicative
grey and gold scales.

Clothes moths in the larvae stage of their lifecycle feed
primarily on soiled woolens, but are also known to feed onsilk, felt, fur, feathers, and hairs. They feed or graze on thesurface of the material infested.

Example of an adult casebearing (Tinea pellionella)clothes moth.

Example of a cocoon spunby the larvae of the casebearing clothes moth.

Clothes moth casings
found in a hide and fabricdoll after freezing.

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Molds are fungi that can cause extensive damage and evendisintegration of organic materials. They are also attractive tocertain insect species which feed on fungi.

13

Silverfish will consume fabrics,
paper, glue and paste in bookbindings. As omnivores they will
eat both protein based materials
as well as cellulose. They preferenvironments that are dark anddamp.

Example of an adultsilverfish (CCI 2012).

Spiders, although they are the most visible of the insects thatcan be found in museums they are not directly damaging tocollections (other than causing some modest soiling), and arereferred to as a non-pest insect. Their presence is indicative ofother insect pest activity.
Woodboring beetles including
the furniture beetle and thepowder post beetle are some of
the most destructive pests. In
the larvae stage of their lifecycle
these insects feed on wood andExample of an adultgiven enough time, can reduce it
furniture beetle (CCI 2012).
to a mass of fine powder. The
presence of the furniture beetle only becomes apparent after
2-3 years when they emerge from the wood as adults, leaving
behind an indicative pin hole opening in the object. The larvaeof the powder post beetle however, leave an indicative fine
powder around the object damaged. Similarly the adult powder
post beetle will also leave an exit hole in the damaged object

Past treatments for objects infested with pests has included
the use of pesticides containing toxic and poisonous
substances such as arsenic and mercury. Today the use ofpesticides as a type of treatment is avoided as it has beenfound that heavy metals used in this historic form of treatment
continues to pose a health risk, even decades later.
To learn more about heavy metals in collections see:
 CCI Notes 1/7 Mercury in Museum Collections
 CCI Notes 1/8 Lead in Museum Collections andHeritage Buildings

Today conservators at MOA use freezing to treat insect
infestation, a form of treatment that became popular in the
1990s. Most museum insect pests must be cooled to well
below 0oC to completely kill the insect population in areasonable amount of time.
Freezers with a temperature range of -30 oC to -40 oC are ideal
for museum use. At MOA the protocol is freezing at -30oC for
two weeks.
To learn more about freezing as a treatment for pests see:
 CCI Notes 3/3 Controlling Insect Pests with Low
Temperature
 NPS Conserve O Gram Number 3/6 An Insect an Pest
Control Procedure: The Freezing Process

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Handling & Mounts
Equally important to protecting objects from the detrimental
effects of the museum environment is ensuring they haveadequate physical protection through safe handlingprocedures. Proper handling is essential for preservation.
Objects should as a rule be handled as little as possible, andshould only be handled in safe and clean environments.

15

One way that conservators at MOA insure that objects aresafely handled is through theconstruction and use of object
mounts. Mounts are designed andconstructed of inert conservation
grade materials that are known to besafe and not produce harmful offgases. They use gentle pressure to
hold objects in place without causing
Example of a MOA object
damage.
in a black tray mount withupright supports.

The black foam trays used in themultiversity galleries provide proper support to the objects andallow them to be moved from one location to the next, and tobe handled by researchers without being touched directly.
These black tray mounts also
provide added stability during aseismic event, and even limit
damaging vibrations caused by
the opening and closing of thedrawers in the MVG.

Example of a MOA object in a
black tray mount using a sinking
technique.

White tray mounts or Hospital mounts can also be found in the
MVG. Serving a similar purpose to the black trays, thesemounts are used to safely contain damaged or deteriorated
objects without using a pressurefit. The white lining also allows
conservators to easily see any
additional loss of material.
Earthquake mitigation is anotherimportant aspect of conservation
at MOA. Conservators must devise
Example of a white tray
ways to safeguard collections frommount, using the sinkdamage caused by earthquakes
technique for a fragilethat are not harmful or damaging
piece of basketry.
to the objects in storage and on
display and that does not interfere with visitors’ appreciation of
the pieces.
Masks hung in the galleries have individually fitted brass
mounts which utilize previously existing holes to provide proper
support.

Example of mask mounted on arigid brass mount.

16

17

Objects on shelves that are nonporous such as fine ceramics,
glass, and metal pieces, and do not
sit in black trays or individuallydesigned mounts, are waxed downusing a clear utility wax. The wax is
a reversible method of stabilizing
the objects in the cases during aseismic event.

Small bead of utility wax
placed on the base of alarge ceramic jar that sitson glass shelf in Malaysiandisplay case in MVG.

Mounts for Totem Poles and Cedar Carvings
All the totem poles and cedar carvings housed inside
MOA and outside on the grounds are secured using
individually made mounts, providing stability andprotection in the case of a seismic event. Objects andcarvings are never altered to fit a support; the support isalways built around the object, using existing openings tosecure the mount. Mounts are specific to individual polesas the design is dependent not only on the condition of
the pole but also on the individual features of the pole.
Conservators at MOA worked alongside mount-makers todetermine the best type of mount for each piece.
Wood carvings mounted outside are placed in the groundwith loose stones around the base to increase waterdrainage and limit vegetation growth. Wood carvings
should never be set in concrete as this will limit waterdrainage, which can speed deterioration. Additionally as
the wood swells and contracts with the changes in theweather the concrete will prevent this natural movementfrom occurring and the carving may suffer damage.

One type of support used for the outdoor totem poles.

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Objects on Display
Rotation

19

Only objects determined to be stable enough to sustain display
are put out in the galleries. Certain objects, although stableenough to be on display, are still sensitive to certain
environmental conditions such as light. Objects withsensitivities are put on a rotation schedule.
Textile and paper objects are rotated most often. Objects thatare extremely light sensitive are placed in drawers where they
are and exposed to light less frequently than those placed in
the display cases.
Cleaning
Cleaning is an important component of preventive
conservation and a regular task for collections staff. Cleaning
can involve simple dry procedures such as brushing andvacuuming to remove dust, or may involve the use of solvents.
However before any cleaning is done two questions must be
asked:
1. Does cleaning truly need to be done?
2. If so, how far should it go?

Preserving our Unique Collections
Who decides what is conserved?
Conservation treatments performed on objects at MOA are
primarily exhibit driven. This means that objects that are
intended to go on display in upcoming exhibits are placed at
the top of the list for examination and, if required, repair andtreatment.
In addition objects going away on loan receive top
conservation priority, to ensure that they are in their best
condition prior to departing MOA. Similarly, new acquisitions
may undergo treatment prior to being put away in permanentstorage.
Objects that have suffered damage are also treated on a caseby case basis, particularly if they are objects that are out on
display.
There is a practical consideration to be made in terms of theneed for immediate treatment. Damaged or deteriorating
objects that are not immediately required for research, loans ordisplay, and are in stable condition are documented andtreated once objects requiring immediate attention are looked
after.
It is important to note that the majority of a conservator’s time
(approximately 90%) is spent doing preventive conservation,
as it is far more economical to prevent damage than repair it.

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Preservation of Totem Poles and Large Cedar Carvings

21
Images showing theremoval of organic
matter using wooden
picks so as not todamage the surface.

One of the most recognized features at MOA are the beautiful
totem poles and cedar carvings that stand both inside andoutside the Great Hall.
Conservators at MOA have established a yearly maintenanceprogram to help in the preservation of the outdoor poles andcedar carvings. A major component of this program is theremoval of organic matter including vegetation and moss.
Additional treatment or stabilization is determined on a case bycase basis.
Carvings and poles housed inside also undergo regularassessment, and are cleaned to remove particulate pollutantsfrom the surface.

Preservation Problems (Outside)
Cracks and Splits are a part of thenatural life cycle of poles and otherwooden pieces. The western red cedar
used for the poles is an extremely soft
wood prone to splitting, particularly along
the grain. Poles always develop splits
and cracks to some extent directly after
being carved mainly from changes in the
An example ofwater content of the wood. Wood being
radial splitting ina hygroscopic material means that poleswood.
and carvings remain susceptible tosplitting throughout their lifetime, due to changes in their watercontent. Even when wood is carved dry, the changes in watercontent that the wood experiences seasonally as it sits outside
will cause splitting.
Weathering or erosion caused by rain, wind and particulates
carried in the wind can remove up to ¼
inch every hundred years.
Photochemical degradation can also
occur. The wood surface may take ona silver-gray colour, which occurs as
the soft earlywood wears away and theharder latewood becomes exposed.
Although it is only a few millimeters
thick, this silver-grey layer is moreresistant to biological attack than nonweathered wood.
One way that conservators slow
weathering and deterioration is by
capping the upper portions of thepoles, where end-grain is exposed to

Notice the silvery hue tothis weathered pole,indicative that theearlywood has beenworn away.

22

moisture and the elements, with copper or aluminum sheeting.
This helps limit the amount of moisture that penetrates thewood (that could increase the rate of deterioration.

23

Biodeterioration includes damage caused by biologicalagents such as bacteria, fungi, insects and other organisms.
Of these, fungi cause the most damage to wooden carvings.
Because fungi do not contain chlorophyll, the substance inplants that allows them toproduce energy from thesun, they require otherorganic material to live.
Fungi can break down thecellulose in the woodcausing deterioration.
Moss growth above the eyes
and on the nose of a figure on
one of MOA’s Haida houses.
This plant growth is removed
by conservators at MOA as apreventative measure against
biodeterioration

Plants, moss and lichen
are another biologicalagent that can cause
biodeterioration of carvingsand poles. Root systems
from plants create
pathways for water to enter, allowing for more rapid
deterioration. As the plants grow they can also cause splitting
as their root systems spread.
Vertebrates Biodeterioration at MOA includes damage
caused by different bird species. One of the poles on theproperty has suffered extensive damage due to the feeding
activity of woodpeckers. This damage is due to the presence ofan insect infestation in the wood that provided a readily
available and irresistible food source for the woodpeckers. In
order to limit the damage caused by the woodpeckers theinfestation was controlled and copper sheeting wrappedaround the previously infested areas.
Additional damage has
been caused by the nesting24

A Pileated Woodpecker
feeding on the pole that sits
outside of the MOA gift shop.

Example of damage causedby the feeding activities ofactivities of various bird species.
the woodpecker.
The nests provide ideal habitats
for insect and parasitic activity,
and the fecal matter of birds is not only unsightly but can beslightly corrosive.

Insect Biodeterioration is another issue for poles andcarvings on display outside. Species known to have caused
damage to the wooden carving and poles at MOA include thecarpenter ant and termites. Bothinsect species will eventuallycause the weakening andcollapse of the wood if leftunchecked. Telltale signs of theiroccupation are the presence ofinsect casings and fine woodparticulates (i.e. fine sawdust),
which is ejected as the workers
Note the fine sawdust around the
excavate through the internalbase of the pole, indicative ofinsect activity.

structure of the wood. Conservators at MOA have used aborate (a wood preservative used to protect against insect andfungi attack) solution to control infestation and stop insect
damage.

25

Paint Loss occurs through the natural weathering of thecarvings. Additionally photochemical breakdown of the paints
can occur, as can bleaching by sunlight. The loss of paint can
speed deterioration as the paint does provide a protective
coating to the wood.
Vandalism and Physical damage unfortunately continues tobe an issue for carvings on display. Cases of damage caused
by vandalism are recorded and photographed and placed
within the specific piece’s file.
Preservation Problems (Inside)
Although cedar poles and other wood carvings kept indoors
are better protected from the outdoor elements and extremechanges in temperature, damage and loss can still occur.
Additionally many of the items have spent part of their lives
outdoors, thus examination prior to entering the building must
be done to determine whether there is current or ongoing
fungal or insect activity. If none is found the weatheredcondition of these objects can be considered stable. Although
the pieces may not appear in the best condition, their current
condition is culturally significant and part of the object’s history.
Splitting of indoor poles is part of the natural life cycle ofwooden objects. However with the RH and temperature beingregulated, splitting should be fairly controlled, as long as
extreme fluctuations are kept to a minimum.
Fading is still an issue for poles and carvings on display inside
the Great Hall. Although damage to the painted surfaces
should be minimized, being protected from the external
elements, the colours on the poles are still susceptible to lightdamage.
Physical Damage in this case refers to the damage thatpeople can unknowingly or even knowingly cause to items on
display. Wood objects are particularly susceptible to the oils
carried on people’s hands, being extremely porous.
For more information on the care of totem poles see:
 CCI-Notes 6/7 Totem Poles Displayed Indoors
 CCI-Notes 6/8 Totem Poles Displayed Outside

26

Glossarycorrosion – Degradation of metal caused by electrochemicalmeans, resulting in the formation of mineral
encrustations.
dessication – Dryness resulting from the removal of water.

27

earlywood - Wood cells produced at the beginning of a tree’s
growing season and generally light in colour. Also
referred to as springwood.
efflorescence – Crystalline or powdery crusts formed on thesurface when hygroscopic salts within the body of theobject migrate with moisture to the surface.
hygroscopic - A material that readily gives off or takes onmoisture.
inert – Lacking active properties, particularly a usual or
anticipated chemical or biological action
latewood - Wood cells produced later in the growing season.
These cells are smaller and have thicker cell walls
than earlywood cells.
photochemical – Relating to or caused by the chemical actionsof light.
silica – A hard, unreactive, colorless compound that is foundnaturally in sand and quartz and used in the
production of ceramics, glass and abrasives.
viscous – having a consistency between a solid and liquid.

For More Information:
If you have additional questions please feel free to contact:
Mauray Toutloff (Conservator)
UBC Museum of Anthropology
mauraytoutloff@ubc.ca

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Useful conservation links are:
The Canadian Conservation Institute: CCI
www.cci-icc.gc.ca
The International Institute for conservation of Historic andArtistic Works:
www.iiconservation.org
The Getty Conservation Institute:www.getty.edu/conservation/institute/index.html
National Parks Service conservation information:www.cr.nps.gov/museum/publications/conserveogram/cons_tot.htmlBibliography
Barbara Applebaum. (1991). Guide to Environmental
Protection of Collections. Madison: Dound View
Press.

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Canadian Association for Conservation of Cultural Property
and the Canadian Association of Professional
Conservators. (2009) Code of Ethics and Guidancefor Practice Third Edition. Ottawa: CAC & CAPC.
Canadian Conservation Institute. (2002). CCI Notes 6/7 Totem
Poles Displayed Indoors. Ottawa: Minister of Public
Works and Government Services .
Michalski, S. (2011). Incorrect Relative Humidity. Retrieved
from Canadian Conservation Institute: http://www.cciicc.gc.ca/caringforprendresoindes/articles/10agents/chap10-eng.aspx
Michalski, S. (2011). Incorrect Temperature. Retrieved from
Canadian Conservation Institute: http://www.cciicc.gc.ca/caringforprendresoindes/articles/10agents/chap09-eng.aspx
National Park Service. (2006). NPS Museum Handbook, Part I:
Museum Collections. Washington: National Park
Service.
Pinniger, D. (1994). Insect Pests in Museums. London:
Archetype Publications Limited- (2004). Pest Management in Museums, Archives
and Historic Houses. London: Archetype Publications
LimitedRhyne, C. S. (2000). Changing approaches to the conservationof Northwest coast totem poles. Tradition andinnovation: advances in conservation: contributions to
the Melbourne Congress, 10-14 October 2000 (pp.
155-160). IIC.
Southeastern Registrars Association. (1998). Basic Condition
Reporting: A Handbook Third Edition. (M.
Demeroujas, Ed.) Mephis: Mallory AlexanderInternational Logistics.
Thomson, G. (1981). The Museum Environment. London:
Butterworth & Co.

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