Water in the stacks!

But it’s not what you’re thinking…

Recently, two copies of a publication in the Reserve (Rare Books) Collection were identified for rehousing. The piece is called Venise undersee.

When the objects were removed from their original silk fabric bag, it was discovered that they were made of metal and that they were corroding… yikes.

The items are part of Library and Archives Canada’s collection of artists’ books. A bronze representation of the globe, with braille text excerpts from a poem on the surface, they are about the size of a five-pin bowling ball. The globes were made in 1998 by Daniel Hogue in an edition of ten copies. Very nice pieces, but disconcerting to see the beginnings of corrosion on one, and quite a large spot on the other.

Colour photograph of a metal globe sitting on silk brocade. The patina of corrosion is clearly visible on the outside of the globe.

Hmm… corrosion. What’s happening here?

Our first thought was that after the construction of new containers, the items could be moved into a vault with a lower humidity setting at LAC’s Preservation Centre, watch for a while, and see if the corrosion continued.

But after checking the AMICUS record, it was discovered that changing the ambient humidity was not going to help… inside the bronze globes was water from the canals in Venice! Yes, give one of the globes a shake and you’ll hear water sloshing around.

You may be acquainted with the term “inherent vice,” and this is a perfect example. Something inherent, or part of the original, that can have a detrimental long-term effect on it. The effects of inherent vice can be slowed in some cases; for example, cooler storage conditions will slow acidic deterioration of paper. In this case however, without making a structural change to the object (that is, drilling a hole in it and draining the water), there is really nothing that can be done to halt the damage.

Just to make things interesting, the artist’s intent is an important consideration in making decisions about these objects. Is the corrosion damage what the artist intended? Will the artist be upset with what is happening to the works? To find out, the artist was contacted, and it was determined that leaving the water to do its thing was the preferred course of action. Just as the water is slowly eroding structures in Venice, so it will slowly erode these works.

Colour photograph showing the bronze globe in a padded container with the silk brocade wrapping on the right. There is a layer of polyester film under the metal object to isolate any leaking water.

All ready to sit and let time do what it will—the item is rehoused.

And, because you’ll ask, the amount of water inside is not a concern in terms of a leak that could damage other items in the collection. The quantity of water is small, and would most likely be absorbed by the cardboard containers they are housed in.

We will continue to monitor the works to gauge how quickly the corrosion is proceeding, and make decisions about how to manage what will be left of the works in the future.

All papers are not created equal

You may be aware that over the last 25 years, there has been a major effort to convert paper production from acidic products that deteriorate quickly to more stable paper. The movement largely came from the library community’s concerns about rapidly deteriorating paper in their collections. The result is that there are now no western producers making acidic papers anymore (other than newsprint), which is great news for libraries, archives and consumers.

Not all of these papers, however, can be guaranteed to truly last long-term (by that we mean over 300 years). Manufacturers can, and do, change the chemical composition of papers quite regularly, and as consumers and staff in a library/archive, it is good to know what is available and how to use it best.

So, let’s look at what’s around us. Our inexpensive everyday photocopy paper is not acidic when tested with a pH pen. This paper can be labeled “acid-free.”

Colour photograph of piece of paper with the words: “Purple = Ok!!” on it. This means that the paper is acid-free.

Test of the pH on everyday photocopy paper.

But it does not meet standards for longevity that we want for paper that will be incorporated with collections on a permanent basis. It’s perfectly fine for bookmarks and flags—items used temporarily.

For long-term quality, look for papers that are marked “permanent” or “archival,” with the infinity symbol set inside a circle.

An image of the acid-free paper symbol—the number eight lying on its side enclosed in a circle.

Infinity symbol designating a permanent or archival quality paper.

Permanent papers can be made with wood pulp (where the harmful acidic lignin is found), but the lignin is generally removed and no acidic additives are included during manufacture. Permanent papers are expected to last several hundred years under normal library or archival storage conditions. To be labeled “permanent” with the infinity symbol, the paper must meet either ISO 9706 or ANSI/NISO Z39.48-1992 standards.

Archival papers are made to an even higher standard and will last up to 1000 years. These papers are produced with cellulose fibres from plants other than wood and do not contain lignin (usually cotton or linen). Also, the standard for archival papers (ISO 11108) includes requirements for paper strength, which the standards for permanent papers do not include.

Papers labeled as either permanent or archival are recommended for long-term use with collections. It is probably best to choose archival papers when strength is a consideration, such as wrapping or enclosures.

A colour photograph showing an enclosure to house textual documents.

An archival quality paper enclosure.

As a final note, it is important to remember that the storage environment for paper also has a huge impact on its longevity. For every five-degree reduction in temperature, it is estimated that the lifespan of paper doubles. Everybody put on a sweater!

A Sticky Situation: The Perils of Sticky Notes

The convenience of the sticky note cannot be beat… the variety of sizes and colours allows us to organize and place our notes and thoughts exactly where we want them. They are used in offices, homes, schools—I only wish I held the patent!

There are strong arguments, however, against their use in libraries and archives. Between 1988 and 1989, when conservation scientists at the U.S. National Archives and Records Administration first tested sticky notes, they found that an adhesive residue remains on the surface of the paper that comes into contact with the note (even if the note is placed and removed immediately), that the adhesive can remove electrostatic images (that is, printing ink), and that the dye in the note can run if exposed to water. A more recent repeat of the testing confirmed these findings, showing that most of the note adhesives will stain over time.

The following images show the results of a highly unscientific test conducted at Library and Archives Canada. Although the results are startling, they are not surprising.

1. This is a good book—I will need to reference this chapter later…

A sticky note showing colour fading from the sun

A sticky note showing colour fading from the sun

2. “Goodness, I’ve heard about what light can do to colours. That really faded in a short time.”

A sticky note is used as a bookmark

A sticky note is used as a bookmark

3. “Uh oh… I was not expecting THAT… this didn’t even get wet.”

Evidence of glue residue on a page after a sticky note is removed

Evidence of glue residue on a page after a sticky note is removed

So, that’s why sticky notes are not approved for use with collection materials, not even for temporary use!

Remember, please keep sticky notes away from collection materials, and continue to contribute to the long-term preservation of Canada’s documentary heritage.

A Behind-the-Scenes Look at LAC: The Nitrate Film Preservation Facility

In our last article we discussed the Gatineau Preservation Centre. Today, we would like to introduce to you LAC’s Nitrate Film Preservation Facility.

Colour photograph of the exterior of a building. Front: Parking lot area; Back: Main entrance to the building

Exterior view of the LAC Nitrate Film Preservation Facility

Did you know that a portion of LAC’s film and photographic negative collection is nitrate-based? The collection consists of 5,575 reels of film, dating from as early as 1912, and close to 600,000 photographic negatives. Because of the potential for nitrate-based cellulose film to combust if storage temperatures are too high, LAC chose to house this material in a facility that provides a stable, cold, dry environment essential for preservation.

Colour photograph of light boxes on a table. Nitrate negatives are on top of the boxes. Back: Three people standing next to the table.

Light boxes displaying nitrate negatives, some of which show obvious signs of deterioration

This collection captures some of Canada’s most significant moments up until the 1950s when the medium became obsolete. Among the materials preserved at the new facility is one of Canada’s first feature films, Back to God’s Country, along with works produced by the National Film Board of Canada and photographic negatives from the collections of Yousuf Karsh.

The Nitrate Film Preservation Facility, which opened in 2011, is an eco-designed building with various sustainable features that include a “green” roof, well-insulated walls to reduce energy consumption, high-efficiency mechanical systems to reclaim energy, and technology to reduce water use.

Colour photograph of workers at a nitrate work station. Front: A female employee handling a nitrate negative; Back: A group of people discussing another nitrate negative.

Nitrate Film Preservation Facility work station

The state-of-the-art facility also features a range of technical innovations that meet the current standards for preservation environments and provide the required fire prevention and protection measures. The building is also equipped with 22 individual vaults, specialized monitoring and an exterior buffer zone of land for added security.

For more photographs of the Nitrate Film Preservation Facility, visit Flickr!

Questions or comments? We would love to hear from you!

A Behind-the-Scenes Look at LAC: The Gatineau Preservation Centre

National Capital Region map displaying Library and Archives Canada buildings

National Capital Region map displaying Library and Archives Canada buildings

Library and Archives Canada (LAC) provides services to the public at the 395 Wellington Street building in downtown Ottawa where most of the published material and microform collection is housed. One main challenge in serving the public is that the archival material must be transported from five different storage facilities to be available for consultation in Ottawa in a timely fashion. That said, the best solution for avoiding any delay in accessing the records you need is to plan your visit and order the material ahead of time.

Also, did you know that there are other LAC facilities throughout Canada? Some buildings are for staff offices, while others are dedicated to the management and preservation of LAC holdings. Let’s begin by exploring the Preservation Centre, which is about 25 kilometres away from downtown Ottawa.

Opened in 1997, the Preservation Centre is located in Gatineau, Quebec, and is a building within a building. Its outer shell of glass and steel creates an environmental buffer zone for the interior concrete structure which houses the storage vaults, preservation laboratories and a mechanical plant. The mechanical plant is designed to be separate from, but connected to, the records storage and laboratory facilities. This feature separates and isolates the sensitive laboratory and storage functions of the building.

Photograph of the antechamber of the cold stprage vault where colour and black-and-white film records are kept.

Ante-chamber of cold storage vault for colour and black-and-white film records

The individual laboratories are constructed in a village-like setting directly above the three-story vault structure. This permits all LAC preservation experts, approximately 70 in total, to work together under the same roof.

Photograph of the interior of the art storage vault for paintings and other artwork.

Storage – Art Vault. Paintings are stored on mobile hanging racks in an environment of 18 degrees Celsius (+/- 2°C) and 50% relative humidity (+/- 5%). Other multi-media objects stored in this environment include globes and miniatures. The front of the vault provides a work area for collections management activities.

There are 48 vaults for the storage and handling of archival records, each of which measures approximately 350 square metres. They house a variety of archival records in four different storage environments. Each vault is designed to protect documents by eliminating potential threats, by having a sophisticated fire detection and suppression system, and by carefully controlling all materials used inside it to maintain a contaminant-free environment.

Questions or comments? We would love to hear from you!

Canadiana Preservation Collection of published materials closed until 2013

The Preservation Collection was created in 1988. It comprises original copies of all Canadian published materials held by Library and Archives Canada (LAC). This collection will be preserved for as long as practically possible through restricted access and the use of appropriate preservation measures such as deacidification and separate housing under special environmental conditions.

The Preservation Collection is now being prepared for storage in a new collection storage facility scheduled to open in 2013. Until that time, the Preservation Collection will be closed.

For more information on recent announcements at LAC, visit “News”.