The Conservation & Storage of Large Ethnographic Specimens

The Conservation &Storage of Large Ethnographic SpecimensAuthor(s): David J. LeeSource: Newsletter (Museum Ethnographers Group), No. 10 (SEPT 1980), pp. 15-22Published by: Museum Ethnographers GroupStable URL: http://www.jstor.org/stable/40839036 .

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The Conservation & Storage of Large Ethnographic Specimens

I would like to thank everybody who has helped in any way with the preparation of

this short talk, loans of photographs, slides and information and advice, it would

have been very difficult without the help of the staff of the Museum of Mankind.

Thanks are due to the following: -

Museum of Mankind The Keeper, Malcolm McLeod Brian Durrans Dorota Stazecka

Etimo Store , Orsman Road A J H Davis John Osborn Fiona Graham R Ecket t S Carroll P Gibbs

Dept: of Conservation The Keeper, Dr M Pascoe H J Gowers E Brazier M Fox

Horniman Museum L White R Proctor

Pitt-Rivers Museum The Curator, BAL Cranstone S Walker

The Hancock Museum The Curator, A M Tynan



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The former Keeper of the Department of Ethnography of the British Museum, Adrian Digby says in his forward to the 'Handbook for Museum Curators' by Bryan Cranstone on the subject of ethnography» "Ethnography Collections are probably the most difficult to exhibit and store, the objects varying in size from cat's

cradles to canoes, made from the whole range of materials, and covering all

mankinds activities. This statement has the problem in a nutshell, for there are

many difficulties connected with the storage of the larger and perhaps more fragile

specimens in ethnographic collections« I would like to highlight some of these, and to suggest methods of storage (and conservation) that have been used with

success* Even if you don't have these problems with the collections under your

care, some of the ideas may be modified to suit your needs« The majority of ethno-

graphic specimens are made from a mixture of materials often including:- Wood,

Fibre, Skin, Leather, Hide, Metal, Shell, Fur, Feather and Seeds. I should at

this point mention the importance of environmental conditions for storage, the

control of lighting levels, filtration of u-v light from the lighting source, control

of relative humidity and temperature, as well as the control and cleaning of air

entering a storage area are of vital importance if a collection is to be kept in

good condition.

It is impossible in a short time to cover the whole range of large specimens, so

I have taken examples that are perhaps likely to be found in the average ethno-

graphic collection.

We shall look at some examples in the following order, firstly at the reasons

for deterioration, then the conservation treatments, and finally the storage.

(1) Bows, Arrows and Spears

(2) Clubs and Paddles

(3) Adzes and Axes

(4) Canoes

(5) Totem Poles, House Posts and Shields

(6) Carvings , (including Malanggans from New Ireland and Henta-Koi from the Nicobar Islands)

(7) Barkcloth Masks, (from the Papuan Gulf)

(1) Bows, Arrows and Spears

Many of these specimens are composed of two different materials, damage has

in the past been caused by unsuitable environmental conditions, and by careless

handling and bad storage. Perhaps for convenience the objects have been tied up

in bundles, the results of this can be disastrous, arrows and spears with delicate



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bone or barbed wooden heads become trapped in each others barbs, feather arrow

flights are ruined, spears and bows with lacquered surfaces or fibre bindings

can also be extensively damaged. The cleaning and treatment of arrows can

sometimes prove rather a difficult operation, some examples from Zaire are rather

short with leaf shaped iron heads and feather flights» Here, conservation of the

rusted iron head and cleaning of the shaft and feather flight are the main problems.

Corrosion on the iron may be treated with a rust remover, and then coated with

'Frigilene' or 'Ercalene*. Care should be taken that in storage the r/h is around

the 50% to 55% level for if it is any higher the iron may start to rust. Cleaning

of the wood shaft and the feather flight may be by a wet or dry process (depending

on the condition of shaft and flight). A small vacuum cleaner can be used in con-

junction with a soft brush, the surface dust and dirt is gently brushed away and

removed with the cleaner. For the wet treatment 'Synperonic.N' in a 1% solution

with distilled water is applied to the surface, dirt and surplus solution can then

be removed with paper towels or a sponge. Arrows from the Pacific Islands (New

Guinea, New Hebrides, Santa Cruz) are ^sometimes painted on the shafts and fore-

shafts with earth pigment colours, this is normally fugitive, and a dry process

must be used when they are cleaned. However the 'Synperonic Nf and distilled

water treatment can be used but great care is needed, small swabs of cotton wool

are moistened with the solution and very gently rolled over the surface, in this

way the dirt is just removed from the surface and not carried deeper into the

paint layer. After the cleaning treatment the colours should be consolidated with

a suitable synthetic resin, useful types are Paraloid B72 and Elvacite 2013 in a

2% to 5% solution with xylene. Repairs to damaged fibre bindings can be carried

out with either HMG or the PVA Vinac B800 in Acetone, this adhesive has the property

of remaining reasonably flexible and is an advantage when used on fibre bindings.

The storage of arrows after conservation must be carefully considered) two methods

have been used with success for the smaller metal headed arrows with feather

flights. A wooden box with rails spaced evenly apart is constructed, the arrows

are tied with broad linen tape to sheets of plywood or acid free cardboard and

slid into the box on the rails, a polythene or tissue cover may also be incor-

porated to protect the arrows from dust and dirt. Another method uses vertical

sliding trays, and here once again the arrows are tied to pegboard support with

linen tape. With this method a large number of arrows can be stored safely in

a reasonably sized area. For the longer arrows from the Pacific Islands (partic-

ularly Papua New Guinea) a swinging rack system has been used, the arrows, which

do not have feather flights are fitted into holes of a slightly larger diameter

than the arrow shaft, on a gate like frame. About 30-40 arrows can be fitted

into each of these swinging frames. Bows and Spears with damage to painted



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surfaces and to fibre bindings can be cleaned and treated in a similar way to

the arrows* However the storage is rather a different problem, spears in small

numbers particularly those from Zaire, S & E Africa and SE Asia with large and

heavy iron heads may be stored in specially constructed racks . One example

viewed end on looks like the letter A, the spears rest against a batten of wood

at the top, another batten supports the middle of the shaft, and the base rests

on an extended and angled support. Another method uses sliding pegboard panels

strengthened with battens, plastic pegs and polythene strips hold the specimens

in place on the fitting« If the bows or spears are to be mounted vertically the

linen tape method is to be preferred. Bows and spears with lacquered, painted or

fibre bound surfaces must have some form of cushioning around the points of contact

of the tape or plastic strip mounts otherwise damage may occur to these fragile

surfaces. (2) Clubs and Paddles. Damage to these specimens results either from

storing them bundled together or careless handling, small pieces of shell inlay

on paddles from the Solomon Islands become easily dislodged and lost, painted

surfaces on clubs become smudged and darkened by accumulations of dust, and

feather ornaments become crushed«. The highly carved Itsekerri ceremonial paddles

from S E Nigeria suffer damage to the carvings from abrasion and unsuitable

storage. These specimens can be cleaned firstly with a small vacuum cleaner

and then (if the surfaces are not painted with ocre colours) with 'Synperonic N1

and distilled water, shell inlay on paddles from the Solomon Islands may be

cleaned with a fine glass bristle brush. The ocre colours need careful cleaning,

small swabs of cotton wall around cocktail sticks and moistened with 'Synperonic N'

distilled water solution are .rolled gently over the surface once and disgarded.

When dry the colours are best consolidated with a synthetic resin. Fibre coverings

can be cleaned with the potassium oleate soap fVulpexf in white spirit, and loose

or broken bindings repaired with PVA Vinac B800 in acetone. Paddles and Clubs

would seem to be best stored on the sliding door type fitting, the specimens being

fixed to pegboard frames with either wide linen tape or plastic strip and pegs,

the advantage of this system is that many can be accommodated in quite a reasonable

area, and they are instantly available for students and research workers. Another

type of storage rack that can be used is the 'hopper1 type fitting, here the clubs

and paddles stand almost upright, the angle of the shelves being adjusted to suit the

lengths of the specimens. (3) Adzes and Axes . Especially those from the Cook

Islands the Trobriand Islands and the Mount Hagen area of Papua New Guinea. These

Ceremonial tools are particularly liable to damage. The examples from the Cook

Islands suffer damage to the elaborately carved hafts, the coconut fibre bindings and

the heavy basalt stone heads. Adzes from Papua New Guinea are ornamented with fibre

lashings which serves to hold the heavy stone blade to the wooden haft. After many



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years, the lashings lose flexibility and eventually the blade becomes separated

from the haft« Wooden hafts are also damaged by the action of borer beetles.

Here again cleaning can be done with 'Synperonic Nf and distilled water and

repairs to cane or coconut fibre bindings with PVA Vinac B800 in acetone.

Flexibility of the brittle coconut fibre bindings on the adzes from the Cook

Islands can be improved with a 2% to 5% solution nylon on IMS, For this type of

specimen sliding draw units with pegboard bases to the draws are a good proposition.

The specimens are secured to the pegboard with plastic strips and pegs linen tape

may be used as an alternative. (4) Canoes « Because of their size, and the

materials from which they are constructed canoes are likely to be damaged by care-

less handling, and a canoe which is in a reasonable condition apart from damage caused

by the action of borer insects, that have reduced the mechanical strength of the wood,

can then be further damaged by moving or carrying the canoe without realising the

problem exists» A typical example of this is the case of a fishing canoe from

the Nicobar Islands which although damaged by borers was still complete, that is,

until some well meaning folk tried to lift the canoe by bows and stern« The results

were as one would expect, for the prow parted company from the main body of the

canoe« This particular canoe was conserved in the following way. Cleaning was

achieved firstly with a vacuum cleaner, and then 'Synperonic Nf and distilled

water, the damaged wood was consolidated with the Methacrylate fBedacryl 122X1

in xylene (a 10% solution) « The prow was then re-attached to the main body of the

canoe with 'Araldite1 epoxy resin adhesive, gaps were then filled with polyester

resin paste filler, when set this was worked down to the original surface and tinted

with a mixture of powder colours in a methacrylate medium to match the colour.

The cane lashings in some places had decayed, these were replaced with 'Rattan*

cane to simulate the originals« Canoes from the Solomon Islands with intricate

shell inlay that had lost its lustre can be cleaned with a fine glass bristle

brush. There are many methods available for the storage of canoes, and all have

their good points, one of the simplest is to mount them on shaped chocks fitted

to metal brackets against a wall, to save space one canoe can be mounted above

another, that is of course if they are small« Larger canoes can be suspended on

a fDexionv fitting rather like a metal storage rack without shelves, but it is

important to remember that the webbing material used to suspend the canoe should

be wide enough to spread the weight of the canoe, and should be passed around

areas that will withstand the strain of supporting the canoe« Perhaps the safest

system of storage is to construct a fDexionv frame, with wheels for easy movement

and fit the canoe on chocks within the unit, if the framework is box-shaped a

cover of polythene sheet may be tailor-made to fit over the whole unit rather

than be in close contact with the canoe« (5) Totem poles, House posts and Shields.

These objects are often damaged before arrival in the museum, some show signs of



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insect attack, this can either be from Termites or borer beetles, on the other

hand the N W Coast American Totem poles of red cedar wood become rather soft due

to fungal attack, this makes a large pole unable to carry its own weight. The

example treated contained a large amount of damaged wood at the back of the pole,

it was decided to remove the soft areas rather than consolidate them with a

synthetic resin» After the wood was removed shaped bulkheads were fitted at

regular intervals to strengthen the pole along its length» The storage of

these sometimes large and heavy objects is certainly a problem, and large 'Dexion'

cradles equipped with castors would seem to be the most convenient method pro-

vided space and finances to cover the cost of the 'Dexion' are available« The

totem poles can be supported by shaped wooden formers softened with a suitable

padding material, and the object either laid flat on its back or fitted against

a wall if the space is available« A large wooden Bis pole from Irian Jaya post

had been severely attacked at the base by tropical Termites, so much so that

consolidation of the first few feet of the base was considered desirable if the

specimen was to be capable of sustaining its own weight when re-erected for

exhibition« Liquid polyester resin poured into the cavities left by the insects

considerably strengthened the weakened areas , during the pouring operation the

pole was supported with the base at an angle r this aided the flow of resin to

the inside of the pole, holes on the edge of the pole were filled with 'Plastercine'

to stop loss of liquid resin» This treatment proved most successful and the post

can now be stood upright for exhibition. Shields from Papua New Guinea with

ocre painted surfaces are sometimes best cleaned of surface dust with a small

paint brush and vacuum cleaner, aqueous methods may be used with care, consolidation

of paint can be achieved with either 'Elvacite 2013' or 'Paraloid B72' in xylene,

care must be taken that colours are not altered, and tests should be made before

any consolidation treatments are started» If layers of paint are very thick and

sections are flaking away from the surface t the PVA caprate Vinamul 6525 injected

under the loose flake will re-fix the section to the surface of the sheild. The

storage method for shields is perhaps as difficult a problem as any sliding racks

on which the shields are mounted are perhaps as good as any other method. The

only problem is mounting the shield vertically on the fitting, but which ever

method is used shields should not be stored so that the surfaces are in contact

with one another. (6) Larger Carvings. The Mallangans from New Ireland and the

Henta-Koi figures from the Nicobar Islands are particularly vulnerable to damage,

these specimens, brightly coloured and highly carved have suffered from bad storage

and neglect more than anything else. Conservation treatments are often needed in

the form of cleaning painted surfaces , and repairs to broken sections of the

carvings. Cleaning dust from the ocre painted surfaces is perhaps the most difficult



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problem with the Mai lagan figures because of the very powdery nature of the ocre

pigments« And a non-aqueous method should be used followed by consolidation of

the pigments with a synthetic resin. The Henta-Koi are normally painted with the

bright red cinnabar (Mercuric Sulphide) colour and the synthetic ultramarine blue

(Reckitts and Colmans * Dolly bag blue1) . The cinnabar appears to be bound with

oil, whereas the blue is fugitive, so a non-aqueous method be used if this is to

be cleaned. Consolidation of the blue pigment is not easy, and we have found that

carboxy methyl cellulose in distilled water (2% solution) is far better than the

methacrylates in xylene which seem to darken the blue considerably* After treat-

ment the method of storage should be considered, a specially made box with sliding

trays onto which the specimen is mounted on shaped formers is a useful method of

ensuring the future safety of the specimen. The wood from which the box is made

should be treated with an insecticide and sealed against dust, a perspex front

may be fitted making regular inspection of the specimen an easy matter.

(7) Barkcloth masks (from the Papuan region), are because of the vegetable

materials from which they are constructed particularly liably to damage, the bark-

cloth is stretched over a cane frame-work, which although originally of fairly

rigid construction becomes with age fragile. With bad storage the cane base

becomes distorted, the sago palm leaf skirt loses flexibility, and with age falls

into fragments at a touch. The ocre paints on the barkcloth tend to smudge, and

dusk combines with the colours making the surface an overall grey tone reducing

the original brilliance of the colours. Cleaning of the surface can be accom-

plished in two ways, both non-aqueous. In the first method a small paint brush

can be used to loosen the layer of dust on the surface, this can then be removed

with a small vacuum cleaner before it can re-settle back on the surface. The

second treatment uses the powdered india rubber f Draft Clean1 the material is

applied to the surface with the tip of the finger, and brushed with a soft bristle

brush, the dust and rubber are removed from the surface with a small vacuum cleaner,

the ocre colours can be consolidated with a methacrylate in xylene, but it is better

to use Soluble Nylon in IMS, this is because nylon provides a flexible film of

consolidant, more in keeping with the flexible barkcloth surface. The most difficult

part of the mask to treat is the sago leaf skirt. If it will stand cleaning then

washing in distilled water with a non-ionic will remove most dirt. The leaf material

should be sandwiched between nylon net for support if possible, and after washing

should be well rinsed in distilled water. The skirt can be strengthened and a

certain amount of flexibility restored to the material with an application of

between 2% and 5% solution of Soluble Nylon in IMS. Once more special wooden boxes

are the best method of storing these delicate and vulnerable specimens, but with

slight modifications, as the mask is meant to be worn over the top part of the



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body a stand should be made, with the top padded and fitted to the shape of the

interior of the mask. So that the whole object is supported as it was when worn

by the dancer« The grass skirt will then hang in the correct position, and not

become crushed as it would if it were placed on a shelf or flat at the bottom of

a box» The stand can have a base which slides into a groove at the base of the

box, this makes removal from the box easy, and may be useful for display. Padded

bulkheads may also be used for added security, a lid with a perspex window, or

if the budget will stretch to it a complete lid of perspex will make inspection

a simple matter. The interior of the box should be treated with an insecticide

before installation of the specimen as a precaution against insect attack. Finally

a small thermometer and hygrometer can be placed with the specimen to keep a check

on the climatic conditions within the box* And correct levels of relative humidity

maintained by either the inclusion of silica-gel if the r/h is too high, or if too

low the addition of moisture the r/h should be kept between 50% and 55% r/h» as

this is the most suitable for most specimens composed of organic materials.

CRANSTONE, BAL in 'Handbook for Curators1 Ethnography.

The Museums Association, part C section 4

pp38-40., 1958.

ELKIN, P W 'Treasures in store' The Bristol Museum

storage project, 1972-4., Museum Journal,

Vol. 75., No. 2 PP57-60., Sept. 1975.

GOWERS, H J A storage fitting for arrows, Museums Journal.

Vol. 58., No. 1. ppl3-14., 1958.

HAYES, P A Storage racks for service swords, Museums Journal,

Vol. 71., No. 1. , pp29-30., 1971.

IDIENS, D New ethnographical storage in the Royal Scottish

Museum, Museums Journal, Vol. 73., No. 2.,

pp61-62 September 1973.

McCONNELL, A Mechanical handling in a Museum store, Museums

Journal, Vol. 73., No. 2., pp63-64., September 1973

McLEOD, M D The British Museums new Ethnographic store,

ICOM news, Vol. 28., No. 1., pp26-28., 1975.

SILVESTER, J W H Palletization in a small museum store, Museums

Journal, Vol. 73., No. 2., p65., September 1973.



The Conservation & Storage of Large Ethnographic Specimens

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