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Agreement Between the Panama Canal Museum and the University of Florida July 2012 This is an agreement between the Panama Cana l Museum (PCM) and the University of Florida Foundation, Inc. (UFF), on behalf of the George A. Smathers Libraries (Smathers Libraries). The purpose of the agreement is to confirm the completion of the transfer of PCM collections and assets to the Smathers Libraries through the UFF and to ensure the future preservation of and access to the collections. The agreement also documents the responsibilities of the parties and expectations subsequent to the integration of the PCM collections and transfer of assets to the Smathers Libraries through the UFF (Integration). This document serves as the final agreement mark ing the completion of the transition period. All collections and assets will be transfe rred by July 2012. A final Deed of Gift (for gifts-in-kind) and a Gift Agreement for tangible assets will be separate an d complementary to this agreement between the parties. Disposition of Assets It is the expressed agreement of the Parties (PCM, UFF and the Smathers Libraries) that: 1. The term collections and asse ts in each appearance in this agreement shall include, but not be limited to: Original documents, publications, letters and other writings, reports, plans, maps, photographs, audio/visual materials, computer -generated materials, oral histories in any format, etc.; Published materials (books, journals, government-issued publications, circulars, pamphlets, newspapers, bulletins, etc.); Select artifacts that complement photographs and other items as described in a and b; Additional physical artifacts identified by the Smathers Libraries for display in permanent or traveling exhibits; Artwork, Pre Columbian and Indigenous artifa cts (pottery, baskets, Molas, etc. with appropriate or requested documentation); Exhibit and display materials (panels, light ing, display cases, shelving, bookcases, etc.) ; and Office equipment (furniture, computers, televisions, digital video recorders and players, etc.). 2. Any remaining collections and assets not reques ted by the Smathers Libraries for permanent retention and/or digitization shall be disposed or otherwise distributed by the PCM in accordance with its policies and pursuant to it s discretion. Items may be returned to their donors, disposed of through sale, auction, di rect transfer or donation to allow other museums, universities, institutions or indi viduals to continue their preservation and enjoyment of those items to the extent possible.
Mission of the Partnership The mission of the Partnership (Mission) is to document, interpret, and articulate the role played by the United States in the history of Panama, with an emphasis on the Panama Canal and the people of all nationalities who contribut ed to its success. The Mission is of mutual interest to the PCM and the Univ ersity of Florida and will continue to guide preservation of and access to the collections as well as support for related research and scholarship. Smathers Libraries Subject to available funding, the Smathers Libraries agree to: Evaluate the PCM collections and to catalog, preserve and selectively digitize(Process) items that have transferred from the PCM to the Libraries; Prepare and promote finding aids, exhibits, lesson plans and other materials to promote access to and support the use of the collection; Identify and seek to obtain materials that enhance the collection and further the Mission; Create links to digital co llections and make them ava ilable for public access; Provide adequate staffing to process the collections, maintain exhibits and provide research support; and Solicit funds payable to UFF to be used to process and sustain the collections, and to support the study and use of the collections. In addition, the Smathers Libraries confirm a commitment to the following actions: Catalog and digitize publications of th e U.S> Panama Canal Commission and its predecessor organizations and continue its commitment to serve as an Association of South East Research Libraries (ASERL) Center of Excellence for U.S. maps and documents related to Panama, the Panama Ca nal and the Panama Canal Zone;1 Create and host a digital collection of materials related to the Mission from the PCM collection, its own collect ions and other sources; Assign a Librarian with expertise in Latin America as a subject specialist to provide reference and research assistance; and Foster collaborative relationships between the Libraries and internal/external entities Friends of the Panama Canal Museum at the University of Florida (Friends) The Friends will be established and its members agree to work with the Smathers Libraries to accomplish the objectives as identified above and to: 1 The phrase, Center of Excellence is used here as it is us ed within the U.S. Federal Depository Library Program to identify a library establishing a collectio n and related services focused on a spec ific Federal agency or subject area represented by Federal documents. This is distinct from, and unrelated to, the Florida program of the same name that is intended to bridge the gap between academia and industry.
Assist with fundraising and the recruitment of members with the goal of sustaining the Mission; Advise the Smathers Librarie s on the allocation of th e annual income from the endowment in support of the Mission, includ ing processing of the collections, exhibits, oral histories and research scholarship; Deposit any future unspecified donations in support of the Mission with the UFF and advise the Smathers Libraries on the allocation of those funds; Participate in public relations activities (newsletters, reunions, web site and other communication, mailings, etc.); Donate and solicit relevant materials for the collection; Volunteer support for processing of materials; Assist the Smathers Libraries in interpreting, organizing and articulating the collection; Generate interest in and awareness of the United States role in the history of Panama; Prepare and support exhibits; Participate in presentations and speakers bureau; and Support educational outreach and oral histories. All parties agree to develop the appropriate documentation and/or guidelines to assist with this collaboration.
Agreed on by: Joseph J. Wood Date President, Panama Canal Museum Board of Trustees Patricia S. Kearns, Vice President, Panama Canal Museum Board of Trustees Date _____________________________________________________________________________________ Katherine E. Egolf Date Executive Vice President, Panama Canal Museum Board of Trustees Judith C. Russell Date Dean, University Libraries Rachel A. Schipper Date Associate Dean, Technology & Support Services, Smathers Libraries Phillip J. Williams Date Director, Center for Latin American Studies Paul Ortiz Date Director, Samuel Proctor Oral History Program On behalf of the University of Florida Foundation, Inc. and the Smathers Libraries, University of Florida (Signed copy available by request)
Supporting Document: Management Assessment of the Collaboration: Panama Canal Museum & University of Florida George A. Smathers Libraries Prepared by: James A. Donovan President/DMI December 2011
Collaboration in Philanthropy Today Collaboration is the only way for any organiza tion business, governme nt or nonprofit to remain relevant in todays economically challenged world. The road blocks of old thinking must give way to streamlined engageme nt and innovation that is mutually beneficial, responsive, and economical to those we serve, now and for gene rations. Collaboration therefore is needed and, in fact, required by organizations. We no l onger can afford good intentions; we must demand great results or face being relegated to irrelevancy. David Odahowski President/CEO, The Edyth Bush Char itable Foundation, Winter Park, FL Historically, many charities have considered collaboration and merg ers as acts of desperation. Now we are seeing collaborations more as acts of strategy. We have a lot of very complex problems in the nonprofit sector and new comprehensive soluti ons to them, and you cant do it all within one organization. Alan Tuck, Partner Bridgespan Group, Nonprofit Consulting, Boston, MA As reported in the Chronicle of Philanthropy, March 24, 2011 Having worked with hundreds of clients over the years, and being active in the Association of Fundraising Professionals (AFP) and the Council for Advancement and Support of Education (CASE, I have seen firsthand the trend of late of all kinds of nonprofit or ganizations engaging in collaboration --from the arts to zoos It is not a step that can be taken capricious ly. It requires study and planning by the principals of both entities to make the new vision and plan work. In addition, foundations are increasi ngly concerned about the sust ainability of the non-profit community and volunteers are, like never before, sensitive regarding the pe rceived duplication of programs, services, facilities and staffing. Colla boration, although never easy, is expected to enhance efficiency, cost effectiveness and addressing future needs. William L. Carlton, ACFRE Former Chair of AFP ACFRE Board President/CEO Carlton & Company, Boston, MA
Table of Contents Section Page(s) Introduction and Methodology 1-2 Findings 3-5 Conclusions 6 Recommendations 7-12 Action Plan/Timeline 13-15 Exhibit A: Persons Interviewed 16 Best Practices 17-20
1 Introduction and Methodology Introduction The University of Florida George A. Smathers Li braries (George A. Smathers Libraries) recently agreed to accept the holdings from the Panama Canal Museum (PCM) in Seminole, Florida, as the Museum was concerned about th eir ability to operate in the fu ture due to funding challenges. In addition, the Panama Canal Society (PCS), a membership based organization, has been a valuable partner in promoting the legacy of the Panama Cana l and involving alumni of the Canal who worked on it. The Society conducts speci al social events several times a year for its members at which the PCM and the George A. Smathers Libraries have participated. The purpose of the Assessment was to review current management, exhibit and fundraising practices of the PCM and the George A. Smathers Libraries to determine how best to sustain and grow support from the constituents during and after the transition. In addition to interviewing PCM Board Members, the Assessment included inte rviews with key individuals from the PCS and the Panama Canal Advisory Group. As the Assessment proceeded, it was determined that others might wish to express their opinion on th e consolidation, thus an Online Survey was made available to other Board Members of each group associated with this project. Thus, this report contains the collective input from all these constituencies. Thanks to a dedicated group of volunteers and bo ard members, the PCM has been operating for twelve years in Seminole, Florida. The year 2014 marks the 100th Anniversary of the construction of the Panama Canal. We have take n note of this historic milestone in our report and have made suggestions on how a collaborative effort among the PCM, PCS, the Advisory Group, and the George A. Smathers Libraries can attract philanthropi c support to fund the processing of the collection, as well as crea ting a permanent endowment to maintain it. Methodology This Assessment involved three major steps: fi rst, a review of documents about the PCM and PCS, such as strategic plans; promotional ma terials; financial statements; budgets; websites; minutes of meetings; listing of board members; and the George A. Smathers Libraries PCM Quarterly Report of July 2011 which outlines costs incurred. Second, personal interviews were conducted by Jim Donovan, President of DM, with the George A. Smathers Libraries, PCM and PCS in Oct ober of 2011. Each person was asked to describe why and how the consolidation came about, the need for future funding and how the various entities can work together in the future. Interv iewees were promised that their comments would be held in strict confidence. Thus, the ensuing quotes ar e anonymously attributed. (See Exhibit A: Persons Interviewed.) Third, we conducted an online survey with the board members of the PCM to determine what role they are willing to play in the fu ture as the collaboration moves forward.
2 The information obtained from these three steps form the basis of the Findings section of this report. After reviewing the findings, conclusions resulted. Both the findings and conclusions were used to prepare the recomme ndations in the report regarding strategic decisions that will impact the future of the PCM Collection at the George A. Smathers Libraries. The key issue addressed here is how the new joint entity can position itself to attract the necessary philant hropic support, to not only cover ongoing costs associated with the collection, but also how to build up an endowme nt to preserve it for future generations.
3 Findings 1. The PCM is a remarkable achievement by a small group of hard working and dedicated volunteers who have a passion for preserving and sharing th e history and importance of the Panama Canal worldwide. Some voluntee rs devoted as much as 40 hours a week. Having worked with hundreds of non-profit gro ups over the years, the dedication of these volunteers is impressive. Harnessing that energy under the new arrangement with the George A. Smathers Libraries is the key to future success. 2. After struggling with a m odest budget and no fundraising staff, the PCM Board recognized that many small museums in the United States were closing due to a number of financial issues. Knowi ng that its collection was trul y one of a kind and recognizing the trend for digitizing materials and virtual museums, the board held discussions with the Smathers Libraries staff. The ensuing result was the decision to transfer the PCM artifacts, collection and exhibits to the George A. Smathers Libraries. 3. Another major factor for the transf er of the PCM Collection was the Digital Library of the Caribbean for which the George A. Smathers Libraries is one of the founding partners and the technical in frastructure partner, which provides enhanced electronic access to cultural, historical, legal, and gove rnmental research materials in a common web space with a multilingual interface. This would have been a major challenge and expense for the PCM. 4. When the PCM closes in Seminole, Florida, the Board will no longer have a physical Museum and is dependent on the Smathers Li braries staff and volunteers from both the PCM/PCS to help in identifying the collection, cataloging and taggi ng it. In addition, volunteers are needed as guest speakers/lectur ers for future seminars and symposia. This is particularly important in anticipation of the Centennial of the Panama Canal in 2014. 5. Now that the PCM Collection is part of the George A. Smathers Libraries, it has the potential for rebranding as an international digital entity affiliat ed with a nationally recognized university. The coll ection itself is a national treasure. Now it has the expertise of the George A. Smat hers Libraries staff, as we ll as fundraising staff at the George A. Smathers Libraries who are adept at seeking major gifts from individuals and foundations in the future. However, there is concern about increased workload of current staff and the need to hire additional staff to assist in fundraising. The final asset, which will take time to put in place, is the enlistm ent of hundreds of volunteers (as noted above) who can help in preserving and making the collection known to all constituent groups. This combination of the collection itself, the outstanding library staff and a wide range of volunteers can only strengthen the ca se for giving in the future. 6. The current strengths of the PCM include: its track record as a unique entity; programming on the History Channel; its dedi cated volunteers; political contacts; over 800 friends of the PCM, including many al umni of the UF, and a recent successful fundraising effort of over $100,000 for an endowme nt that will eventually be matched by the State of Florida.
4 7. An additional strength is the PCM collabora tion with the PCS because the PCS has over 2,000 dues paying members, some of whom ar e also friends/donors to the PCM. The PCS members, who have the financial ability to continue their membership in PCS and at the same time make a tax-deductible contribution to the PCM, could go a long way in funding the needs as noted below. Future funding needs of the PCM Collection wi thin the George A. Smathers Libraries include covering the costs of: Cataloging and digiti zing the collection A permanent space to store the collection Making the collection available online Marketing the collection Staffing to enlist and coordi nate volunteer activities Unanticipated, unplanned expenses due to collaboration Establishing a permanent restricted endowment for upkeep of the collection 8. Other concerns expressed by interviewees during this assessment process were: What role does the former PCM Board play in the future? What incentive can we give to the PCS to assist us in the future? Whats the new governing struct ure and who should be on it? Who will be the Advisors/Experts for the Collection? What is the case for giving now that the PCM is affiliated with Smathers Libraries? Wont people thi nk that the UF is paying fo r everything and there is no need for gifts/grants to fund the collection? How will donors be honored? Will there be a Donor Wall at Smathers Libraries that includes donors who made a tax-deduc tible gift, donors of artifacts and inkind donors?
5 Online Survey of 11 PCM Board Members Note: The responses below are majority respon ses. Also, participants responded to more than one action item, t hus there is overlap. When asked how board members would like to con tinue their use of the collections: 9 of the 11 board members indicated remotely via online use of digital materials ; As for continuing their support of the collections: 7 of 11 said transition from PCM membership to Friends of PCM Collections at UF. Do you plan to attend Panama Canal Centennial Events in August of 2014, 7 indicated they would visit the exhibits at the George A. Smathers Li braries and the rest w ould participate in the concert, lectures and the Mola exhibit. As for the timing to build up the endowment to ma intain the collections, 3 said they would make a major gift, 8 would invite othe rs to give and 7 said they wo uld attend an information session. All 11 freely offered their contact information which has been provided to the George A. Smathers Libraries since Donovan Manage ment closed out the online survey. The online survey findings represent an enthusia stic response from the PCM board in moving the collaboration forward.
6 Conclusions Based on the findings from the document review, interviews with the George A. Smathers Libraries, PCM, and PCS leaders, Donovan Mana gement has concluded the following about the collaboration between the PCM and th e George A. Smathers Libraries: 1. The current economic recession has caused many nonprofit organizations to fold or seek a collaborative partner due to decreased government funding and giving by individuals. According to the Chronicle of Philanthropy collaboration between nonprofit institutions is not only increasing, but is being welcomed by grant making foundations that prefer organizations with similar missions to work t ogether. This trend o ffers funding potential for the PCM and the George A. Smathers Libraries. 2. The leadership for the PCM is very positive ab out the future collaboration and willing to work closely with the George A. Smathers Li braries in addressing the questions as noted in Finding #8 above. 3. The case for giving to preserve the PCM Collec tion is stronger now th at it is associated with a major research university. Clearly, the collection is a national treasure. This joint collaboration will appeal to national foundations that make grants for the preservation of history, education and digital/vir tual collections. The case needs to be divided into three sections: regional, nationa l, and international. 4. A special grant is needed to fund the cost of adding additional fundraising staff on a permanent or contract basis, as the present George A. Smathers Libraries staff working on this collaboration have a heavy workload. 5. Keeping the current PCM volunteers involved in the collaborat ion is a major concern for the future, as is the need to at tract younger volunt eers as well. 6. Future individual major donors, and in particular grant making foundations, are concerned about who is leading the collaboration in te rms of volunteer leadership/governance and staff leadership. Th ey need to have confidence that the grant will be used for the intended purpose and that progress reports will be provided to them on a timely basis. 7. This collaboration has the single most im portant key to successful fundraising A Sense of Urgency to celebrate the Centennial of the Pana ma Canal. This should be used as soon and as often as possible with potential funders as the collaboration moves forward. 8. The Online Survey of the PCM Board findings represents an enthus iastic response from the PCM board in moving the collaboration forward.
7 Recommendations Recommendations for Moving Forward Based on the findings and conclusions, Donova n Management has drawn from the document review, the George A. Smathers Libraries interv iews, online survey and interviews with the PCM and PCS leaders, we offer the following reco mmendations for moving forward in a manner that will provide for a financially secure future for the new collaboration between the PCM and the George A. Smathers Libraries. PCM and George A. Smathers Libraries 1. The Centennial of the Panama Canal offers a great opportunity for fundraising. We suggest an immediate fundraisi ng planning retreat involving all the principals of the PCM, Panama Canal Advisory Group and others to discuss this re port and to determine financial goals over the three years. Given the upcoming Centennial, we suggest a phase one funding goal for it and a longer term phase two funding goal for all other financial needs, such as the endowment. 2. We suggest using an outside Facilitator to guide the discussion at the retreat, someone who can be objective and guide all parties toward a comfortable and common future working relationship. Clearly, the PCS is uni que with its focus on socialization, holding events and maintaining life-long friendships. Given the requirement for membership having worked on the Canal or some other offi cial capacity, there doesnt seem to be a pool of new recruits/members out there to continue to grow the Society, unless it creates a new level of membership. That next genera tion of leadership can be most helpful in preserving the legacy of the PCM Collection at the George A. Smathers Libraries. 3. We suggest that the retreat agenda addr ess the following concerns, from Finding #8. What role does the former PCM Board play in the future? What incentive can we give to the PCS to assist us in the future? Whats the new governing struct ure and who should be on it? Who will be the Advisors/Experts for the Collection? What is the case for giving now that the PCM is affiliated with Smathers Libraries? Wont people think that the UF is payi ng for everything and there is no need for gifts/grants to fund the collection?
8 How will donors be honored? Will there be a Donor Wall at Smathers Libraries that includes donors who made a tax-deduc tible gift, donors of artifacts and inkind donors? Other Strategic Questions to be addressed at the Retreat What are the estimated costs of the collaboration over the next three years? What is the feasibility of attracting philanthropic support from existing donors, corporations, foundations, members, patrons, sponsors, volunteers and education leaders to fund these costs? Should a fundraising feasibility study be done by an outside consulting firm? How can the PCM and the George A. Smathers Libraries craft a compelling case for future giving that is attractive to a broad based of constituents current supporters, history and education leaders, service clubs, government leaders, executives of grant making foundations and individual major donors who are passionate about the preservation of history? The new name suggested for this collaborative is: Friends of the PCM Collections at UF. All endowed funds would be held by the UF Foundation. In order to capitalize on the Centennial of the Panama Canal, the George A. Smathers Libraries will need to create a fundraising pl an that outlines key action items, by whom and by when. It is presumed that initia l funding will come from a number of groups, including the PCM, Panama Cana l Advisory Group and others. Who will oversee the enlistment, management and recognition of all volunteers in this new collaboration? What roles can volunteers play? Can f unding be secured for a parttime Coordinator of Volunteers? Will a fundrai sing assistant under the supervision of the George A. Smathers Libraries Associate Dean of Development be required to support fundraising efforts by the new entity? George A. Smathers Libraries 4. Once the financial goals are set, develop a compelling case for givi ng. The case should answer the following questions: The Past What is the history of the PCM, its origin? The Present What is the status of the PCM Collection today with Smathers Libraries? Why is this collaboration so important and the right project, at the right time?
9 The Future What are the goals and aspirations for the future and how will these make a difference for the Panama Canal constituencies? Resources Needed What human and financial resources are needed to meet future goals? Governance and Leadership Who is providing the vol unteer leadership? In addition to using existing documents to answer these questions, we suggest those involved early on with the PCM be interviewed and asked the above case questions. The final case narrative can then be used in al l marketing materials, online, in conjunction with proposal writing, as well as talking point s when asking a prospect for a major or planned gift. 5. In the short term, social events should be held to generate giving and to increase the donor base. These events are most effectiv e when hosted by couples who invite their friends and potential donors. The key is to allow enough ti me for socializing and a brief presentation on the new collaboration. 6. Continue to research and prepare a Top Corporate/Foundation Prospect List beginning with the American companies that worked on the Panama Canal and all other companies that provided services. Many have already been identified by staff as noted in memos we reviewed. Clearly the Genera l Electric Foundation should be a prospect. However, to obtain any foundation grant will take more than a compelling grant application that meets a foundations guidelines. It wi ll require identifying and enlisting someone in or associated with the companys foundation to shepherd the a pplication through the corporate maze, thereby increasing the chan ces of funding. Hopefully, UF engineering and business alumni who work or have worked for General Electric can be identified to help in this process. 7. Explore with the UF Foundation the po ssibility of enlisting a 12 member Honorary Board of Governors for the PCM and the George A. Smathers Libraries with representatives locally, regiona lly, nationally and internationally that would meet twice a year to lend their knowledge expertise, counsel and connections in meeting organizational goals. Such a board also help s when applying for foundation grants on the national level. PCM and George A. Smathers Libraries 8. Consider asking a foundation or donor to pay th e salary for the first year for a part-time Volunteer Coordinator to identify, enlist a nd manage a cadre of volunteers to perform numerous tasks, such as processing materi als, identifying photos, serving on a Speakers
10 Bureau, educational outreach, and recruitmen t of members to become Friends of the PCM Collections at UF. 9. Once this report is taken under advisement a nd discussed among all parties, particularly at the suggested retreat above, a White Paper should be written that announces how the new collaboration will be a valuable asse t to our nation, the Caribbean and the international community. It is also sugge sted that the partie s contact Andy Corty, Publisher of Florida Trend Magazine, and ask him to consider a feature story for its issue on international commerce. George A. Smathers Libraries 10. Research and seek a Fortune 500 Company that is presently working on the expansion of the Panama Canal as a marketing partner th rough 2015 for a series of ads featuring The Panama Canal Faces of Philanthropy at the Smathers Libraries. 11. Depending on the status of J.P. Morgan Chase, as a current or future donor to the UF Foundation, we suggest working with the UF Foundation in arranging a meeting with former U.S. Senator Mel Martinez, Senior Vice President at J.P. Morgan Chase, keeping in mind J.P. Morgan played an important role in the financing of the Canal. In May of this year Mr. Martinez took on the added role as Chairman of the companys foundation which donates more than $150 million a year worldwide. PCM and George A. Smathers Libraries 12. Appoint a small delegation to meet and brie f U.S. Senators Bill Nelson and Marco Rubio on the transfer of the Panama Canal collection to the Smathers Libraries and plans for the Centennial Celebration so they will be in a position to pr epare Senate Resolutions and other forms of public support for the upcomi ng Centennial. In addition, make them aware of the list of corporati ons on the prospect list in the event they have any dealings with them. 13. Since Florida Governor Scott has made trad e with Central and South American a top priority and recently had his first foreign trade mission in Panama, share an executive summary of this report with him emphasizi ng the upcoming Centennial Celebration of the Canal. 14. Also, share an executive summary of this re port with former Governor Jeb Bush and ask him for an exploratory meeting on how best to partner with the Foundation for Floridas Future, which he started. Use the quote below from the Foundations website as a reason for requesting a meeting. The world economy today is more interconnect ed and interdependent than ever before. Competition has gone global. As a result, Floridas students will compete with students
11 from China and India, as well as New York and California, for the high wage jobs of the future. In this new global marketplace, knowledge is the most coveted commodity. Emerging industries and the hi gh-wage jobs they provide require greater expertise in math, science, technology and engineering. The success of todays students will shape the future of our country and define its role in the world. To grow our economy and protect our quality of life, Florida mu st prepare its students to succeed in this dynamic and demanding environment. Sustaining Philanthropic Support for the PCM Collection To sustain and engage the philanthropic cons tituencies of the PCM Collection, knowledge and skills will be needed in addition to current staffing. Given the present workload of the Library Staff engaged in fundraising, it may be necessary to create three new positions as noted below. Special Events Assistant Assist in planning and conducting the Pa nama Canal Centennial Celebration Research and identify sponsors for the Centennial Clear all prospects with UF Foundation Create sponsorship levels and benefits Solicit sponsorships Maintain a database of spons ors and event participants Draft event press releases for events for approval by the Dean Other duties as assigned Membership Assistant for Friends of the PCM Collections at UF Continue discussions with all parties on how be st to integrate Friends into the new entity Update current database of Friends of PCM Devise a plan for increasing membership from various constituencies Set membership levels, $50, $100, $250, $500, etc. Enlist a Membership Committee Conduct membership drive Prepare membership newsletter Recognize members as the Faces of Ph ilanthropy behind the PCM Collection Volunteer Coordinator Part-Time Identify key tasks for volunteers Identify skills needed from volunteers Identify, enlist and assign volunteers to key tasks Maintain a database of all volunteers Provide appropriate reco gnition for all volunteers Other duties as assigned
12 Major / Planned Giving Officer Job Description Maintains the database of donors and prospects The Top Prospect List and status of each solicitation Researches and identifies pros pects at gift levels according to the gift table and assures that the "Pipeline of Prospects" is always full Meets with and cultivates prospects before a solicitation Uses Crescendo or another form of planned giving software to determine the best giving vehicles Prepares and assembles materials for solicitations Determines the best planned giving vehicl e based on the donors philanthropic objectives and tax savings Charitable Remainder Trust, Lead Trust, Bequest, Donor Advised Fund, etc. Prepares reports for the Board of Directors Types proposals and assembles presentations to donors Maintains a calendar of solicitations, events, meetings and appointments with prospects Schedules meetings with individual prospects Assists in planning in-home pr ospect cultivation events Assists the Associate Dean for A dvancement/Development as needed Constituencies for Giving Current donors Donors to other historical museums/co llections in Flor ida and nationally History enthusiasts Members of PCM and PCS and friends on their mailing lists Corporations that worked on the Panama Canal or provided materials or services such as: GE, Dupont, Bucyrus, Ingersoll Rand, Tex aco, Chicago Pneumatic, Fairbanks & Morse J.P. Morgan Chase, Sullivan & Cromwell UF Engineering Alumni working for Corpor ations that are now expanding the Canal Foundations that fund history projects, preservation and online education programs Cruise Lines Royal Caribbean, Carnival Shipping Lines Crowley Maritime, Seaboard Marine Florida East Coast Railroad
13 Action Plan/Timeline By Whom and Action Item By When PCM, Panama Canal Advisory Group and George A. Smathers Libraries 1st Quarter 2012 Share the Assessment Report with all in terested parties, receive feedback Conduct retreat as noted in Recomme ndation #1 and cover the agenda and key questions in Recommendation #3 and Finding #8 above Finalize the governing structure for the collaboration between PCM and the George A. Smathers Libraries Finalize arrangement and agreement for all future giving by donors to the Collection Delegation to brief U.S. Senators and Nelson and Rubio Enlist a Centennial Celebration Committee Explore, with permission of UF Foundation, a partnership with the Foundation for Floridas Future, which was established by former Florida Governor Jeb Bush George A. Smathers Libraries Seek funding for additional George A. Smathers Libraries Advancement staff, if necessary special events assistant, volunteer coordinator and major/planned gifts officer Conduct case interviews, draft and test case Finalize case, prepare case materials and distribute case Seek advertising sponsors to promote centennial and case Create donor database for Friends of PCM Collections at UF Membership campaign Devise membership fundraising plan Conduct membership campaign
14 Conduct in-home donor/prospect cul tivation events quarterly PCM and George A. Smathers Libraries 2nd Quarter 2012 Panama Canal Advisory Group meet s to discuss Centennial plans Share Centennial plans with Florida Trend Magazine Begin enlistment of Board of Gove rnors if approved by UF Foundation Solicit Top Corporate and F oundation Prospects for support Conduct in-home donor/prospect cu ltivation events quarterly Conduct rating and evaluation of pros pects, determine best solicitor Convene leadership of PCM, PCS, Advisory Group and the George A. Smathers Libraries staff to discus s status of goals, make adjustments PCM and George A. Smathers Libraries 3rd Quarter 2012 Discuss plans for Centennial ce lebration/education plan Devise a Centennial campaign plan that is local, regional, national and international in scope Repeat major action items above as necessary such as: Prospect review and a ssignments to solicitors In-home donor/prospect cultivation events Convene leadership Convene Panama Canal Advisory Group Run advertisements via sponsor Enlist volunteers Report all results/achievements
15 PCM, Panama Canal Advisory Group and George A. Smathers Libraries 2013 Implement Centennial education plan with monthly events, seminars, symposiums, etc. Seek extensive awareness so as to lay the groundwork for giving to the Centennial campaign Conduct the quiet phase of the Cente nnial campaign for lead major gifts PCM, Panama Canal Advisory Group and George A. Smathers Libraries 2014 Celebrate Centennial Launch public phase of the Centennial campaign
16 Exhibit A: Persons Interviewed A total of thirteen people were interviewed for this Assessment: Panama Canal Museum Board Joe Wood, President Kathy Egolf, Executive Vice President Bob Zumbado, Trustee Richard Morgan, Trustee Panama Canal Society Tom Wilder, President Mike Coffey, First Vice President George A. Smathers Libraries Judith C. Russell, Dean of University Libraries Sam T. Huang, Associate Dean for Advancement Rachel A. Schipper, Associate Dean for T echnology & Support Services, PCM Board Member Bess G. de Farber, Grants Manager John Freund, Conservator Paul Losch, Latin American Collection Laurie N. Taylor, Digital Humanities Librarian
17 Best Practices Donovan Management Best Practices Role of Volunteer Leaders/Campaign Cabinet In fundraising, staff is on tap and volunt eer leaders are on top. Why? Because people give money to people (they know/trust and see that they are giving freely of their time to a cause), not to staff who are paid for his/her time. Peer level, volunteer driven capital campaigns are always the most successful. Thus, there is no substitute for volunteer leadership that leads by example and is passionate about the mission of the organization. Your role as a leadership volunteer or member of the campaign cabinet is: 1. To enlist others on the campaign cabinet or a committee level such as Special Gifts Committee. 2. To assist in identifying and rating potential donors to the campaign, pa rticularly at the $10,000 level and up. 3. To assist in educating an d cultivating the prospects before they are asked to give to the campaign. 4. To make your own leadership gift consiste nt with your commitment to your campaign and your personal ability to give, in other words, not a token gi ft but a major gift. 5. To give careful thought to who is the best person to solicit prospects and to devise an asking strategy that is to the benefit of the donor first and your organization second. This includes tax savings for giving as well as sp ecial naming opportunitie s in recognition for their gift or in honor or memory of a loved one. 6. To prepare yourself for making solicitations by being fully informed or trained by a consultant in major gifts before you make the ask. 7. To attend campaign cabinet meetings and be actively involved in all discussions, ask questions, stay positive and keep the campaign on track. 8. To have the discipline to follow the campaign plan and timeline and to avoid taking short cuts. By taking short cuts you end up short of your goal. 9. To communicate with campaign staff and fundrai sing counsel as often as necessary when preparing for meetings, cultivation events or solicitations. You cant be over prepared. 10. To not promise a donor anythi ng that must be approved by the full board of directors beforehand, such as the naming of a building an d or a space or place in it or on grounds.
18 Board and Capital Campaign Steering Committee Solicitation Process Premise: Those who give birth to great causes do so by leading the wa y. When it comes to asking others to support the cause, a prerequisite is that those leading it ought to have provided the first gifts of the campaign, thus the term leadership gi ving. It sets the example for others to follow. Formula: Anyone in a leadership position is ex pected to make his/her gift to be one of the top three gifts to charity for the year the campaign takes plac e. The gift should also be in proportion to ones financial ability to give. In other words not a token gift. Objectives of Campaign Giving: 1. 100% participation 2. 100% proportionate giving by all leaders involved 3. Collective board/committee giving equals a respectable percent of the overall campaign goal, usually 5% or more Process: 1. Chair or Co-Chairs of the board or Campaign Committee announces the giving objectives and rationale. Allow time for l eaders to think about their gift. 2. Chair or Co-Chair make their gift/pledge in writing and report it to the CEO. 3. Chair and Co-Chair challenge key committee chairs to do likewise. 4. Key committee chairs challenge their committee members to do likewise. Timetable: One month from start to finish. Benefits of Meeting Giving Objectives: 1. Provides fundraising momentum for the campa ign and the first opportunity to report campaign progress in newsletters and email updates. 2. Satisfies requirements of grant making founda tions about how much the leadership has given. 3. Strengthens the case for giving when leaders as k others to give as they have done so themselves. 4. Makes stakeholders out of all leaders involved, providing a vested interest in the success of the campaign.
19 5. It demonstrates to prospective donors, leader ships commitment and strong belief in the mission of the organization. Confidentiality and Recognition Gift amounts are kept confidential unless donor s wish for their gift to be known by allowing their name to be listed in the honor ro ll of donors, used in campaign materials or the donor desires a naming opportunity. The campaign pledge letter has a place to indicate the dono rs preference. Only the aggregate of board giving is made known to the full board and public and the percent of pa rticipation. A donor can be listed anonymously in the honor roll if so desired under a particular giving category such as Leadership Gift s $100,000 or more or even on a room plaque simply by listing the donor as, Anonymous. 90% of all donors do seek recognition as they want others to know they believe in the mission. Solicitor Checklist for Contacting Prospects Note: You cant raise money by wr iting emails and leaving voice mail messages. You MUST speak to the prospect from st art to finish. When asking so meone for a charitable gift, conversation and dialogue are require d if you want to be successful. Be prepared to devote the necessary time to the process. Getting the Appointment Getting the appointment is vita l; without it you don't get th e opportunity to ask for the major gift. The best person to call for the appointment is someone the prospect cant say NO to. If thats you, fine. If not, you must find that other person to do it for you. A second party would say, I need a favor. Please meet with Jon Smith with the XYZ; its a great organization and project. You need to hear about it. If you will meet, Ill have Jon call you to set a date/time. Thanks. Regardless of who makes the call, you or someone else, the prospect should know up front that the reason for the appointment is to discuss a major gift.
20 When making the appointment, use this opportu nity to set the tone for the upcoming meeting. Let the prospect know that you are excited about what you are trying to accomplish on behalf your organization. Say something like: Mr. Jones, I am a member of the XYZ campaign team, which seeks to The campaign is off to a good start, and I was hoping you would allow me the opportunity to personally tell you about the impact this projec t will have on. I am available at a time convenient for you Confirmation and Communicati on to Campaign Office Once you get the appointment, send a letter confirming it or an email reminder. The advantage of regular mail is you can send ot her documents you want the prospect to review prior to your appointment. It may also end up in the hands of his assistant so now two people in the same office know about the appointment Copy the campaign staff on all appointments. The day before the appointment, call to confirm AND send an email confirmation as back-up. Preparation for the Appointment Prepare for your solicitation with the prospect by using the Talking Points and other materials about the campaign that have been provided to you. If you need help, call the Campaign Office. A Personal Proposal Document will be prepared for your use by the staff or our consultants with the amount of the ask and ta ilor the proposal to the prospects special interests, naming recognition or hot buttons. All proposals will be sent to you for use in your meeting with the prospect. DO NOT email the proposal to the prospect. Meet with the prospect at the pre-arranged tim e and place. Its best to have two people on the solicitation team, usually one volunteer, e.g. a board member and one staff person, e.g. the CEO. Leave the Personal Proposal Document with the prospect to allow time for them to consult others, such as spous es, financial advisors or business partners. Report the outcome to the Campaign Staff. If you have not heard from the prospect with in a week of the meeting, follow up with a phone call, not an email. Continue to follow up until the prospect makes a pledge/ gift, or declines to do so.
Panama Canal Museum Collection at th e George A. Smathers Libraries: A Guide to Processing, Handling, Conditi on Reporting, Photographing, Storing, Allowing Access to, Exhibiting, and Inve ntorying the Museum Collection in a Library Setting Kim Tinnell Graduate Student, Museum Studies University of Florida 2011
2 Table of Contents Introduction .................................................................................................................. ....... 3 Chapter One: Processing ..................................................................................................... 5 Chapter Two: Handling..................................................................................................... 14 Chapter Three: Condition Reporting ................................................................................ 17 Chapter Four: Photographing ............................................................................................ 23 Chapter Five: Storage ....................................................................................................... 25 Chapter Six: Access .......................................................................................................... 42 Chapter Seven: Exhibition ................................................................................................ 45 Chapter Eight: Inventory................................................................................................... 58 List of Figures ............................................................................................................... .... 60
3 Introduction Libraries typically collect knowledge arti facts in the forms of books and papers. Knowledge artifacts are primary and secondary sources that relay information directly through text or images. Many special collections departments within li braries also contain paper objects such as maps and photographs, but very large collections of threedimensional objects are less common. This is mainly because three-dimensional objects are usually cultural artifacts, which require interpretation. Unlike knowledge artifacts, cultural artifacts do not speak for themselves. Typically, these large mixed collections are stored in museums, where museum staff, mainly curators and educators, is available to interpret objects for visitors through exhibitions and education programs. However, as is the case with the Pana ma Canal Museum (PCM) collection, mixed collections do end up in libraries. The University of Florida Smathers Library has other collections of three-dimensional objects within their special collections, however, none as large as the Panama Canal Museum collection, which contains over 15,000 objects. Because the collection is so large and arriving within a short period of time, it is important to outline an efficient and effective way of processing, cataloguing, processing, photographing, and inventorying the collection. Likewise, the current storage for three-dimensional objects in the library is not large enough to store the entire Panama Canal Museum collection. Objects in the collection range in size from a very small pin to a large canoe so proper planning is imperative for designing a storage space. The library is already short of space for storing all of their collections, providing a place fo r students and staff to do research, and displaying objects. However, if planned properly, most of the Panama Canal Museum collection will fit into a few small storage areas (with the exception of a few larger objects that will likely need to be stored in the librarys auxiliary storage area). Recommendations for efficient and safe storage are outlined in this guidebook. This guidebook will provide the University of Floridas George A. Smathers Libraries Special Collections Department with a blue print on how to process, handle, condition report, photograph, store, provide access to, exhibit, and inventory the collection from the Panama Canal Museum. Below are details li sted about what topics are included in specific chapters. Processing This section of the guidebook will provide guidance in the physical processing and recording of an object incl uding topics such as assigning numbers, physically numbering objects, describing objects, database entry, and collecting policy. Handling Museum staff members that have been specially trained in handling ar t, historical objects, or natural history specimens are the only pe ople allowed to physic ally handle museum collections. As a library collec tion, such a strict policy on ha ndling is not feasible. This section will build off the ch apter on access, and make sugge stions on determining who
4 will be allowed to handle the objects, if there is special handling training required, what types of gloves to use, and the requirements for a physical space for handling and research. Condition reporting Since many people will potential ly handle the objects, the co llection should be condition reported frequently. This section will tell how to conduct a condition report and provide sample forms. Photographing Taking photographs of the collection is impor tant for many reasons. This section will outline the three principle reasons for photogr aphing objects and the best ways to do it: identification, condition re porting, and publication. Storage This collection is much more diverse than the library is used to stor ing. Different types of materials require different storage conditions. This section of the guidebook will make recommendations on proper storage furniture boxes, and atmospheric conditions for specific categories of obj ects in the collection. Accessing In museums, public access to collections is through exhibitio ns. Some museums, particularly university affiliated museums, allow scholars, researchers, and students accompanied by professors to access objects in storage. Access to library collections is usually the opposite. Most access is through individual access rather than exhibitions. This section will guide the library in de veloping a policy for accessing the collections including who can access it, where they can access the objects, and limitations. Exhibiting Although the collection will mostly be accessed in a storage or study area, the library has a space where they put up exhibits for short periods of times. The library has also mentioned possible plans for a permanent exhi bit space for this collection as well as a possible traveling exhibition in collaboration w ith the Library of Congress. This section will outline exhibition procedures and conditi ons and include a section on preparing objects for a traveling exhibition. Inventorying Again, since many people will potentially acce ss the collection, an inventory should be conducted to be sure objects are not missing. This section will make recommendations on procedure and how often to conduct inventory on such a large collection.
Acc e b y m its d o large the i n Ther e that o prop e Num b Sinc e num b num b dona t exa m Sinc e of ti m obje c very resul t smal l som e b eca u the d o up. L nor m deci d kno w In a d colle c time s versi o docu m Cla r Assocssioning is eans of assi g o cumentatio n quantities, i n coming obj e should be a o bjects from e rly identifi e b erin g e the collect i b ered and d e b ers in a ser i t ed that yea r m ple: e the library m e, it is pos s c ts. Howeve r long. Each o t in the num b l object. Sec e one who co m u se there ar e o nor is not k L eaving the n m ally design a d es to stick w w n (such as 0 d dition, the s y c tion. Some t s they are w r o ns of the d a m entation o f isse Carnell a n iation of Mus e the act of r e g ning a uni q n .1 Becaus e i t is importa n ects. a space dedi different c o e d, numbere d i on is comin e scribed. Th e i es that den o r and somet i is obtaining s ible to keep r this syste m o bject shoul d b er being vi ond, someo n m es in to st u e so many c o k nown, the q n umber out a tes the don o w ith this sys t 0 0). y stem of nu m t imes numb e r itten with d a a te (02-040f a single o bj n d Rebecca Bu e ums, 1998), p Chapter e cording/pr o q ue number t e the Panam a n t to establi s cated solely o llections do d and catal o g from a m u e Panama C a o te the donat i i mes the nu m such a larg e this system m has sever a d be physic a s ible while e n e who isn t u dy an obje c o mponents. T q uestion of completely w o r would act u t em, a stand a m bering has e rs are writt e a shes (for e x 005-001). S o j ect (for ex a ck, The New M p 157 One: Proc e o cessing an a t hat allows t h a Canal Mu s s h an efficie n to processi n not get mix o gued. u seum, man y a nal Museu m i on year, th e m ber of obj e e quantity o f and contin u a l drawback s a lly number e e xhibiting t h t aware of th c t in the coll e T hird, if an o what do yo u w ould be c o u ally stand f a rd number s been incon s e n as shown x ample 200 5 o metimes t h a mple, an ob j M useum Regist r e ssin g a ddition to t h h e museum s eum collec t n t means of n g this colle c x ed together b y of the obje m s system i e donor nu m e cts within o f objects in a u e using it f o s First, the n e d. Having a h e object or n h e numberin g e ction once) o bject is fou n u put as the d o nfusing bec a f or somethi n should be u s s istent amo n above, sep a 5 -040-005-0 0 h e inconsist e bj ect will be r ation Metho ds h e permane n to connect a t ion is being recording a n c tion. This w before they cts have alr e ncludes thr e m ber, the nu m ne gift, if a p a relatively s o r futu r e acc e n umber can e a number thi s n ot fitting a t g system (fo r may get ve r n d in the co l d onor numb e ause the nu m n g else. If th e s ed when th e n g the objec t a rated by pe r 0 1) or with a e ncy occurs w labeled wit h ds (Washingto n 5 n t collection a n object to processed i n n d processi n w ill insure can be e ady been e e or four m ber of item s p plicable. F o s hort period e ssioned e nd up bein g s long can t all if it is a r example, r y confused l lection and e r? comes m ber that e library e donor is n o t s in the PM C r iods. Other a bbreviated w ithin the h n DC: America n n n g s o r g o t C n
2005 0400 that t chos e If th e num b reas o The l have effec t colle c nam e acce s this: Whe n num b idea t inco n skip p log. Obje c a an d the o b Som e assig n deter m com e Mus e to as s clos e diffe r .040.005.00 0 05-001). W he Panama C e n should b e e library wo u b er. Since al l o n it needs t o l ibrary has a a numberin g t ive way to d c tion. For t h e such as P C s sion numbe n an object a b er should b e t o keep a m a n sistencies t h p ed or repea t c ts that hav e d b. For exa m b ject has m u e objects th a n ed a numb e m inable suc e s in. These o e um is conti n s ign these o b d (2013). T h r ent objects. 1 and the d o W hether the l i C anal Muse u e used consi s u ld like to a d l donor info r o be in the a c few collect i g system th a d o this is to h e Panama C C M would r for an obj e a rrives at th e e written on a ster log of n h at have occ t ed. Each ti m e more than o m ple, PCM2 0 u ltiple parts. a t have arriv e e r. It will be h as donor. R o bjects will n uing to col l b jects with a h is will insu r o cumentatio n i brary choo s u m implem e s tently. d apt a new s y r mation sho u c cession nu m i ons of obje c a t differenti a incorporate C anal Museu m be effective e ct in the Pa n e library, it s h the object a n umbers tha t urred in the m e an object o ne piece (s u 0 02.88.12a a e d have no a unlikely th a R ecord as m need to be a l ect objects u a number sta r r e that the s a n associated s es to contin u e nted or ada p y stem, I wo u u ld be kept i m ber. Here i s c ts within th a tes objects i n letters into a m collectio n For examp l n ama Canal h ould be re c a nd any doc u t have been u past as well is assigned u ch as the s e a nd PCM20 0 a ccompanyi n a t certain pi e m uch inform a a ssigned a n u u ntil they cl o r ting with t h a me number with that o b u e using the p t a new on e u ld recomm e i n the docu m s an exampl e eir collectio n n one colle c a ll of the ac c n an abbrev i le, using th e Museum co c orded imm e u mentation o u sed. This w l as insure t h a number, w e al maker a n 0 2.88.12b. T n g documen t e ces of infor m a tion as pos s u mber. Sinc e o se in 2012, h e first year t r does not g e b ject will be same num b e the forma t e nd removi n m entation fil e e: ns, so it is n c tion from a n c ession num b i ation of the e example a b o llection wo u e diately. Th e o f the object w ill help pre v h at numbers w rite that nu m n d case) can T his will ale r t ation and h a r mation will s ible when t h e the Panam the best op t t he museu m e t assigned t o 6 labeled 02b ering syste m t that is n g the donor e s, there is n ecessary to n other. An b ers in one collection b ove, an u ld look lik e e accession It is a goo d v ent are not m ber in the be numbere r t people th a a ve not bee n be h e object a Canal t ion would b m will be o two m n o e d d a t n b e
Labe Each have or in locat i mate r to co n obje c cons i Here Gen e to an paint shou l label e Tag g have Tag g proc e obvi o majo r are m pape r Tag g on e x new o Tags tag s h Strin g cotto n attac h ling objects object sho u been labele d visible plac e i ons that wi l r ials and siz e n tinue usin g c ts should st i i stent with t h are accepta b e ral: While y object nee d i ngs, photo g l d be consis t e d in the to p g ing: Most t y somewhere g ing objects c e ssing a coll e o us where t h r drawback i m ade of strin g r gets torn o r g ed objects s h x hibition or f o ne should b should be n h ould be thr e g should be n Do not cr h a tag, use a u ld be labele d d however, e s. Objects s l l not be visi e s of object s g the numbe r i ll be numb e h e format in b le guidelin e y ou dont w a d s to be reve r g raphs) sho u t ently labele d p right corne r y pes of obje c to feed the s c an be muc h e ction as lar h e tags are l o i s that the t a g and (acid f r worn out. I h ould be ch e f or individu a b e attached i umbered wi t e aded throu g cotton or a n eate a hole i a nother nu m Figur e d with its as s improperly. s hould be la b ble when th e s require dif f r ing system t e red if the fo its docume n e s for numb e a nt to risk a n r sible. Obje c u ld be done s d in the sa m r (or which e c ts can be ta g s tring throu g h faster than ge as the Pa n o cated on m o a gs may bec o f ree) paper, I f the collec t e cked often, a l study) to b m m ediately t h pencil be f g h an existi n n other mater i n an object t m bering met h e 1 s igned num b Some have b eled only w e y are on di s f erent labeli n t hat the Pan a rmat of the n n tation. e ring types o n umber sm u c ts that can b s o in a back c m e place. For e ver corner t h g ged with p r g h. There ar e other numb e n ama Canal o st objects, s o me separat e so the pape r t ion is handl particularl y b e sure the t a f ore attachi n n g hole or g a i al that is pu r t o thread th e h od. These t a b er. Many o b been labele d w ith reversib s play, if pos s n g techniqu e a ma Canal M n umber on t h o f objects in u dging or fal l b e directly w c orner light l r example, a l h e library d e r estrung arti e benefits a n e ring metho d Museum c o s o the numb e e d from the a r tag may be c ed often, th i y after they h a gs are still i n g it to the o b a p (one that i re. Silk is p u e tag throug h a gs can be p u b jects that h d with perm le materials sible. Diffe r e s. If the lib r M useum has he object is the PCM C o ling off, ev e w ritten on (p a l y and in pe n l l photograp h e cides). fact tags as l n d drawbac k ds, especial l o llection. It i e r is easily f a rtifacts ov e c ome detac h i s is a stron g h ave been in intact. If th e b ject. The s t i s not dama g u re, but less h If there is u rchased fr o 7 ave number s anent mark e and in r ent types o f r ary decides established not o llection: e rything don e a per, n cil. Objects h s should b e l ong as they k s to tagging l y when i s also fairly f ound. A e r time. The y h ed if the g possibility. use (either e y arent, a t ring of the g e related). durable tha n nowhere to o m Gaylord. s e r f e e y n
8 Objects that cannot be labeled with pencil or tagged can be labeled using Acryloid B-72 Lacquer and ink. Here is the proper procedur e for numbering objects with this method: 1. Compile the material safety data sheets for all chemicals and keep them close by. 2. Make sure you have the proper materials on hand before you start. You will need Acryloid B-72 Clear Lacquer (25% Solu tion) in a bottle with a brush top, Acryloid B-72 White Lacquer (25% Solution) in a bottle with a brush top, permanent black ink, acetone, artist brus hes, paper towels, cotton swabs, and water. 3. Choose a well-ventilated ar ea for labeling objects. 4. Select a clean area on the surface of the object. The area should be small and unobtrusive, but easily found. 5. Choose what color lacquer to use for a base. For dark colored objects, white lacquer can be used. For light colore d objects, clear l acquer will work. 6. Make sure there is not too much lacquer on the brush. You dont want it to drip. With one steady movement, make a mark slightly larger than the number to be applied. Then, stroke again in the opposite direction to use the remaining lacquer from the other side of the brush. 7. Apply the number using a fi ne point brush and permanent ink once the Acryloid is dry (this should only take a few minutes). Numbers should only be written on the lacquer surface so that it does not penetrate the objects surface. Permanent ink can be used since it will not actually t ouch the surface of the object (the lacquer serves as a barrier). The person who wr ites the number should have a steady hand and good, legible handwriting. Another opti on is to print accession numbers on acid free paper or spun polyethylene (Tyve k), and then attach them using the method above. In this case, the Acryloid B-72 Lacquer serves as a glue to fix the printed number to the object. This insures numbers are legible. If done this way, numbers should be printed on a laser printe r and the ink should be tested to make sure it does not smear when the clear Acryloid B-72 Lacquer is applied. 8. Apply a layer of clear Acryloid B-72 lac quer over the number. Make sure the ink is dry before doing this. Because drying times vary for different inks, it is recommended that you try this on a non museum object first.2 Porous objects may need multiple layers of Acryloid B-72 Lacquer before the number can be applied. Additionally, some materials, such as textiles, require different application altogether. Below is a list of specific types of objects and any special needs they have related to number labeling. Extra large objects: Label (or tag) very la rge objects in more than once place. For example, the canoe in the PCM collection can be labeled on both ends on the bottom. Since there is a lot of surface area on large obje cts, it can take awhile to find. For this reason, it is a good idea to note in this objec ts documentation where the number can be found on the object. 2 National Park Service, Use of Acryloid B-72 Lacquer For Labeling Museum Objects, Conserve O Gram July 1993, Number 1/4.
Very b oth retur n attac h phot o mate r are r e num b Cera m may n on t h has a Text i gar m side) as th e Tyv e b ut i n have fiber s loos e of at t shou l Fig u Met a have Pape r map s and p inde n on. T pape r small obje c the box and n ed to the s a h a tag, suc h o graph of th e r ial that wil l e turned to t h b ered on the m ics: Cera m n eed more t h e bottom of handle, a t a i les: Tags s h m ents). Larg e Sometime s e ones avail a k. Follow t h n stead of nu m dried, they c s of the text i e enough tha t t aching a ta g l d be used. S u re 2 a ls: Metals c a painted dec o r : Paper obj e s books, cer t p rograms, s h n tions are cr e T his may inc l r resists #2 p ts: If small o object shou l a me box. Ob j h as a coin, s h e object can l not affect t h h eir proper b o holder (see m ics can be n h an one init i the base or o a g can be att a h ould be se w textiles sh o s there are n o a ble from G a h e instructio n m bering on a c an be sewn i le. Sewing s t it will not d g between th e S ilk is not re c a n be numb e o ration sho u e cts, includi n t ificates, di p h ould be lab e e ated. Thre e l ude objects p encil marki n o bjects obje c l d be numb e j ects that ca n h ould be ve r be placed i n h e material o o xes. Coins chapter on s n umbered us i i al coat of A o n the insid e a ched. w n on the re v uld be num b o t large eno u a ylord). If t h n s above for a n o b ject, y o onto textile s hould be ti g d amage the t e fibers of a c ommende d e red using t h u ld be avoid e n g written d o p lomas, year b e led with pe n e -dimension a such as bo o n gs. These c c ts are kept i e red, if poss i n not easily b r y well doc u n the box an d o f the objec t can be plac e s torage). i ng the tech n A cryolid B-7 2 e of the lip ( i v erse (for on e b ered in two u gh gaps to t h is is the cas numbering o u will num b objects. Al l g ht enough s t extile. Figu textile. Cot t d due to its f r h e technique e d. o cuments, p h b ooks, broc h n cil in an u n a l paper obj e o ks and gift b c an be label e i n boxes (se e i ble. This w i b e numbere d u mented pho d contained t This will h e d in acid fr e n ique above 2 Lacquer. I t i f it is a ves s e sided obj e opposite c o t hread an ex e, tags can b objects wit h b er the Tyv e l sewing sh o o that the ta g u re 2 demon s t on or anoth e r agility. above. Are a hotographs, h ures, stick e n obtrusive p l e cts can be t a b ags. Some m e d using a # 1 e chapter o n i ll insure th a d and have n o tographical l in polyester h elp insure t h e e coin hol d Porous cer t is best to l a s el). If a cer a ects) or in t h o rners (on th e isting tag th r b e made for t h Acryolid B e k tag. Onc e o uld be done g does not f a s trates the p r er pure, no n a s that are c o works of a r e rs, newspa p l ace. Press l i a gged rathe r m odern pho 1 or wax pe n 9 n storage), a t objects ar e n o place to l y. A or another h at objects d ers and amic object s a bel cerami c a mic piece h e inside (fo r e reverse r ough (such t extiles usin B -72 Lacque r e the tags between th e fa ll off, but r oper metho d n -dyed threa d o rroded or r t on paper, p ers, stamps, i ghtly so no r than writte n tographic n cil. e s c s r n g r e d d n
10 Paintings: Paintings should be marked on the reverse on the stretche r bar or wood panel. Never mark a painting on the front or on the reverse of the canvas. Paintings can be labeled with Acryloid B-72 Lacquer usi ng the technique outlined above. Sometimes, there are areas on the back of the canvas support where a tag could be attached. Wood: Wood objects can be la beled wit Acryloid B-72 L acquer using the technique outlined above. Plastic: Plastics can be complicated to labe l because their chemical composition is often undeterminable. It is best to label pl astic objects using an archival tag. Leather: Leather objects should be numbered with tags. The string with the tag should be threaded through an existing hole in the leather. Do not write di rectly on leather or attempt to use Acryloid B-72 Lacquer as this will permanently damage the material. Cataloging Many objects that have arrived at the library have printout sheets from PastPerfect, a database commonly used in museums. These printouts have some information about the object. It is important that th is information is retained. For objects that have come in without any documentation or numbers, record as much information on that object as possible when it first arrives at the librar y. In many cases this information may only consist of a physical description and size.3 If there are any captions or markings on the object, record those. Since members and volunteers from the Panama Canal Museum will continue to be involved, the library can use them as a valuable resource for identifying objects and the objects significance to the Am erican Era of the Panama Canal Zone. Be sure to record as much information as they provide as possible. You may ask if they mind being recorded or a form can be devised that helps keep information organized. This information can then be used in the librar ys database and catalog for searching for objects. The Panama Canal Museum should be contacted before they close to be sure there is no existing information on these objects. In many cases, legal issues will not come up. However, it would be in the librarys be st interest to know that the Panama Canal Museum does own these objects and has the right to deaccession and transfer them to the library. Additionally, the library will need to know if there are any restrictions in the deed of gifts for these objects that may make stipulations on how they can be exhibited or deaccessioned. If the library de cides to deaccession any of these objects, they will need to show that they have th e authorization to dis pose of these objects. Without a proper title, showing ownership could be much more difficult. It is best to try to obtain this information while the museum is still open. There are also several Pre-Co lumbian pottery pieces in the Panama Canal Museums collection. These can pose a problem for the lib rary if the donor of these objects and the Panama Canal Museum does not have enough pr ovenance information to prove they were 3 Sandra Varry, Photographic History, Preservati on, and Digitization: Skills and Strategies for Working with Collections, Workshop given at th e Society of Florida Archivists Annual Meeting in St. Augustine on May 4, 2011.
11 imported prior to 1983. In 1983, the UNESCO Convention on the Means of Prohibiting and Preventing the Illicit Import, Export, and Transfer of Ownership of Cultural property went into effect, as law, in the United States. The law states: Section 307 (19 U.S.C. 2606): Import Rest rictions. No restricted materials exported from the State Party may be im ported into the U.S. without an export permit issued by the State Party (country of origin), or other documentation showing that it left the country of origin prior to the imposition of restrictions. Such import restrictions are applicable ev en if the material is imported into the U.S. from a country other th an the country of origin. Since Americans were in the Panama Canal Z one for such a long span of time prior to 1983, it is possible the Pre Columbian pottery pieces in the PCM collection were imported to the United States prior to the law going into effect. If the objects were imported prior to 1983, it is legally permissi ble to buy, sell, and have possession of most artifacts that are in the count ry prior to that date. However, the donors of the objects and the staff at the PCM should provide the library with proof of provenances and ownership that verifies these objects were imported pr ior to 1983. This law applies to all antiquities, not just Pre Columbian artifacts. Databases The library has several systems that are us ed for cataloguing various collections within the library. The library catalog contains most descriptive informa tion on the collections. Therefore, the best option is to integrate th e PCM collection into the library catalog so it is easily searchable by patrons and the library staff. Some of the PCM collection is searchable and viewable on the Digital Librar y of the Caribbean, an initiative that was started by the University of Florida in 2004. Th is database allows users to search for objects using title, publisher or author, date, type, and some keywords. There are also images of every object on this database. As it currently exists, there are four collections available from the University of Florida on the Digital Library of the Caribbean. When searching for an object, there is no indication which collection it is coming from. This should be added. Adding the physical locati on in which the object can be found, a physical description of the object, and the accession number that gets assigned to the object would also be helpful to those hoping to view the object in person. This database can serve the public, especially those who wish to view the collection but arent able to travel to Gainesville to see it in person. Here are links to the Panama Canal Museum collection in the Digital Library of the Caribbean: http://dloc.com/pcm http://dloc.com/pcm/all Separate files, to be used by librarians and collection managers, should also be kept. These files should include a photograph of the object, title, material/medium, physical description of the object, obj ect type, condition report, location, donor information, a
12 copy of the deed of gift, insurance valu e (or an appraisal), the accession number, measurements, and exhibition history. As the objects are catalogued and physically processed, they should be placed in safe storage conditions. Currentl y, the Panama Canal Museum collection has a semipermanent storage space on the first floor of Library East, located next to the conservation lab. As much as possible, objects should be arranged according to type (i.e. all photographs together, a ll wooden objects together, all paintings together, etc). Should space and money become available, ideal storage conditions are outlined in chapter five. Collecting plan The Panama Canal Museum collection is larg e, with an estimated 12,000+ objects. Some objects are duplicates (such as three yearbooks from the same school and year). The library is accepting the collection in its en tirety and will continue to accept donations. Therefore, it is important for the library to write a collecting plan. This will keep the collection from getting too large by maintaining a single focus, refusing duplicate objects or objects that do not meet the mission, a nd deaccessioning objects that do not meet the mission of the collection, are duplic ates, are in poor condition, or are not able to be safely cared for and stored by the library. The library should form a collections committ ee specifically for this collection that can make decisions on accessioning and deaccessioning objects into th e PCM collection. The best place to start research for what th e collecting plan should include is the mission statement. Although the Panama Canal Museum is closing, their mission statement can still serve as the collection s guiding mission statement. The Panama Canal Museums mission statement is: The Mission of the Panama Canal Museum is to document, interpret, and articulate the role played by the United States in the history of Panama, with emphasis on the construction, operation, maintenance and defense of the Panama Canal and the contributions to its su ccess by people of all nationalities.4 The collecting plan should take into consider ation what types of obj ects are already in the collection, what types of object s will and will not represen t the mission statement, and what objects the library has the capacity to store and properly care for. Students and scholars who are using the collection for res earch will benefit from a concise collecting plan because they will not have to wast e time weeding through objects that are not relevant to the collections main focus. When newly donated objects are added to th e collection, a deed of gift should be completed. The library should use their existing system for accepting donations, if Panama Canal Museum Website, Mission Statement accessed May 7, 2011, http://panamacanalmuseum .org/index.php/about/
13 possible. This will make the paperwork and procedure much easier since the library staff is likely already familiar with the process. Only gifts without restrictions should be accepted except in special circumstances. Sp ecial circumstances should be discussed among the members of the collections committ ee and the head librarian, curator of the collection, conservator, or anyone else not on the committee who the restriction may impact to be sure that the restriction can be accommodated. It is unlikely the library can make promises to continually exhibit object s, conserve objects in very poor condition without an additional monetary gift, or ma ke excessive use of donor plaques or donor written accompanying material. The collecting plan should outline the justif ication and process of deaccessioning objects. When deaccessioning, the best course of action is to donate the objects to another museum, library, or archive for educational purposes. In anticipation of their closing, the Panama Canal Museum has decided to donate th eir extensive collection to the University of Florida Smathers Libraries. If the libra ry decides to deaccession any objects, they should first be offered to a museum or another library. There are many reasons to deaccession objects, su ch as the object is beyond the scope of the collection, there are duplicate objects, or that the librar y cannot reasonably care for and store these objects. There are several objects in the collection that fall into the categories. For this collection, the best time to make deaccession decisions is upon arrival and during processing at the library. At this time, object s that are candidates for deaccession can be set aside. Be sure to take into account if any donors have made restrictions on his or her gifts.
14 Chapter Two: Handling Since students, professors, the public, a nd other academics will use the collection frequently, it does not make sense to restri ct handing to only libr ary staff. However, objects are most vulnerable to incur damage while being handled, so precautions must be taken and rules should be put in place for those who handle the co llection. Objects that are damaged should not be handled by non-lib rary staff and should be sent to the conservation lab for evaluation, stabilization, and treatment. This chapter is broken up into handling in structions for the two groups of people who will handle the collection the most: library st aff who process the collection and retrieve requested objects and non-lib rary staff who use the coll ection for research purposes. There are also general rules for handling obj ects that apply to everyone that will be addressed first. General rules When handling objects, do not wear jewelry that protrudes or c ould get caught on any type of object. Key cards should not be wo rn around the neck because they could get caught on an object. Gloves should be worn when handling objects, except in cases when an object is too slippery. On ly cotton and nitrile/vinyl gl oves should be used. Latex should be avoided since many pe ople are allergic to it. If gloves cannot be worn, make sure to wash and dry hands thoroughl y before touching any objects. Never run or walk backwards when carrying objects. Walk slowly and be aware of your surroundings. Before you pick up an object, know where you plan to set it down. You should never lift one object over another. Ob jects should be carried one at a time, no matter how small. If an object is large, hea vy, or awkward, ask for help with moving it. Do not hand objects from one person to anothe r. Instead, set it down on a stable surface and have the other person pick it up. Handle objects as little as possible. When picked up and moved, handle the object in its most stable position. This is usually (but not always) the position in which it is stored. Do not eat, drink, or smoke around objects. When handling works or arts or historical documents (including paintings, photographs, drawings, etc), never touch the front where the image or writing is located. Carry paper objects that have no secondary support (e.g. ba cking board) in a rigid folder that is slightly larger than the object Use a sheet of paper or micros patula to lift a piece of paper from a surface. Do not try to get under it with your fingers as this may result in creasing or bending of the corner of the paper. Carry framed objects with one hand on the side and one hand on the bottom. Do not carry framed works by the hanging wire or the top of the frame.
15 Library staff Library staff will be handling objects while processing the collection and later when objects are requested for study by library patrons. Many objects have arrived packed together, loosely, in boxes. Without knowing what is inside, it is difficult to determine how to m ove the box to make sure the contents dont get damaged. If possible, open the box to see what types of objects are inside before moving it. If this is not possible, locate a st able surface as close to the box as possible. Pick up the box slowly and walk very slowly, be ing careful to keep the box level so that objects do not roll around. Remove objects indi vidually from boxes, starting with those on the top. Only move one object at a time and always use two hands even if it is a small object. When retrieving objects for study from the stor age areas, use a cart to transport objects. Carts should have at least a 3-4 inch lip so that objects cannot roll off the side and should be padded. If there are very few, flat objects th at need to be moved, they may be carried in solander boxes from the stor age area to the study room. When transporting objects to different floors of the building, elevators should be used. The entire cart can be pushed into the elev ator. If an elevator is not accessible, carts should be available on each floor for object transport. Objects should be put on a cart and moved to the staircase. Objects can then be carried, carefully, one by one, up the staircase to another cart at the top of the staircase. Someone from the library staff should always remain with each of the carts as to not leave objects unattended. Staff should make sure that library patr ons and new library staff understand how to properly handle objects in th e collection. Staff members are responsible for making sure library patrons read and sign a form acknow ledging they have read and understand the rules for accessing the Panama Canal Museum collection. Library Patrons Library patrons using the PCM collection ma y range from undergraduate students to secondary school teachers to college professors and will have varying degrees of object handling knowledge. Generally, anyone usi ng this collection w ill understand that the objects are irreplaceable and shoul d be handled with care. In additional the general rules of object ha ndling, library patrons should read and sign a form acknowledging they understand and agr ee to comply with library rules and regulations for object study. An example of this form can be found in chapter six on access. Only use pencil when writing around objects.
16 All backpacks and oversized purses must be st ored in lockers or behind the librarians desk. Patrons may not take objects in the PCM Collection out of the library study room.
17 Chapter Three: Condition Reporting Damage can occur to objects instantly or over time so it is important to monitor their condition. The best way to do this is th rough condition reporting. This chapter will include sections on when to conduct condition reports, how to perform them, and provide sample examination forms to use. When Damage can happen during transport, while obj ects are in use, or gradually over time. Objects should first be condition reported wh en they are brought into the library and being processed. Objects are be ing shipped together in boxes in vehicles that were not designed to transport museum objects. Obj ects that are damaged excessively during transport should be taken to a conservator or deaccessioned. Objects should also be condition reported af ter they are used (both by library staff and patrons). You cannot count on the person us ing the object to report damage. Some damage can occur without the person no ticing or someone may panic about causing damage and fail to report it. Objects that are vulnerable to damage should be flagged during processing and the initial condition report. Damage may be a result of poor handling, an accident, or an inherent flaw in the object. The li brary should examine and condition report these objects regularly to be sure that the damage has not worsened. If it has, a conservator should be contacted. If objects are exhibited or loaned to ot her institutions, condition reports should be conducted prior to the object going on exhi bit or out on loan and upon closing of the exhibit or receiving it back from a loan. How Before you begin an examination and condition re port, make sure that you have an area set up and all the tools you will need to c onduct the condition report. Heres what you will need: -A clean, white surface upon which to set the object -Pencils -Examination forms and extra paper -Computer -Camera -Tape measure -Ruler -Gloves (white co tton or nirtile) -Flashlight -Loupe or other magnifier
18 -Natural hair brushes -Tweezers Objects should be examined in a clean, well-lit area. Conducting examinations on a white surface will help the examiner notice any part of the object that is flaking or cracking off. Photograph, measure, describe, and save any debris that comes off during examination, including dust. This should be shown to a c onservator to further ev aluate the condition. Broken pieces or debris should be stored in archival grade plastic zip lock bags or in boxes. The bag or box should be labeled with the objects accessi on number and a short description of how the piece fell off and what part of the object it is from. Follow the guidelines in chapter two on ha ndling while conducting condition reports. When writing a condition report, it is a good id ea to make note of any areas that may be weak. This will help insure that future handl ers will not grab the object in this area. If there are cracks, chips, or breakages, meas ure their length and width and record the location on the examination form. Photogra ph the damaged or weak area. For twodimensional objects (including paintings, alt hough they are not truly two-dimensional), record damage in terms of proper right and proper left. A flashlight or other light sour ce can be used to create raking light. Raking light is a light source that comes from the side so that certai n irregularities or othe r types of damage can be noticed. If you can determine whether damage is chemical, biological, mechanical, or inherent in nature, record it. A glossary of terms related to damage that objects in the PCM collection are vulnerable to can be found at the e nd of this chapter. Forms A condition report should include information about the object such as the accession number, object composition, physical description, title, artist or maker, medium, size, and date created. The date of examination and ex aminer should also be noted on the condition report. The report should also include the type of damage, th e extent of the damage, the location of the damage, previous repairs, and cause and date of damage (if known). A photograph of the object should also be includ ed with notations of where damage is located. You may use a color-coded system, but be sure to note what different colors or type of lines mean next to the photogra ph (see sample condition reported photograph below). If the object is a three-dimensional ob ject or the reverse is important of a flat object, include images of all sides. Be sure to record on the form is the damage is located on the front or back of a two dimensional object. Be sure that all condition reports and doc umentation of examination are on archival materials or in archival formats. You may record condition reports on the computer, but back them up in case of unexpected com puter problems or power/server outages.
19 University of Florida Smathers Libraries Panama Canal Museum Object Condition Report Documentation: Accession Number________________________________________________________ Title/Description__________________________________________________________ Artist/Maker_____________________________________________________________ Medium/Material Composition_______________________________________________ Date Created_________________ Number of Components________________________ Condition: Describe structural and surface conditions (e.g. tears, losses, cracks, chips, holes, foxing, abrasion, scratches, tape residues, mold, buckl ing, discoloration, stains, flakes, patina) and any other conditions, and note location: Please refer to photograph and/ or diagram on reverse. Examiner__________________________________________ Date_________________ Needs Conservation Work? Y or N Needs Monitoring? Y or N
2 0 0
21 Glossary for common terms related to the da mage of objects in the PCM collection Abrasion: A wearing or tearing away of the surface caused by scraping, rubbing, grinding, or friction. Accretion: Any external material deposited on a surface (splashes, drips, flyspecks etc) Biological damage: Damage that weakens an objects structure as a result of pests or mold. Chemical damage: Damage as a result of a reaction between a material and an energy source (heat, light) or a chemical (water). Chip: A defect in the surface caused by mate rial that has been broken away. Corrosion: The chemical alteration of a me tal surface caused by agents in the environment or by reagents applied purposel y. Corrosion may affect an objects color or texture without altering the form (such as bron ze disease) or it may change the color or texture (such as patina or rust). Crack: A surface fracture of fissure across or through a material. No loss is implied. Crease: A line of crushed or broken fi bers generally made by folding. Delamination: A separation of layers; splitting. Dent: A defect in the surface caused by a blow. Discoloration: A partial or overall change in th e color caused by aging, light, and/or chemical agents. Yellowing or darkening can occur, along with bleaching, fading, and the loss of color or a change in hue. Distoration: A warping or misshaping of the original shape. Embrittlement: A loss of flexibility causing the materi al to break or disintegrate when bent or curled. Ferrotyping (photographs only): Glossy patches found on th e surface of photographs; resulting from lengthy contact with a sm ooth-surfaced storage enclosure such as polyester or glass. Fold: A turning over of the support so that the front of back surface is in contact with itself.
22 Foxing: Small, yellow, brown, or reddish-brown spots on paper; caused by mold of oxidation of iron particles in paper. Fraying: Raveled or worn spot indicated by the separation of threads, especially on the edge of a fabric. Frilling (photographs only): Separation and lif ting of the photographic emulsion from the edges of the support. Inherent fault (inherent vice): Weakness in the constructio n of an object or an incompatibility of the materials that constitute it. Loss: missing area or hole. Missing element: Loss of an integral component of th e object such as a handle or tassel. Mold: Biological in nature a nd can come in the form of colored, furry, or web-like surface excrescences and be of musty odor. Patina: A colored surface layer, either applied or naturally occurring. Pest damage: Surface loss, tunneling, holes, fly specks, etc obviously caused by insects or other pests. Physical damage: Damage caused by mechanical stre ss (i.e. handling, improper storage). Scratch: Linear surface loss due to abrasion with a sharp object. Sheen: A polish produced by handling, often oc curring on areas that are frequently touched. Soil: A general term denoting any mate rial that dirties an object. Stain: A color change as a result of soiling, adhesives, pest residue, food, oils, etc Tarnish: Dullness or blackening of a bright metal surface. Tear: A break in fabric, paper, or other sheet ma terial as a result of tension or torsion. Wear: Surface erosion, usually at edge s, due to repeated handling. Wrinkling: An angular, crushed distortion.
23 Chapter Four: Photography Photographing the collection is important be cause it aids in the documentation of the objects (for identification and condition repor ting purposes) and is an additional means for which the collection can be displayed in digital form. Quality photography is necessary, but it doesnt need to be outsour ced to a professional photography studio. The library already owns the equipment needed to take good photographs and has an entire department, the Digital Library Center, dedi cated to digitizing co llections. Although most of the photography and digitization can be done in-house, it is still expensive. Web space, hard drive space, and staff time all cost money. Fortunately, money is often available through a variety of granting agencies that fund digitization pr ojects. The National Endowment for the Humanities (NEH), Nationa l Endowment for the Arts (NEA), and the Institute of Museum and Library Services (IMLS) are good places to look for grants. If the Digital Library Center cannot do the photography and di gitization of the collection, it is possible to hire a student or have a nother staff member who is interested in photography or digitization practi ces to do the work. This can be worked out in a variety of ways; the student could be a student assi stant, a graduate assi stant, or a student receiving credit (essentially vol unteering). In any case, if a student or staff person is used, the library will need to provide him or her with access to all the equipment they will need to photograph the collection and the studen t will need to be trained in proper object handling procedures. Equipment photographer will need access to: Computer with adequate storage space Digital camera Photo editing software (such as Adobe Photoshop) Easel Lighting kit Seamless (backdrop material) Tripod Lighting kit Small chalkboard or dry erase board Photographing an object: After you have secured the object that you pl an to photograph, place the small chalkboard or dry erase board next to it with the object identification number written on the board. Next, center the tripod and camera in front of the object and frame it in the viewfinder of the camera. The object should take up as much space in the viewfinder as possible. Be sure that the face of the lens and viewfinder ar e parallel to the surface the object is sitting on. To properly light an object, the photo floods should be raised to the same height as the camera and be placed about six to eight f eet away from the object. The reflectors should be turned toward the object and should form an angle of about 45 degrees with the object. Before taking photographs of the object, look through the viewfinder to make sure
24 there is not any glare of shadows that interf ere with getting a clear picture of the object. The photo floods and reflectors may need adju stments depending on the size and shape of an object. Certain aspects of the image can be altered later in photo editing software, but it is much easier to get the color correct and eliminate ca st shadows while you are taking the photograph than try to change it later. Digital images can be shot and stored as di fferent file types. RAW files are very large files that have to be converted into another fo rm later in order to use. They are versatile because of their ability to be converted in to several other formats without losing any image quality. TIFF files are large, uncompressed files and are good for making reproductions, but are not easily readable by all computers. They are a good way of storing files, but not publishing them online. JPEG files are smaller, compressed files that are not good for making reproductions from. Ho wever, most computers will read JPEG formats and JPEGs can be used for publis hing images of objects online or in a catalogue/online database. There are several types of object s in the collection that would be better off scanned rather than photographed. Examples of these types of objects are documents, maps, posters, photographs, negatives, and slides. These can be scanned on flatbed s canners or in slide scanners at a resolution of at least 60 0 dpi for photographs, maps, documents and 4,000 dpi for slides and negatives. Although digital images are less fugitive than printed photogra phs and film, all technology has its flaws. Servers and comput ers can crash or someone can accidently delete digital files. Therefore, it is important to back up all digital images and files. This can be done online, on external drives, on large capacity CDs and DVDs, or on a flash memory stick. The photograph and scanning proce ss will take a long time sin ce there is a large quantity of objects that need to be documented. It wi ll be necessary to download them onto the computer several times because the project is complete. It is also possible that the same person will not do all of the phot ography and scanning so it is important that a standard is set on naming the photographs and scans of these objects. I would recommend putting them all on a share drive titled Panama Ca nal Museum Object Photographs and making access to editing files in that folder limited. A good system fo r naming the individual files would be an abbreviation for the Panama Canal Museum followed by the object number (for example PCM 2005.5.1. This will make images of objects easier to find. It may take a little longer initially, but it will help if the scanning and photographing is done in increments of 50-100 objects at a time. In the long run, taking the time to properly coordinate the file numbers with the obj ect numbers will save a lot of time and frustration. Keeping this in mind, it is importa nt to make sure all objects are assigned numbers when they arrive at the library.
25 Chapter Five: Storage In accordance with the Panama Canal Museums mission to document, interpret, and articulate the role the United States play ed in the history of Panama during the construction, operation, maintenance, and defense of the Panama Canal, the museum obtained its collection primarily from donors w ho lived in the Panama Canal Zone during the American period. 5 For this reason, the collection is diverse both in media represented and size of objects. Different materials require different storage conditions. This chapter gives general storage guidelines, which are followed by storage recommendations for specific categories of obj ects in the collection. General Storage Guidelines Good storage facilities can help reduce the risk of damage to objects. It is very important that there be an area dedicated only to storing objects. Obje ct study, photographing, and all other activities should take place in another, designated location. Ideally, a centralized HVAC (heating-ventila tion-air conditioning) or climate control system, which will maintain temperature and re lative humidity at constant levels, should be installed. Fluctuations in temperature and relative humidity can cause damage to objects by allowing them to expand and contract Smathers Library (Library East), the location where this collection will be store d, already has a centralized HVAC system installed for the whole building. A solution to climate controlling the storage rooms would be to have each room on its own temperature control within th e existing system. If necessary, humidity can be adjusted using a humidifier or dehumidifier. Hygrothermographs, devices that record a nd output information on the consistency of temperature and relative humidity, should be placed in every storage space. These should be checked often (every week ). If temperature controlli ng each storage space is not an option, closed storage cabinets can help create microclimates. Different materials require different constant temperature and relative humidity. With a mixed collection as large as the Panama Canal Museum Collecti on, a compromise will have to be struck. The New Museum Regist ration Methods recommends temperature be kept between 68-72 F (20 -22 C) with a constant relati ve humidity between 45-55% for mixed collections. However, this relative humidity may still be too high for some objects such as photographs, unstable metal objec ts, and unstable glass. If possible, two or more small storage rooms should be dedica ted to this collection. Objects that require similar conditions should be grouped in the sa me room. Although the ideal situation is to keep the entire collection together, the coll ection can be separated if proper storage is only possible if separation occurs (e.g. photogra phs in the PCM collection can be stored with photographs from other collections because there is an existing space dedicated to and designed with proper temperature a nd humidity controls for photographs). 5 The Panama Canal Museum website. The Panama Canal Museum Mission. Accessed March 29, 2011. http://panamacanalmuseum.org/index.php/ about/our/the_panama_canal_museum.
Roo m that h not p off e x in va r sensi t encl o stora g Obje c othe r tissu e exce p purc h don t Man y This obje c Thir d thro u obje c Figur e Obje c one a anot h impo The P crow facil i spec i Sout h http: / m s designat e h as been des ermit light t o x cept when s r ious ways, b t ive to light o sed storage g e areas as l c ts should b e r textiles sh o e or foam to p tion to this h ased from a t stand on th e y objects arr is not a goo d c ts can caus e d someone w u gh all of th e c ts. e 3 c ts (includi n a nother in st o h er object. E rtant to pre v P anama Ca n ding may b e i ty and usin g i alize in mu s h west Soluti / /www.sout h e d for storag e ignated for s o come into s omeone is a b ut causes p such as tex t cabinet or a r ong as they e stored in a uld not be f o retain the f o is objects t h a number of e ir own (su c i ved at the l i d method o f e damage to w ho wishes t e objects in t h n g boxes wit h o rage. Som e very time a n v ent any un n n al Museum e difficult. C g space as e ff s eum storag e ons h westsolutio n e should no t s torage, a b a the room. L a ccessing th e p ermanent, i r t iles, photo g r chival gra d have UV fil t a s natural a p o lded and h a o rm they wo u h at are more archival su p c h as round o i brary in the f storage for a other object t o access an h e box. Thi s h objects in s e one should n n object is m n ecessary m o Collection c rowding ca n ff iciently as p e equipment n s.com/mar k t have wind o a rrier should L ights in the e area. Ligh t r reversible d g raphs, pape r d e boxes. Fl u t ers. p osition as p o a ts should b e u ld have if b stable on th e p ply manufa c o bjects). same box ( a a few reaso n s in the box object in th e s could caus e Figure 4 s ide) should n ever have t m oved, there o ving of obj e c ontains ove r n be minimi z p ossible. Th Here is an a k ets/museu m o ws. If there be placed o storage are a t affects dif f d amage. Obj e r objects, sh o u orescent bu l o ssible. For e supported f b eing worn o e ir side. Ho w c turers that h a s is shown n s. First, ma t Second, so m e box woul d e damage a n 4 not be cro w t o reach ove r is risk of da m e cts. r 10,000 obj z ed by care fu ere are man y a bbreviated m s are windo w o ver the win d a s should re m f erent types o ects that are ould be kep t lbs can be u example, cl o f rom the ins o n someone w ever, supp o h elp stabiliz e in the imag e t erials from m e objects a d have to m o n d misplace m w ded or stac k r an object t o mage. Ther e ects, so pre v fu l design o f y manufact u list of vend o 2 6 w s in the roo m d ow that do e m ain turned o f materials especially t in an sed in o thing or ide with s head. An o rts can be e objects th a e s below). different a re folded. o ve and sort m ent of k ed on top o f o get to e fore, it is v enting f a storage u rers that o rs: 6 m e s a t f
27 Donnegan Systems http://www.donnegansystems.com/Drawer_Cabinets.html Delta Designs, Ltd. http://www.deltadesignsltd.com/ There are storage solutions for objects of all sizes and materials. Once the permanent storage space has been decided on, specific furn iture can be ordered. In an ideal situation, storage would incorporate a combination of closed cabinets with shelves and drawers, flat files, and painting screens. If closed cabinet s will not fit or are t oo costly, open shelving can also be used. Dust covers should be employed if open shelving is used. All shelves should be lined with archival grade foam. Below are storage recommendations for cate gories of objects with solutions presented using objects from the Panama Canal Museum Collection. Object handling and security/access are also important aspects of storage. These topics will both be discussed in th eir respective chapters. Extra Large Objects There is not space within the Smathers Library to house some of the larger objects in the collection. They will be stored at the Library Auxiliary Storage Area. It is important that these objects have the best conditions possible. It is possible to create microclimates for these large objects by storing them in closed ca binets that have sulfur-free gaskets. This will help minimize environmental fluctuations inside the cabinet. Solutions for storing extra large objects will be handl ed on a case-by-case basis. Examples of large objects in this collection: canoe A canoe presents a storage dilemma because you cannot simply lay it down on one side. If you do, it can cause damage as moisture a nd mold may collect on the side touching the ground. It also increases the likelihood of infe stations. The best solution is to build a mount for the canoe that will k eep it at least six inches off the ground. This can be done for a reasonable cost using 9 pound polyethylene foam, which is thick like wood, and polysuede as a buffer between the rougher foam and the canoe. Here is a diagram provided by Atlas Fine Art Services:
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Ther e b ase b b oxe s Addi t to m i Hats the s h term to p u Mus e on m can b so th e their stora g Sma l shou l Clai r http:// m 2011. e are also se v b all caps. B a s t ional types i mic their n a may also b e h ape of the h storage.6 T h rchase the m e um Mount M ounts rather b e designed s e y can be u s costume an d g e. l ler types of l d be laid fl a r e F. Meyler a t m useumca.or g v eral baseb a a seball caps c Fig u of hats sho u a tural form a e stored on m h uman head h ese can be o m aterials an d M aker will m than in box e s o that very ed during e x d textiles co l Figure 2 4 textiles suc h a t. t the Oakland M g /blog/star t -he r a ll caps in t h c an also be s u re 23 u ld be store d a nd in acid f r m ounts speci so hat mou n o utsourced o d make them m ake custo m e s is that if t little is seen x hibition. T h l lection on c 4 h as bandan a M useum of C a r e-caring-our-c h e collection s tored in re g d in the sam e r ee boxes. a lly made t o n ts used in s o r made in h o in house, b u m mounts. O n t hey were e v and the par t h e Philadelp h c ustom mad e a s and scarv e a lifornia, Cari n ostumes post e Gaylord se g ular, appro p e manner, st u o fit the hat. M s tore windo w o use. It is ty p u t companie n e addition a v er to be ex h t that is see n h ia Museu m e mounts on e s (example n g for Our Co l e d December 3 lls boxes sp e p riately size d u ffed with a c Most hats d o w s are not i d p ically mor e s such as Bi a l benefit to h ibited, ofte n n is minimal m of Art stor e shelves in c in the pictu r l lections, 3 0, 2010, acce s 3 3 e cifically fo r d archival c id free tiss u o not follo w d eal for long e economic a ll Mead, storing hats n the mount s and tastefu l e s hats in ompact r e below) s sed June 25, 3 r u e w a l s l
Ther e flat f i pape r pape r into t picki n and H purc h the o b Shirt s Alth o gar m tissu e can b fit in Exa m unif o tradi t F e are thin ar c i les or draw e r or board b e r or board u n t he weight o f n g up the p a H ollinger M e h asing a lig h b ject that fa l Fig u s pants, jac k o ugh there a r m ents in this w e paper insi d b e stored in d flat files. m ples of text o rm), flags, c t ional Pana m F igure 25 c hival boxe s e rs in cabin e e tween the m n der every o f the object w a per instead o e tal Edge in h t color such l l off or the p u re 26 k ets, and ot h r e storage c a w ay, in the l d e. Hanging d rawers in c a i les in this c c ase for seal m anian textil s available f o e ts with sev e m If storing t b ject. The p w hen picke d o f the objec t a variety o f as white or p resence of i h er clothing i a binets and a ong run it i s causes stres s a binets. The ollection: cl hats (base b e), handma d o r storage, b u e ral layers o f t hem this w a aper or boa r d up. This w i t This is av a f sizes and w cream. Thi s i nsects. F i i n the collec a rchival gra d s better for t h s on the fib e se types of o othing (t-sh i b all caps, Gi r d e rug, scar v u t another o f tissue and s a y, be sure t h r d should be ill allow for a ilable for p u w eights. I wo u s will alert s t i gure 27 c tion should d e hangers a h ese objects e rs and resul t o bjects will p i rts, Boy Sc o r l Scout ber e v es, bandana s ption is to s t s turdy acid f h at there is a thick enou g easily mov i u rchase fro m u ld recom m t aff of debri s not be hung a vailable to s to be store d t s in stretch i p robably be o ut uniform e t), Mola cl o s, varsity le t 3 4 t ore them in f ree buffer a piece of g h not to giv e i ng them, b y m Gaylord m end s o r parts of on a hange r s tore d flat with i ng. These too thick to police o th (a t ter, 4 e y r
M et a Met a to be size o b oxe s Sma l acco r hold e Univ Prod u The c opti o easil y the c o woul sizes Myl a Larg e will n b e k e airti g ls a l objects sh o stored in a n o f the metal s or directly l l metal obje r ding to the s e rs and then ersity Prod u u cts (center Figure 2 c oin holders n for a few r y without ac t o ins easy be d be quite d i but these c o a r. e r objects c a n eed to be p l e pt in an airt i g ht containe r o uld be stor e n ti-tarnish ti s objects in t h on lined sh e cts such as j s ection on v e placed in s m u cts: The Ar c i mage), and 2 8 on the far l e r easons: the y t ually touch i cause they c i fficult. The y o uld easily b a n be stored d l aced in airt i i ght contain e r will help p r Figure 3 e d below 40 % s sue or clot h h e collectio n e lves. ewelry, pin s e ry small o b m all boxes. A c hival Com p The Coin S u Figure e ft, made wi t y are relativ e i ng the met a c an be label e y are only r e b e fabricate d d irectly on l i ght contain e e r that is lin e r event corro s 3 1 % relative h u h and placed n varies, but m s and medal s b jects in this A rchival coi n p any (image u pply Store 29 t h archival c e ly inexpen s a l surface of e d on the ca r e adily avail a d to fit any s i ined shelve s e rs. One suc h e d with anti s ion. u midity. St e in an airtig h m ost shoul d s and coins s chapter. Co n holders ar e on left), Int e (image on r i Fig u c ardboard a n s ive and all o the coin. T h r dboard rath e a ble in stand a i ze coin usi n s as long as t h object is a tarnish tiss u Figure 32 e rling silver o h t sealed co n d fit either in should be st o ins can be s t e available fr e rcept Prese ight). u re 30 n d Mylar, ar e o w for handl i h is also mak e e r than the c a rd United S n g archival c t hey are not a dish cover. u e or cloth. S 3 5 o bjects nee d n tainer. The artifact ored t ored in coi n fr om rvation e a good i ng the coin s e s numberi n c oin, which S tates coin c ardboard a n silver. Thes This shoul d S toring in a n 5 d n s n g n d e d n
Ther e b e b e som e b e u s Figu r Exa m med a meta l Pap e An e x prot o b e h a b ook Phot o is id e coul d like t Phot o sepa r and a an al t to be ligni n pape r Phot o e is a metal s e st to have a e one handli n s ed for this. B r e 33 m ples of met a llions, jewe l plates, poc k er x tensive par t o col for stori n a ndled in th e s, yearbook s o graphs sho u e al. This is a d be stored i n his: o graphs sho u r ated and ha v a rchivists as t ernative to p removed fo n -free, nonb r enclosures o graphic Ac t s word in th e foam pad m g it could c u B oth are av a al objects i n lry (necklac e k et knife, c o t of this coll n g books a n e same way t s and gover n u ld not be st similar rela t n the same r o Fi g u ld not be st v e its own e n to the best e p olyester en r someone t o b uffered (p H should be c o t ivity Test. T e collection. T m ade specifi c u t himself o r a ilable from n the collecti o e with pend a o ins, bells, p o ection is m a n d other imp o t hat other co n ment docu m ored above 6 t ive humidi t o om. Right n g u r e 34 ored one on n closure. It i e nclosure in closures. Pa p o view the m H neutral), a n o ntacted to s T his test det e T his can be c ally for this r herself by a Gaylord an d o n: sword, s a nt, class ri n o lice badge s a de up of pa p o rtant paper llections in t m ents. 6 0% relativ e t y to metal o n ow, many p top of anot h i s widely de b w hich to st o p er enclosu r m If paper e n n d not highl y s ee if the en c e cts image fa stored direc object. The a ccident. Pl a d Hollinger M s mall pins a n n g), silver di s plaques, d o p er objects. T documents. t he library a r e humidity. 3 o bjects, so t h p hotographs h er. Each p h b ated amon g o re photogra p r es are opaq u n closures ar e y colored. I f c losures ha v f ading that r e c tly on a she l blade coul d a stazote or e t M etal Edge. n d medals, s e sh cover, br a og tags, rail r T he library a This collec t re stored. T h 3 0-35% rela t h ese types o f s are stored p h otograph sh g conservat o p hs. Paper e u e so photo g e used, they f possible, t h v e passed th e e sults from h 3 6 l f. It would d be sharp a n t hafoa m ca n e al make r a ss box, r oad spike. a lready has t ion should h is includes t ive humidi t f objects p iled in box e ould be o rs, registrar e nclosures a r g raphs have should be h e supplier o f e h armful 6 n d n t y e s s, r e f
che m The s Env e of si z The N of D u Myl a dust s of co temp hum i remo crea s If th e pape r Onc e If ph o fit p a http: / m icals in enc l s leeves belo w lopes that o p z es. The one F N ational Pa r u Point Myla r a r sleeves fo r pests, and o ndensation g erature and r dity. Altho u ving it fro m ing the edg e e storage are a r or folders. e encapsulat e o tographs ( o a rticular obj e / /www.gayl o l osures and d w come in a p en from th e s below are F igure 36 r k Service r e r D. The lib r r the photog r o ther agent s g etting insi d r elative hu m u gh someon e m the enclos u e s), polyeste r a is not stri c e d or put int o o r other obje e cts. Here is o rd.com/list i d etects stai n variety of s i Figure 35 e side are al s from Hollin e commends s r ary has an u r aphs. Poly e of deterior a d e the enclos u m idity are no t e viewing th e u re (which c o r enclosures c tly climate c o folders, p h cts) are irre g a link to th e i ng.asp?H=3 n ing reaction i zes and are s o a viable o p ger Metal E d s toring phot o u ltrasonic e n e ster enclos u a tion in the a u re and da m t kept at sta b e photograp h o uld cause d do not p r ot e c ontrolled, t h h otographs c g ular sizes, G e ir custom b o &PCI=128 2 n s between e n available fr o ption and a r d ge. o graphs in p n capsulator t u res will pro t a tmosphere, m aging the p h b le tempera t h is able to s d amage by s c e ct photogr a h e better op t an then be s G aylord wil l o xes page: 2 72. n closures a n o m Light I m r e available i p olyester en c t hat can be u t ect a photo g but there is h otograph i f t ure and rela t s ee the imag e c ratching th e a phs from li g t ion is to us e tored in arc h l custom ma k 3 7 n d gelatin. m pressions. i n a variety c losures ma d u sed to mak e g raph from a possibilit y f the t ive e without e emulsion o g ht exposur e e aci d -free h ival boxes. k e boxes to 7 d e e y o r e
This phot o Anot h spac e cann o film, b oar d emer Alth o mak e colle c help w Nati o Gra m http: / Nati o Con s http: / Othe r prog r files w obje c studi e Man y or fo a thes e b ack i Exa m dipl o document s t o graphs. h er option f o e that is not a o t vary mor e and transpa r d boxes wit h g encies. Th i o ugh cold st o e s an initiati v c tion could b w ith imple m o nal Park Se r m June 199 7 / /www.nps. g o nal Park Se r erve O Gra m / /www.nps. g r types of p a r ams, diplo m w ith aci d -fr e c ts are espec e d or exhibi t y paper obje a m core. Ca r supports w i i ngs. m ples of pap e mas, yearb o t orage case f o r storing p h a ccessed ve r e than 2 F a n r encies in c o h in Ziplock b i s option wo u o rage is not v e to store a l b e included. m enting cold r vice, Cari n 7 Number 1 4 g ov/history/ m r vice, Col d m August 2 0 g ov/history/ m a per objects i m as and cert i e e storage m i ally light s e t ed. cts (includi n r dboard and i ll result in m e r objects i n o oks, brochu r f rom Hollin g Figure 37 h otographs i s r y often. Te m n d more tha n o ld storage m b ags. O b ject s u ld be best i be the best s l l of their p h The Nation storage: n g For Phot o 4 /4, m useum/pu b d Storage fo r 0 09, Numb e m useum/pu b i n the colle c i ficates, and m aterials (su c e nsitive so t h n g photogra p foam core a m ore rapid d n this collect i r es, stickers g er Metal E d s cold stora g m perature is n 3% relativ e m ust be stor e s can only b i f all the ph o s torage opti o h otographic c al Park Ser v o graphs: Ge n b lications/co n r Photograp h e r 14/10, b lications/co n c tion includ e gift bags. T h c h as interle a h ey should b p hs) in this c a re extremel y d eterioration i on: maps, p newspaper s d ge is also a g e. Cold sto r kept at 354 e humidity. e d in archiv a e retrieved f o tographs w e o n for this c o c ollection i n v ice has a fe w n eral Guide l n serveogra m h Collection s n serveogra m e maps, broc h h ese object s a ving paper ) b e kept in th e c ollection ar e y acidic. Le a A conserv a p hotographs, s, newslette r good optio n r age require s 4 0 F. Temp e Photograph s a l folders wi t f rom cold st o e re being di g o llection, if t n cold stora g w document l ines , Con s m /14-04.pdf s -An Overv i m /14-10.pdf h ures, news p s should be s ) between th e e dark when e mounted o a ving objec t a tor should r books, cert i r s, stamps, c 3 8 n for storing s a dedicate d e rature s negatives, t hin archiva o rage in g itized. t he library g e, the PCM t s that can s erve O i ew, p apers, s tored in flat e m. Paper not being o n cardboar d t s adhered t o r emove thes e i ficates, c hurch 8 d l d o e
prog r (wit h juice Pain t Ther e relat i cera m Pain t slidi n hang i actu a vend o Unfo $10, 0 cons t can b 01.p d cabi n Com m look i you a Sinc e long riski n inclu the b e then b stora g r ams, small c h Mola desi g containers. t ings e is a small g i ve humidit y m ics. t ings can be n g racks are i ng upright p a lly save sto r o rs, but this rtunately, t h 0 00. Fortun a t ructing a p a b e accessed h d f Another g n ets) for less m ittee of A m i ng to sell s o a re willing t o e there are n o as there is e n n g bumping ding Hebei Y e st options f b e hooked t h g e. c ardboard j e g n), raised m g roup of pai n y of 45-50% stored in m e the best opt i p osition and r age space. S unit availab h ese screens a tely, the Na t a inting scree n h ere: http:// w g reat way to money are t m erican Ass o o me of their c o pick them u o t a lot of p a n ough spac e into them. M Y ongwei M e f or hanging p h rough the s e welry box fr m ap of the Pa n n tings in thi s so they can e tal bins, sh e i on because makes acce S torage furn i le from Ga y Figure 38 are somew h t ional Park S n from read i w ww.cr.nps. g find expen s t o join mus e o ciation of M c abinets for u p or pay t h a intings in t h e for someo n M etal screen i e tal Product s p aintings is t creen and D fr o m Misteli n ama Canal s collection. b e stored in e lves, or on s it allows pa i ss easy. Alt h i ture can be y lord is very h at expensiv e S ervice pub l i ly available g ov/museu m s ive screens e um listserv s M useums) b e cheaper or e h e shipping a h e collectio n n e in storage i ng can be o s Co., Ltd. T t o install D r D ring in ord e (The Jewel e Zone, milk Paintings s h the same r o s liding rack s i ntings to b e h ough the u n purchased fr compact. e This parti c l ished a Con s materials. T m /publicatio n (and other t y s such as the e cause freq u e ven giving t a nd they adv n they can b e to maneuv e o rdered fro m T his can be c r ings on the e r to create a e r Pan a ma), cartons, un f h ould be sto o om with te x s If space a l e stored in t h n it takes up s f rom a num b c ular unit is serve O Gr a T hat Conser v n s/conserve o y pes of obje RC-AAM ( u ently muse u them away f v ertise on th e e hung on t h e r around th e m several sup c ut to fit a w back. Meta l a table supp o 3 9 gift bag f lattened red at a x tiles and l lows, metal h eir natural, s pace, it wil l b er of upwards of a m on v e O Gram o gram/12ct storage ( Registrars u ms are f or free if e se listservs. h e wall as e m without pliers w all. One of l hooks can o rt for 9 l
Pain t from reco m num b remo Pain t shou l back Woo d Woo d same archi v it is i m Exa m Plas t t ings stored h dust. Slip c o m mended to b er, artist, a n ve the slip c t ings can als o l d not be m a to-back. d d objects sh o room with p v al boxes o r m portant th a m ples of wo o t ic Figure 39 h ung on rac k o vers can b e attach a ph o n d title, on t h c over in ord e o be stored i a de of flims y o uld be stor e p aintings, te r on lined sh e a t dust cove r o d objects i n k s for long p e made from o tograph an d h e outside o f e r to identif y Figure 41 i n bins that a y materials o e d at 50-55 % xtiles, and c e lves. Woo d r s are used w n this collect i p eriods of ti m Tyvek, as i s d /or identify i f the slip co v y an object. a re kept off t r wood. Pai n % relative h u c eramics. W o d objects are w here wood i on: swagge r Figure 40 m e should b e s shown in fi i ng informa t v er. This ke e t he ground a n tings shoul d u midity. Th e o od objects s susceptible objects are s r stick. e covered to fi gure 41 b el t ion such as e ps staff fro m a t least six i n d be stored f e y can be st o s hould be st o to damage f s tored. 4 0 protect the m ow. It is accession m having to n ches. Bins f ace-to-face o red in the o red in f rom dust, s o 0 m o
41 Plastic objects should be stored at 50% relative humidity, so they can be stored in the same room with tex tiles, paintings, ceramics, and wood. Degradation of plastics is complicated because it depends on its specific chemical composition, which can vary significantly among objects. If concern about a specific object arises a conservator who specializes in plastics should be consulted. Plastic objects should be stored in archival artifact boxes or on lined shelves. Hard hats should be supported from the inside with archival foam cut to fit inside or tightly packed acid-free tissue paper. Examples of plastic objects in this collection: hard hats. Leather Organic materials such as leather, fur, a nd hide should be stored at 45-55% relative humidity. Unlike the other objects in the coll ection, these materials need moderate light. They should be stored separate from the other objects for this reason. Most of the leather objects in the collection are book covers. These can be stored away from the rest of the collection with the other books from this collection. Examples of leather objects in this collection: book covers. Other Other types of materials may be found as th e collection continues to be processed and transferred to the library from the Pa nama Canal Museum. Following the general guidelines provided in this ch apter should result in good storag e conditions. If an object of unusual materials arrives, the New Mu seum Registration Methods book published by the American Association of Museums can be consulted. Other good resources are the National Park Service Conserve O Grams and National Park Service Museum Handbook. Both are accessible online. Conserve O Grams: http://www.nps.gov/history/museum/publications/conserveogram/cons_toc.html Museum Handbook: http://www.cr.nps.gov/museum/publications/handbook.html All shelves, drawers, cabinets, screens, and anything else that objects are stored in or on should be labeled with the location that it will be identified by in the database. For example, if an object is stor ed in the first storage room, in the first cabinet, on the 2nd shelf, the door to the storage room should be labeled Panama Canal Museum Collection Storage Room 1, the cabinet should be labe led Cabinet 1, and the shelf inside the cabinet should be labeled Shelf 2. It will be very difficult and time consuming to locate and inventory objects if the actual locations they are stored in are not labeled.
42 Chapter Six: Access Only library staff should have access to the storage areas for the PCM Collection. This will help prevent damage to and theft of objects. Library staff will be more familiar with object locations in the storage area, so it wi ll also save time and prevent unnecessary moving of other objects. T hose who want to view objects for study should put in a written request. A staff member can then retrieve the object(s) from the storage area. The library already has a retrieval request form th at can also be used for object study requests for this collection. Another example of a samp le form can be found at the end of this chapter. People using the collections should be given a set of instructions (sample on the following page) on proper handling procedures and rules regardi ng the collection. The research and study area should be located in a space separate from the storage area. Ideally, the research and study area should be located close to the storage area so the objects dont have to be moved far. However, the Special Collections Research Room on the second floor of Smathers Library East is also a good option sin ce access is controlled. Objects should only be made available for study when someone is able to supervise. This is another reason why the Special Collections Research Room is an ideal location for this collection to be used because there is alwa ys a staff member supervising the room. Storage areas should be locked when not be ing accessed. A key card entry system is used throughout the library and should also be used here. This will monitor who enters the storage area. A paper log should also be ke pt next to door of the storage area so staff members can sign guests in and out. Guests should only enter the storage area when accompanied by a staff member. Guests should not handle or move objects while in the storage area. When a staff me mber removes an object from the storage area, it should be recorded. Likewise, when an object is return ed to the storage area, that information should be recorded and the object should be checked for damage (see chapter on condition reporting). Storage areas should be kept clean, but libra ry staff may prefer to clean these areas themselves rather than delegating the duties to ja nitorial staff. Janitorial staff is less likely to be aware of procedures for cleaning around cultural objec ts than those who study and organize those objects. Cleaning of objects s hould always fall under the responsibility of library staff or a conservator.
In s 1 2 3 4 5 6 7 8 s tructio n Objects s t Research hours for the objec t Objects m Research and Frid a You will n Collectio n Purses, b a the north Objects s h moving a n object sh o when mo v Writing u With per m Inform a l if a tag b e n s for Us e t udy reques t Room on t h objects to b e t s. m ay not be r e Room is op e a y 9:00 am u n n eed to sig n n s Research a ckpacks, a n wall of the S h oul d b e ha n n object an d o uld be pick e v ing large, h u tensils shou m ission, ph o l ibrary staff e comes deta c e of the P t s must be m h e second fl o e retrieved. A e moved fro m e n Monday t n til 5:00 p m n in upon arr i Room. n d oversized S pecial Coll e n dled with c d gloves sho u e d up at a ti m h eavy, or fra g ld be limite d o tographs m a member im m c hed from a n P anama C m ade in writi n o or of Smat h A n appoint m m the Specia l t hrough Th u m i val to and d bags must b e ctions Res e are. Two ha n u ld be worn m e. Please a g ile objects. d to pencils o a y be taken. m ediately i f n object. C anal M u n g at the Sp e h ers Library m ent must b e l Collection s u rsday from d eparture fr o b e stored in t e arch Room n ds should a (provided b y a sk for assis t o nly (no pe n f you notice a u seum C e cial Collec t East. Pleas e e made to re t s Research R 9:00 am un t o m the Spec i t he lockers l a lways be u s y the librar y t ance from l i n s). a ny damage 4 3 C ollectio n t ions e allow 24 turn and us e R oom. The t il 6:00 pm i al l ocated alon g s ed when y ). Only one i brary staff to objects o 3 n e g o r
44 Panama Canal Museum Collection Object Study Request Name__________________________________________ Date__________________ Institution affiliation______________________________ UFID_________________ Department______________________________________________________________ Collection: Panama Canal Museum Collection Object number________________________ Object type_________________________ Approximate size_________________________________________________________ Object descripition_______________________________________________________ For official use only Object location __________________________________________________________ Request received by_____________________________________ Date _____________ Retrieved by___________________________________________ Date_____________ Object returned_________________________________________ Date_____________ Notes__________________________________________________________________ Collection: Panama Canal Museum Collection Object number________________________ Object type_________________________ Approximate size_________________________________________________________ Object descripition_______________________________________________________ For official use only Object location __________________________________________________________ Request received by_____________________________________ Date _____________ Retrieved by___________________________________________ Date_____________ Object returned_________________________________________ Date_____________ Notes__________________________________________________________________ I acknowledge that I have read and understa nd the handling instruc tions for using the Panama Canal Museum Collection. By signing below I agree to abide by all rules set forth by the Smathers Library. Student signature_______________________________________ Date______________
45 Chapter Seven: Exhibition In addition to being used for study in the research room, the Panama Canal Museum Collection may also be exhibited. There is a space on the second floor of Library East that is used for temporary exhibitions and the Library of Congress has expressed interest in curating an exhibition in collaboration with the University of Florida Smathers Library using the objects in this colle ction. Additionally, if the collection is available to view online, other museums and libraries may co me across objects they would like to borrow when planning their own exhibitions and re quest to borrow them temporarily. This chapter is broken into three sections; the firs t section focuses on general information such as safe ways to display different type s of objects in the Panama Canal Museum Collection, the second section focuses on produc ing exhibitions in house, and the last section focuses on the logistics of loaning obj ects to other instit utions for exhibition. Objects are most vulnerable when they ar e being handled and on exhibition so it is important to always follow proper procedures when handling and moving objects, which are outlined in previous chapters. General When objects going on exhibition (as well as to the research and study room), the space they have been stored in should continue to be reserved for that object. It can be tempting to use open space, but if the space is not kept for the objects on exhibition, finding space for them when they are returned to st orage may be difficult. Putting a photograph of the object labeled with the objects accessi on number in its storage location can serve as a placeholder and a reminder to not put anythi ng else in that space. Returning an object to the same place it was removed from will also keep location records straight. When an object is moved to an exhibition space or se nt out on loan, the temporary location should be recorded. However, the location history s hould always be reta ined so its storage location can easily be looked up. Storing an object in the same place will minimize confusion and insure that it is placed in an area that has been desi gned to preserve that specific type of material. Since exhibitions will most likely feature objects made of different materials, a compromise needs to be struck as far as te mperature and relative humidity are concerned in the exhibition space. A temperature in the range of 68 -72 F (20 -22 C) with a constant relative humidity between 45-55% is recommended. Hygrothermographs made for exhibition spaces can be purchased from a variety of vendors, at different costs, and with different length chart rotations. The best option is to pur chase a long-cycle hygrothermograph, which allows you to record up to three months of relative humidity and temperature without changing the chart pape r roll. This one is available from Oakton Instruments and costs just under $1,200 and char t replacement rolls can be purchased in one and three month rotations for $25. It would be ideal to have one of these models in each of the storage areas for the collection.
Ther e have will h repla just u The l woul hygr o once Sinc e creat e meas case. calib r e are less ex p to be chang e h ave to rem e cement roll s u nder $350, w l ibrarys ex h d need to b e o thermogra p a week to b e e the library e d, which al ure temper a These can b r ation kit. p ensive hyg r e d more oft e e mber to ch a s on hand. O w ith replac e h ibits genera l e replaced at p h the librar y e sure the te m usually dis p so need to b ture and rel a b e purchase d Figure 42 r othermogr a e n because t h a nge the roll akton Instr u e ment rolls c Fig u l ly last a m o least 4 or 5 y uses, the i m m perature a n p lays their o b e m onitore d a tive humid i d from Univ e Figure 44 a phs availab l h ey only re c every week u ments has a n osting $21. 5 u re 43 o nth, so wit h times. Rega m portant pa r n d relative h b jects in sec u d There are t i ty in displa y e rsity Produ c l e, but their c ord one we e and to mak e n economic a 5 0 for a pac k h the econo m a rdless of w h r t is to reme m h umidity are u red vitrine s t hermohygr o y cases. The r cts for $80 e chart paper r e k at a time. e sure there a l model av a k of 55. m ical model t h ich model o m ber to che c at the prop e s microclim a o meters des i r e should b e e ach plus a $ 4 6 r olls will Someone are a ilable for t he chart o f c k it at least e r levels. a tes are i gned to e one in ever y $ 30 6 y
If th e isnt hum i from and a infor m Kee p so re m b atte r Silic a actin g Univ avail a cond i Sinc e also a hitti n phot o foot c e library onl y absolutely n dity should University P a base statio n m ation ever y p in mind th a m ember to c r ies on han d a gel packs c g as a buffe r ersity Prod u a ble dry or a i tion 2 to 4 c e many of t h a n issue. Li g n g a specific o graphs, pa p andles whe n y displays o b n ecessary in t still be mon i P roducts th a n Sensors w y thirty sec o a t most hygr o c heck that t h d Most mon i c an help ma i r against rel a u cts, was de v a t 30%, 40 % c ubic feet o f e objects in g ht meters c a place. The m p er documen n on display b jects in sec u t he exhibiti o i tored. A ra d a t monitors t e w ork up to 9 0 o nds. Figure 4 5 o thermogra p h e batteries h i toring devi c i ntain stable a tive humidi t v eloped spe c % 50% or 60 f display cas e Figure 4 6 the PCM C o a n measure t m ost light s e ts, and texti l u red vitrine s o n space. H o d io-controll e e mperature a 0 feet from t h 5 p hs and ther m h ave not gon c es operate o humidity in t y changes. R c ially for m u % relative h e volume. 6 o llection are t he amount o e nsitive wor k l es. Light le v s an expens i o wever, the t ed thermo-h y a nd relative h e base stat i m ohygrome t e bad and a l o n standard s n microclim a Rhapid Pak u seum displ a h umidity an d paper or te x o f light (in f o k s in the PC M v els should n i ve hygroth e t emperature y gro m eter i s humidity u s i on and tran s t ers operate l ways keep s s ized batteri e a tes. These p available f r a ys. Rhapid P d one Rhapi d x tiles, light i o otcandles a M Collectio n ot exceed 5 4 7 e rmograph and relativ e s available s ing sensors s mit by batteries s pare e s. p acks work b r om P ak units ar e d Pak will i ntensity is a nd lux) n are 5 0 lux or 5 7 e b y e
Just l may r cust o the o n mini m in st o inten woo d I n h o The l Libr a depa r prob a have poss i film o galle r It is i for i n unne c Exhi b Othe r own e othe r the w The f requ e colle c peri o enou g l ike when in r ange from u o m mounts f o n es that are b m alist and a s o rage and o n ded positio n d is used, it s o use exhibiti o l ibrarys in h a ry East. Ex h r tments in t h a bly be in d a a guard, so t i ble, the lig h o n the virti n r y would al s i mportant th a n stallation. K c essary han d b itions at ot h r libraries o r e xhibitions. r s to see obj e w onderful co f irst thing to e sted object s c tion who c a d in consult a g h conditio n storage, ob j u sing plasti c o r hats or m a b uild in ho u s long as th e n exhibition. n and be ma d s hould be a w o ns h ouse exhibi t h ibitions ty p h e library. F o a nger of bei n t he vitrines s t covers sho es. Many o f s o benefit fr o a t an exhibi t K nowing a h e d ing and mo h er instituti o r museums m A lot of wo r e cts that the y llections at t do regardi n s can travel. a n determin e a tion with t h n to travel. T Figure 47 j ects need t o c picture fra m a nnequins f o u se, specific a e y dont detr Mounts sho d e of archiv a w ood that d o t ions are he l ically last a o r this reaso n n g overexpo s s hould be s e uld have U V f the other c o o m these sm t ion have a c e ad of time w vement. o ns m ay request t r k goes into y may not ot t he Universi t n g lending o b This decisi o e if the obje c h e conservat o T he person ( o o be properl y m es to hold u o r clothing. T a lly to fit ea c a ct from the uld be built a l quality an d o es not off g a l d in the gal l month and a n none of t h s ed in this s p e cured. Addi V filtered an d o llections in all changes. c ompleted l a w here objec t o borrow o b loaning obj e h erwise get t y of Florid a b jects is to d o n should be c t is needed o r who can e o r people) w y supported w u p paper do c T he best an d c h object. T h e object, the to support a d chemicall y as. l ery on the s a re organize h e objects in p ace. Howe v i tionally, th e d it never h u the library t a yout before c ts are going b jects in the e cts, but it i s to see, and m a s Smather s d etermine w h made by th e at the librar y e valuate if t h w ho decides w w hile on ex h c uments to b d cheapest m h ey can be v same moun t a n object in i y stable mat e econd floor d by differe n n the PCM C v er, the spa c e lights are f l u rts to add a t hat go on di objects are b to be place d PCM colle c s a great op p m akes other s s Library. h o will deci d e person in c y during the h e object is i w hether or n 4 8 h ibition. Thi b uilding m ounts will b v ery t s can be us e i ts natural o r e rials. If of Smather s n t ollection wi c e does not l uorescent. I UV filterin g splay in thi s b rought in d will preve n c tion for the i p ortunity for s aware of d e if c harge of th e requested i n good n ot to lend 8 s b e e d r s ll I f g s n t i r e
49 objects should ask that potent ial borrowers make their request in writing. This can be done through a paper form or online form. In formation to be included with the request includes reason for borrowing, dates of the lo an, what object(s) is requested, and a facility report of the borrowi ng institution. Facility reports include important information about the institution such as security, envir onmental conditions, insurance, staff, and a floor plan and/or images of the space. Facility reports will help the library decide if an institution can ensure that an object will not be damaged or stolen while on loan. If there are still doubts after re ading a facility report, the library can stipulate specific measures be taken (such as locked vitrines or a guard in the space). If an institution requests an object for study rather than to put on exhibi tion, the library can decide who should be allowed to handle that object and should make that clear to the borrowing institution. Once the library has agreed to lend an object, they should fill out a loan agreement, which spells out all the terms of the loan. This s hould include information such as the borrower, the lender, dates of loan and reason for loan (study or exhibition), the librarys requirements for security, light levels, disp lay, insurance, credit line, staff, shipping arrangements, care and handling, photographs and reproductions, costs, and any other specific requirements the libra ry believes are necessary. It is usually understood that a borrower will pay for all costs incurred fr om lending an object, including framing and any necessary conservation work. However, the borrower should be informed of this up front and it should be repeated in the loan agreement. A sample loan agreement that the library can use or amend can be f ound at the end of this section. Moving an object from storage to an exhi bition space in the same building is quite different than moving an object from city to another. Objects will have to be packed securely and travel by truck or van. There are several companies that specialize in shipping art and historic artifacts, but their services can be expensive, especially if you are only shipping a few very small things. FedE x offers an affordable alternate, which some museums use for smaller or lesser valu e objects. FedEx Custom Critical vans are temperature controlled and are never left una ttended. One drawback that prevents many museums from using this service is that there is no room for a courier. However, couriers are only really necessary if an object has a high value or is especia lly delicate. It is unlikely that the library will send any courie rs with these objects, with the possible exception of a few objects such as the Pre Co lumbian pottery, which is very fragile. Make sure all vehicles are air ride equipped when transporting objects. It is also possible to retrofit one of the librarys vans or trucks to transpor t objects. This would also work with a rental truck or van, although less will need to be done if one can be procured that is alread y air ride equipped. The Nationa l Park Service published a Conserve O Gram on the topic of retrofitting a moving van for transporting museum objects, and is available online. Individual objects will need to be packed. The specific method for each object will depend on the size, material, and fragility of the object. Some less fragile objects may be able to be wrapped in blankets or bubble wr ap (bubble side always facing away from the object) and placed in a box with handles. The box should be padded with additional
b ubb b oxe s as in Thes e obje c most purc h for a n Figu r All o libra r to th e shou l to k n (incl u the li The l obje c and t h arou n open i Be s u easie r dam a is fr u Eve n b orr o with Insu r insur l e wrap or b s can be bui l the images b e can be ref i c ts (includin g library and h ased speci fi n y costs rel a e 48 b jects shoul r y should ke e borrowing l d be kept i n ow such as l u ding pictur e b rary think s l ibrary does c ts need to b e h en sealed u n d the outsi d i ngs, fold th e u re to inclu d r it is to pac k a ged during p u strated unp a n when bein g o wing instit u the PCM co r ance will c o ance will c o lankets to m l t to fit spec i b elow. The l i tted using f o g books) ca n archival su p i cally for a l a ted to shipp i Figur e d be conditi o ep a copy o f institution f n a binder al o l ibrary staff e s), a copy o the borrow e not have a c e loaded wh u sing tape. T d e of the shi p e end of the d e instructio n k and unpac k p acking an d a cking its o bj g as careful a u tion has co n llection can o ver most in c ver the obje m ake sure th e i fic objects u l ibrary may a o am so that t n be shippe d p ply compa n oan, the lib r i ng. e 49 o ned report e f the conditi o f or them to c o ng with ot h contact info o f the loan a g e r may need c overed load i ile it is rain i T his can be d p ping box o r tape over t o n s and pictu r k an object, d unpacking. j ects. a s possible a n tact inform a be reached i c idents, but b ct while in t r e object can n u sing foam a a lso choose t hey can be r d in Solande r n ies. If these r ary should a e d and phot o o n report an d omplete up o h er importan t rmation, pa c g reement, a n to know. i ng dock, s o i ng. Objects d one within a r crate, or b o o create a ta b r es for com p the less ris k The last thi n a ccidents do a tion where i n case of e m b e sure to i n r ansit and o n n ot move wi t a nd archival to purchase r eused for d i r boxes. The shipping m a a sk the borr o o graphed pr i d send a co p o n unpackin g t informatio n c king and u n n d any othe r o a plan nee d should be w a n objects s o th. When u s b This will m p licated ship m k there is tha t n g the libra r happen, so m someone at m ergency, e v n clude in the n exhibition t hin the box padding m a several pla s i fferent obj e se can be p u a terials are b o wing instit u ior to being p y of the co n g Conditio n n that the b o n packing in s r important i n d s to be mad e w rapped in b a hipping bo x s ing tape fo r m ake unpac k m ents. The c t the object w r y wants is s o m ake sure t h the library w v en after ho u loan agree m 5 0 Custom a terials such s tic crates. e cts. Paper u rchased fro m b eing u tion to pay packed. Th e n dition repo r n reports o rrower nee d s tructions n formation e in case a gs or plasti x or crate, r sealing k ing easier. c learer and w ill be o meone wh o h at the w ho works u rs. m ent whose 0 m e r t d s c o
51 Sample loan approval letter (based on the loan approval letter use by the Philadelphia Museum of Art) Date Addressee Dear, We are pleased to inform you that the followi ng object(s) has been approved for loan to the [institution name] for the purpose of [exhibition, study, etc] from [beginning date] to [end date]. Object number Object title or description Artist or creator Year Material Your institution will be responsible for all costs involved in the loan, including packing and labor, transportation, insurance, loan fee, conservation, courier expenses (if necessary), and any other related expenses. The mailing address and to whom the invoices should be sent needs to be provided before shipping. The objects must be displayed in secure vitrines that are weighted or attached to the floor or wall. Light levels on paper or textile objects must not exceed five footcandles of incandescent light.. All light sources must be filtered to eliminate ultraviolet component. Temperature should be maintained at 68 to 72 Fahrenheit and relative humidity at 50% 5%. The library will accept nail-to-nail priv ate coverage offered by the borrower. A certificate of insurance should be sent in advance of the shipment. Or The library will maintain our fine arts insu rance and you will be charged the premium of around ___. A certificate of insurance is enclosed for your files. Enclosed you will find two copies of our Loan Agreements, please sign and return both copies to my attention at your earliest c onvenience. The loan agreements will be countersigned and an original copy will be returned to you shortly. If you have any questions, please feel free to contact me. Sincerely, [sign]
52 Sample Loan Agreement (based on the loan agreement used by the Philadelphia Museum of Art) LOAN AGREEMENT This Loan Agreement is between the University of Florida Smathers Library and the institution (the Borrower ") named below. Intending to be legally bound, the Borrower and the Library agree that the attached Terms and Conditions apply to the loan by the Library (the Loan ) of the object(s) listed below (the Objects ), which the Borrower has requested identified below. This Agreement has been signed by each of th e parties as of the respective date(s) set forth below. Borrower: Signature: ____________________________________________________________________ Print Name & Title: _____________________________________________________________ Address: ______________________________________________________________________ ______________________________________________________________________ Date: _____________________________________ University of Florida Smathers Library Signature: _____________________________________________________________________ Print Name & Title: Date: ____________________________________ REASON FOR LOAN: PUBLIC VIEWING DATES of EXHIBITION OR STUDY DATES : Begin Date End Date
53 OBJECTS Object ID # Artist/Maker Title or Description Date Media Credit Line: Value $ Terms and Conditions of Loan Agreement 1. Loan. The Borrower agrees to comply with each of the terms and conditions of this Agreement, including those set forth on the Exhibit A (General Conditions) and Exhibit B (Special Conditions), attached to this Agreement. Subject to such terms and conditions, the Library agr ees to loan to the Bo rrower the Objects for the period of the Exhibition or for Study. Un less otherwise instruct ed by the Library, at the end of such period the Borrower will return the Objects to the Library at the address specified in Section 13. The Libr ary reserves the right to terminate the Lo an if any of the representations of the Borrowe r are untrue or the Borrower fails to comply with any terms or conditions of this Agreement. 2. Facilities, Etc. The Borrower represents and warrants to the Library: (a) the facilities report submitted by the Borrower to the Library in connection with the Loan is complete and accurate in all material re spects and no material adverse change in the Borrowers facilities has occurred since the date of preparation of the facilities report, (b) the Borrower is not undergoing any material renovations and none are planned for the period that the Loan is in effect at th e Borrowers venue, and (c) the Borrower is borrowing the Objects for the purpose of e xhibiting or studying th e Objects during the period set forth at the beginning of this Agreement. 3. Insurance. 3.1. The Library will insure the Object(s) under its policy against all risk of physical loss or damage from any external cause while in transit and on location during the period of the Loan (wall to wall). The Library hereby confirms that its policy waives subrogation by the insurance company ag ainst the Borrower and other exhibiting institutions. The Borrower may maintain equi valent insurance only if approved below in writing by the Library. In such event, before the Loan is shipped or released to the Borrower, the Borrower must deliver to th e Library a Certificate of Insurance or Indemnity, from a carrier satisfactory to the Library, naming the Libr ary as an additional insured (and a copy of the policy if so requested), and confirming coverage for the value(s) of the Object(s) as specified by the Library. The Borrower agrees not to disclose such values to any third party except as ma y be necessary to obtain such insurance. __________ Insurance coverage will be accepted from the Borrower.
54 __________ Insurance coverage will be maintained by the Library. 4. Credit Line. Whenever an Object is on e xhibition, the Borrower will at all times display a descriptive label with such information as is furnished by the Library, together with a credit line in the form sp ecified in the Object information provided. 5. Security and Other Protection from Harm. The Borrower will take all action necessary to protect the Object(s) from harm, including harm from the hazards of fire, theft, exposure to extreme or deteriorating light, extremes of temperature and relative humidity, insects, dirt, or handling by unauthorized or inexperienced persons or the public. 6. Staff. 6.1 The Objects may only be handled by packers and staff specially trained. 7. Shipping. 7.1. All shipping arrangements will be made by the Borrower with approval by the Library. The Library will pack the works for outgoing loan and the Borrower will be charged for all labor and materials. 7.2 All ground transportation must be via air-ride, climate-controlled service. 7.3 The Borrower will keep Library crates and packing materials for return shipment, and Objects will be repacked using the same protective methods and materials. Packing crates will be stored in appropriate environmental conditions. 7.4 Each condition report accompanying the Loan will be annotated and signed upon receipt of the Loan and upon repacking for outgoing shipment by a qualified representative of the Borrower and by a Libr ary representative if one is present. 8. Care and Handling. 8.1. The Borrower will exercise the highe st degree of professional care in handling each Object in its posse ssion or control. No Object may be altered or changed in any manner whatsoever. Without limiting th e foregoing, no Object may be unframed, unglazed or removed from mats, mounts, vitr ines, or bases without the prior written consent of the Library. Unless it is necessary in an emergency situ ation to protect an Object from further damage, no Object may be cleaned, repaired, retouched or altered in any way without the prior written consent of the Library. 8.2. In the event of an emer gency, the Borrower will take all steps prudent and necessary to halt or minimize damage to the Object(s). Should any loss or breakage occur, or any deteriorati on be observed, the Borrower must notify the Library immediately, first by phone and then in writ ten detail with phot ographs if possible. 8.3. Objects will remain in the possession of the Borrower for the Loan period specified above, plus a reasonable time for receiving and returning the Objects. Any extension of time past the final end date shown above must be applied for in writing within a reasonable time before the end of the Loan period. 8.4. When the Loan is returned to the Library, the Borrower is responsible for packing and shipping it in exactly the same manner as received, using the same cases,
55 packages, padding and other furnishings, unle ss the Library specifically authorizes a change. 9. Photography and Reproduction. 9.1. The Borrower may make slides for use by the Borrower or for loan to educational institutions. The Borrower ma y lend photographs of objects to schools, college, or other education institutions fo r study. Permission for other photography may be requested, in writing, from the Librar y. No such photograph, slide or reproduction may be offered at unrestricted sale. Any photographs or slides lent for purposes stated above must be marked, Courtesy of the University of Florida Smathers Library. 9.2 Photography is permitted for purpos es of recording the condition of the Objects and installation view s of exhibitions are permitted for record and publicity purposes. 10. Catalogue, Etc. The Borrower agrees to provide to the Library __2__ complimentary copies of each book, catalogue and other publication published with respect to an Exhibition. 11. Multiple Venues. If any Object will be e xhibited or studied at any venues in addition to the Borrowers own ve nue, the Borrower will be responsible for causing the other institutions to comply with the terms and cond itions of this Agreement. All shipments between venues must be approved in advance by the Library. 12. Loan Costs. The Borrower will bear all expenses of the Loan, including without limit, shipping, packing, handling, co urier expenses, if necessary, and insurance premiums. If the Borrower cancels the Loa n, any expenses incurred to the date of cancellation and any expenses that the Librar y cannot avoid will be the responsibility of the Borrower. The Library will prepare invoices for all expenses for which the Borrower is responsible. All invoices are due within 30 days of receipt. A loan fee of $25 per object will be charged or $50 per object when the loan request arrives less than 4 months before shipment. 13. Location to which the Object(s) mu st be returned, unless otherwise notified in writing: University of Florida Smathers Library [Insert shipping address here] 14. Miscellaneous. This Agreement may not be amended except in writing Exhibit A GENERAL CONDITIONS GOVERNING LOANS 1. Security
56 1.1. All exterior openings not used for public entrance, including accessible windows, roof doors, and air ducts, will be secu red by alarm at all times. Alarms will be monitored at a central contro l station within the Borrower s building, at a local police department, or at a reputable alarm compa ny 24 hours per day. There will be written alarm response procedures that employees are trained to follow, and a designated official of the Borrower will be available at all times to respond to emergency situations. 1.2. Storage areas where the Objects are located will be lock ed with alarms on windows, doors, and any other openings. Access to these storage areas will be restricted. 1.3. Institution personnel will check exhi bition galleries or study areas where the Objects are located on an established ba sis of frequency. Exte rior checks of the building are desirable but not mandatory when a 24-hour guard is pos ted in the building. If a 24-hour guard is not posted in the buildi ng, local police or privat e security personnel will perform exterior checks of the premises on a periodic basis during hours of closing. Access to the facility will be controlled during hours of closing. 1.4. Records will be maintained on all movement of the Objects, including internal relocations, and only the Borrowers staff may sign for the removal of objects. 2. Fire Control. 2.1. Exhibition buildings will be equippe d with early-warning smoke detection and fire alarm equipment connected to and monitored 24 hours per day at an internal security monitoring system, a local fire department, or a reputable alarm company. There will be written alarm response procedures and a designated official av ailable at all times to respond to emergency situations. 3. Relative Humidity and Temperature Controls 3.1. There will be facilities for control of relative humidity and temperature in gallery, storage and packing areas where Libr ary objects are located. All efforts should be made to keep relative humidity mainta ined at 50%% with no more than a 5% fluctuation within that range during a 24-hour period. Temperature should be maintained between 68F and 72F (19C to 25C). 4. Light Levels 4.1. Natural, quartz, tungsten-halogen, a nd fluorescent light will be filtered for ultraviolet radiation. 4.2. Works of art on paper will be st ored, exhibited, and studied only in incandescent light or other light that has been filtered to remove at least 97% of the ultraviolet radiation. 5. Display Conditions 5.1. No Library object will be displayed in close proximity to sources of heat or cold air, or in cases of vitrines in which th e internal temperature exceeds 77F (25C) or the relative humidity is out of the range specified by the Library. 5.2. No food or beverages will be pres ent in areas where Library objects are located, nor will smoking be permitted in those areas.
57 5.3. The Library may require that its sm all objects be secured in locked cases that are fitted with alarms; and that some type of security mounting be used in the installation of framed objects when not monitored by guards. Exhibit BSpecial Conditions Library or approved courier required. Required per diem of $[enter amount] a day for courier. Display requirements: [enter special display requirements]. The Library reserves the right to update the object(s) value up to three months before the shipment date. No changes can be made to packing or ha nging hardware without Library permission. The Library will/will not charge a loan fee.
58 Chapter Eight: Inventory There are many reasons to take inventory of objects in a collection. The most basic reason is to make sure the library knows wh ere all of the objects in the PCM Collection are located. If you dont know wh ere your objects are, how can you expect to care for them properly or let others use them for study or exhibitions? Other reasons to take inventory are to update location information, to identify objects that need conservation, to aid in security, to make sure all objects ar e numbered or tagged, and to help identify objects that should be deaccessi oned or areas where the coll ection is lacking so more objects can be acquired. Taking inventory involves ch ecking the physical locations of objects to be sure the locations are properly recorded in the database. As the objects are brought into the library and catalogued, their locations should be reco rded. This will be the first major inventory and should be a complete invent ory of the entire collection. While a complete inventory check is the most comprehensive, the library does not have the staff time to dedicate to constantly checking the locations of over 10,000 objects. Therefore, the library can perform section-bysection and spot check inventories. Sectionby-section inventories are done by working th rough one area of the collection (such as high value objects, paper objects, metal objects, etc) at a time. Section-by-section inventories should be done on a regular basis and rotate the area of concentration. Spot check inventories are very limited in scope, but can be a good indicator of how well the locations for objects are being recorded. Organization and planning are imperative to ma king sure that any type of inventory is done quickly and efficiently. First, the storage area should be well organized with the doors, cabinets, screens, drawers, and shelves are all properly labeled. Second, you should decide the amount of time you have to dedicate to taking inventory. This will help determine how many people you will need. Invent ory will be taken qui cker if the person doing it is already familiar with the storag e areas. Good candidates are librarians, collections managers, and graduate assistan ts working with the PCM collection. Third, you should compile your list of objects to be in ventoried. The best way to do this is to generate a list from your catalogue that you can make notes on if the location is correct, if the object is located in a different place, or if the object cannot be found. Using the list, the person doing the inventory should update th e locations in the catalogue. Even if the objects were in the place where they were listed in the catalogue, it should be noted in the catalogue that the location was correct when the inventory wa s taken on a specific date. What is the best way to generate a list of objects to be inventorie d? If you are conducting a section-by-section inventory, you should identify the section you wish to target. Then, using your object catalogue, you can generate a list of all objects in that section (such as paper objects, metal objects, paintings, etc). Some programs will generate lists automatically for you and others will require you to manually pick out the objects. It is best to invest in software where the program will generate lists for you. Manually selecting 500-1000 objects could take as long as the actual invent ory check. Make sure
59 your list contains information that will help you identify the object. The accession number will be the first indicator, but other in formation such as approximate size, color, materials, and a short physical description will help locate objects if the number has fallen off or faded or if the object is misl abeled. A small photograph is very helpful as well. You can generate lists for spot check inventorie s in a variety of ways. One way is to have the computer randomly select between 50 a nd 100 objects from the catalogue. Another is to manually select between 50 and 100 objects from the catalogue. It is also a good idea to do this process in reverse; go into the st orage areas (and exhibit areas, if applicable) and write down the locations of 50 to 100 ra ndom objects and then check the computer to be sure their locations are properly recorded. Since this collection wi ll mostly be used for individual study and not in exhibitions, an inventory of objects that have recently been studied should be taken periodically. Checking the location of the last 30-50 objects requested for study can accomplish this. Objects are most likely to disappear or be misplaced when they are being moved from one place to another. How often this type of inventory will need to be taken will depend on how much the collection gets used. If 30-50 objects are st udied every week, then the inventory should be taken more often than if 30-50 objects are studied in a year. The idea is to make sure that each object that was moved was placed back in its proper storage location. While no inventory method can be as accurate and thorough as an entire inventory check or a section-by-section or s pot check inventory, this method can be used. It is relatively quick and, if done freque ntly enough, can be effective in making sure objects that were moved have been put back in their proper storage place. If an object is found in an improper place at any time during the inventory, it can be moved to its proper location. However, be sure another object has not been put in the proper objects location. All the guidelines for handling objects outlined in chapter two should be followed. If you are unsure of your abi lity to move the object (if it looks fragile or is too large or heavy), r ecord its current location and ma ke a note that it needs to be moved to its proper location so that it can be moved at a later time when a conservator is available to evaluate the c ondition or several staff member s are available for heavy or awkward lifting. Inventory can be time consuming, but it a very important part of preservation and care. An organized and well-labeled storage area co mbined with well-trained individuals will help ensure that inventory goes qui ckly, efficiently, and smoothly.
60 List of Figures Figure 1: Tags available for purchase from Gaylord. Image taken from: http://www.gaylord.com/adblock.asp?abid= 14925&search_by=desc &search_for=tags&m pc=WW Figure 2: Diagram of how to sew a tag onto a Mola cloth. Diagram created by Kim Tinnell. Figure 3: Objects in the Panama Canal Museum collection in boxes arriving at the library. Photograph taken by Kim Tinnell. Figure 4: Objects in the Panama Canal Museum collection in boxes arriving at the library. Photograph taken by Kim Tinnell. Figure 5: Custom mount for canoe. Diagram from Atlas Fine Art Services: http://www.atlasdesign.ca/customization.htm Figure 6: Archival boxes with dividers available for purchase from Hollinger Metal Edge. Image taken from: http://www.hollingermetaledge.com/modules/store/index.html?dept=1077&cat=1367&se archname=archival%20box%20with%20divide rs&searchid=&search type=C&cart=13180 4757723711022 Figure 7: Archival boxes with dividers and windows available for purchase from Hollinger Metal Edge. Image taken from: http://www.hollingermetaledge.com/modules/store/index.html?dept=1077&cat=1322&se archname=archival%20box%20with%20divide rs&searchid=&search type=C&cart=13180 4757723711022 Figure 8: Small archival boxes available for purchase from Hollinger Metal edge. Image taken from: http://www.hollingermetaledge.com/modules/store/index.html?dept=1077&cat=1229&se archname=archival%20box%20with%20divide rs&searchid=&search type=C&cart=13180 4757723711022 Figure 9: Artifact storage box available for purch ase from Gaylord. Image taken from: http://www.gaylord.com/adblock.asp?abid=9680&search_by=desc&search_for=box&mp c=WW Figure 10: Plastazote foam available for purchase from Gaylord. Image taken from: http://www.gaylord.com/adblock.asp?abid= 15790&search_by=desc &search_for=Plastaz ote&mpc=WW Figure 11: Ethafoam squares available for purchase from Hollinger Metal Edge. Image taken from: http://www.hollingermetaledge.com/modules/store/index.html?dept=32&cat=939&searc hname=ethafoam&searchid=&searchtype=C&cart=131804757723711022 Figure 12: Archival, acid-free shredded tissue paper available from Gaylord. Image taken from: http://www.gaylord.com/adblock.asp?abid= 9217&search_by=desc&s earch_for=shredded %20paper&mpc=WW&catalog=&target= Figure 13: Pre Columbian artifacts stored in ar tifact storage boxes with dividers. Photograph taken by Kim Tinnell. Figure 14: Pre Columbian artifacts stored in ar tifact storage boxes with dividers. Photograph taken by Kim Tinnell.
61 Figure 15: Ethafoam ring available for purchase from Gaylord. Image taken from: http://www.gaylord.com/adblock.asp?abid= 14976&search_by=desc &search_for=ethafoa m&mpc=WW Figure 16: Ethafoam rings and mounts available for purchase from Gaylord. Image taken from: http://www.gaylord.com/adblock.asp?abid= 14976&search_by=desc &search_for=ethafoa m&mpc=WW Figure 17: Archival flag box available from Gaylord. Image taken from: http://www.gaylord.com/adblock.asp?abid=8487&search_by=desc&search_for=flag%20 box&mpc=WW&catalog=&target= Figure 18: Archival flag box available from Hollinger Metal Edge. Image taken from: http://www.hollingermetaledge.com/modules/store/index.html?dept=1081&cat=675&sea rchname=flag&searchid=& searchtype=C&cart=131804757723711022 Figure 19: Flags made of synthetic fabric in the Panama Canal Museum collection. Photograph taken by Kim Tinnell. Figure 20: Flags made of synthetic fabric in the Panama Canal Museum collection. Photograph taken by Kim Tinnell. Figure 21: Girl Scout beret (interior view) in the Panama Canal Museum collection. Photograph taken by Kim Tinnell. Figure 22: Girl Scout beret (top view) in th e Panama Canal Museum collection. Photograph taken by Kim Tinnell. Figure 23: Archival baseball cap box available for purchase from Gaylord. Image taken from: http://www.gaylord.com/adblock.asp?abid= 15753&search_by=desc &search_for=basebal l%20cap&mpc=WW&catalog=&target= Figure 24: Top hats in storage at the Philadelphia Museum of Art. Photograph taken by Kim Tinnell. Figure 25: Scarf in the Panama Canal Museum collection. Photograph taken by Kim Tinnell. Figure 26: Barrier board sheets available for purc hase from Gaylord. Image taken from: http://www.gaylord.com/adblock.asp?abid=6060&search_by=desc&search_for=sheets& mpc=WW Figure 27: Barrier board sheets available for purc hase from Hollinger Metal Edge. Image taken from: http://www.hollingermetaledge.com/modules/store/index.html?dept=20&cat=523&searc hname=board&searchid=&searchtype=C&cart=131804757723711022 Figure 28: Coin holders made from Mylar and archival board available for purchase from University Products: The Archival Company. Image taken from: http://www.universityproducts.com/cart.php?m=product_list&c=69 Figure 29: Plastic coin holders available for pu rchase from Intercept Preservation Products. Image taken from: http://www.interceptshield.com/holders.html Figure 30: Plastic coin holders avaible for purch ase from The Coin Supply Store. Image taken from: http://www.coinsupplys tore.com/site/1648271/page/785957#Slabs Figure 31: Sterling silver dish cover in th e Panama Canal Museum collection. Photograph taken by Kim Tinnell.
62 Figure 32: Silver trophy cup in the Panama Ca nal Museum collection. Photograph taken by Kim Tinnell. Figure 33: Sword in the Panama Canal Museum collection. Photograph taken by Kim Tinnell. Figure 34: Photographs from the Panama Canal Mu seum collection piled on top of one another in a box. Photograph taken by Kim Tinnell. Figure 35: Acid-free, non-buffered photograph st orage sleeves available for purchase from Light Impressions. Image taken from: http://www.lightimpressionsdirect.com/westminster-rag-full-4-plybright-white-32-x-4025-pkg/bulk-board-sheets/ Figure 36: Acid-free, non-buffered storage enve lopes available for purchase from Hollinger Metal Edge. Image taken from: http://www.hollingermetaledge.com/modules/store/index.html?dept=15&cat=452&cart= 131800395922761280 Figure 37: Document storage case available fo r puchase from Hollinger Metal Edge. Image taken from: http://www.hollingermetaledge.com/modules/store/index.html?dept=1&cat=360&search name=document%20storage&sear chid=&searcht ype=C&cart=131804757723711022 Figure 38: Compact sliding painting storage screen available for purchase from Gaylord. Image taken from: http://www.gaylord.com/adblock.asp?abid= 15175&search_by=desc &search_for=paintin g&mpc=WW Figure 39: Metal screen for customizing a painti ng storage screen available for purchase from Hebei Yongwei Metal Products Co., Ltd. Image taken from: http://www.yongweiwiremesh.com/welded-wire-mesh/welded-w ire-mesh/perforated-metal-screen.htm Figure 40: Metal hooks for hanging paintings on screens. Image taken from: http://www.uni-plastic.com/metal%20S%20hooks.htm Figure 41: Paintings and framed works on pape r hanging on a painting screen, some covered with Tyvek slip covers. Image taken from: http://www.textileanalysisandconser vation.com/collections-care.php. Figure 42: Hygrothermograph available for purch ase from Cole-Palmer. Image taken from: http://www.coleparmer.com /catalog/product_view.asp?sku=3725020 Figure 43: Economical hygrothermograph availabl e for purchase from Cole-Palmer. Image taken from: http://www.coleparmer.com/catalog /product_view.asp?sku=3570100&pfx= Figure 44: Display case thermohygrometer available for purchase from University Products. Image taken from: http://www.universityproducts.com/cart.php?m=product_list&c=827 Figure 45: Radio-controlled thermo-hygrometer available for purchase from University Products. Image taken from: http://www.universityproducts.com/cart.php?m=product_list&c=946 Figure 46: Rhapid Pak silica gel pack available for purchase from University Products. Image taken from: http://www.universit yproducts.com/cart.php? m=product_list&c=830 Figure 47: Light meter available for purchase fro m Value Testers. Image taken from: http://www.valuetesters.com/Ampr obe-LM-80-DigitalLight-Meter.php
63 Figure 48: Customized shipping box created by art handlers at the Ph iladelphia Museum of Art. Photograph taken by Kim Tinnell. Figure 49: Customized shipping box created by art handlers at the Ph iladelphia Museum of Art. Photograph taken by Kim Tinnell.
Supporting Document: List of Archives Containing Materials Related to the Panama Canal Experience Autoridad del Canal de Panama Barbados Museum and Historical Society Blibliotheque Nacionale De Frances The Bridgeman Art Library Collection Sirot-Angel Corbis Darthmouth College Library Franklin D. Roosevelt Library and Museum Georgetown University Library Getty Images The Granger Collection, NY Theodore Roosevelt Collection, Harvard College Library Historical Medical Library of the Co llege of Physicians of Philadelphia Library of Congress Linda Hall Library of Science, Engineering and Technology National Archives and Records National Library of Medicine Son of the South Thomas Jefferson University, Archives and Special Collections UCR California Museum of Photography University of Michigan, Special Collections Library Claude Moore Health Science Library University of Virginia Office of Medical History, US Army Medical Department US Military Academic Library Virginia Military Institute Institute Beinecke Rare Book and Manuscrip t Library, Yale University Penn Museum Film Archive
Supporting Document: 9 Questions to Guide Data Analysis and Evaluation Sophia Acord, Ph.D., January 23, 2011 What are the benefits and liabilities associated with depositing a museum collection in a library? What are the benefits and liabilities associated with acquiring a museum collection for libraries? As museums face closure, how can museum leadership and board members access information about and assess the appropriateness of working with libraries? How can libraries assess risks and determine the best questions to ask prior to accepting or rejecting collections that are threatened by the current economy? What are methods libraries can implement to successfully integrate museum objects into their collection(s)? How can libraries successfully integrate a museum accompanied by an extant lay expert group of elderly and geographically diverse volunteers? How can libraries ensure that the transition and integration process does not compromise the pride and sense of ownership held by former stewards and collectors? What strategies can be used both by the accessioning libraries and contributing museums to map and use extant resources of knowledge, skills, networks, funding opportunities, private collections, etc., for the benefit of the project and user community? What are funding, branding, and governance structures that enable and support sustainable integration and stewardship activities? What mistakes can occur during pre merger, merger, and integration stages for both museums and libraries? What solutions are available to ensure accessioned collections resulting from mergers, can be most widely discoverable and accessed? How can both library and museum professionals initiate dialogs that raise awareness about needs for preserving collections and other threatened community and cultural assets?
The FAn Equ a Geor g Offic e Cen t Rac h Scho b y R a the a f she w prep a with duri n was d In ca exist i Paul Hist o hall w McF a com p Foundation f a l Opportunity Ins g e A. Smath e e of the Dean t ennial Exh i h el Schipper ol of Busin e a chel and sh f ternoon an d w ill be reim b a ring a pres e the Harn M u n g the fall o f d etermined t The Harn frames, ha their use i The avail a Recomme s e additiona i ng Harn fra m 12x14 -$ 5 14x16 $ 20x24 $ Losch and R o ry about th e w ay exhibit i n a dden will h p lement the h f or The Gat o t itution e rs Libraries o f Universit yi bit Planni n and Lourde s e ss (World T h e will be do d have her bo b ursed for h e e ntation. In p u seum of Ar f 2014. Susa n t hat: would cons a rdware, an d i n another ex a ble frames e nded frami n l frames are m es, were s o 5 0 55 80 R achel Schi p e August 20 1 n the Muse u h ave an exhib h allway exh i o r Nation y LibrariesPa ng s Santamari a Trade) and t h ing a prese n o oks for sale e r travel exp e p reparation f r t and Pictur e n Cooksey w s ider this an d labels are a x hibit, there are black m e n g methods f necessary, p o licited fro m p per talked w 1 4 exhibit. T u m, so costs b it during th i bit. a nama Cana Quarterl y October 2 1 a -Wheeler p l h e Harn Art M n tation at the e at the Muse e nses but is f or the exhi b e This! Fra m w ill be the c u exhibit of it e a vailable. If is a possibi l e tal of varyi f or museum p rice estima t m Picture Th w ith Darcie M The FMNH h of fabricati o is time of t h a l Museum Report 1, 2011 l anned exhi b M useum ( M Harn on S u e um store. E not chargin g b its in 2014, m eshop. The u rator. After e ms on loan there are n o l ity of the L i i ng sizes m textiles wa s t es for three h is! Framesh o M acMahon o h as wall case o n of the ex h h e artifacts f o5 P G 3 3 wb its with the M olas). Edith u nday, Augu Edie has kin d g the Univer Lourdes Sa n Harn will h meeting wi t ; therefore th o t enough fr a i brary provi d s discusse d fram e sizes op in Gaines o f the Flori d e s that can b h ibit will be m o und at the e 5 35 Library W P O Box 11700 G ainesville, F 3 52-273-2505 3 52-392-7251 www.uflib.u f associate d e Crouch wa s st 17, 2014 f d ly estimate d r sity for the h n tamara-W h h ost an exhi b t h the Harn R h eir stock o f a mes availa b d ing/loanin g in the same s ville. d a Museum o e used for th minimal. B r e xcavation s i W es t0 0 F L 32611-700 0 Fax f l.edu e an of the s contacted f rom 3-4 in d her costs; h onor of h eeler met b it of Molas R egistrar it f available b le due to g frames material as o f Natural h e 75 foot r uce i te 0
Rachel has planned the Gator Nation Celebrat es Panama weekend package for August 15-17, 2014. The cost of attending the Sym phony of the Americas (Friday, August 15), a keynote event on August 16 (hopefully with David McCullough), and the Mo la exhibit/Edie Crouch event on August 17 will be approximately $320 (accommodations at the Hilt on Gainesville). A block of 100 rooms has been reserved at the Hilton for the w eekend (Friday/Saturday night stay ). A second block of 16 rooms has been reserved for the symphony. Total costs for the symphony are estimated at about $24,000. It is estimated that approximately half of the costs may be recouped by ticke t sales if half the auditorium is filled (800 seats). Rachel visited with maestro Brooks-Bruzzes e, Vice President and Executive Director, Renee LaBonte, and Sandy Riblett, Dire ctor of Operations on October 9, 2011 in Fort Lauderdale for a planning session. The symphony has ag reed for partial sales of CDs to be donated to UF, and they have listed for R achel a number of potential sponsor s/donors to contact. When asked who should introduce the symphony, maestro Brooks-Bruzzese sugge sted he contact several prominent friends, including Soledad OBrien. Rachel asked if the maestro would entertain having an oral history doneand posted on the UFDC site and the maestro readil y agreed to being interviewed. The group may work on getting a visa for a guest Kuna Indian pan flutist, to play indigenous music with the symphony that has never be fore been performed in the United States. An IMLS grant has been proposed, and Rachel and Bess de Farber have begun work on it. Bess recommended the use of a consultant to ascertain expectations of the partners. Negotiations with Donavan Management, Inc. were finalized ( cost, $10,500/UF provided ). Jim Donovan began a series of interviews on October 3, 2011, and these will con tinue for approximately one month. Interviewees include Joe Wood, Kathy Egolf, Paul Buddy Morgan, Tom Wilder, Mike Coffey, Sam Huang, Judy Russell, Rachel Schipper, Bess de Farber, Aims McGuinness and others. Donovan will be advising on philanthropic endeavors to suppo rt the collections. Rachel has spent many of her own hours as well as work hours on the narrative preparation for the grant and the compiling of budgetary information ( approximately $5,000/UF provided ). Sam Huang and Bess will continue the work on the grant, and Judy Russe ll will be the PI. Rachel Schipper wrote a peer-reviewed article, http://www.flalib.org/ fl_lib_journal/Fall2011.pdf detailing the PCM/UF collaboration in the Florida Libraries Journal. A follow-up presentation with Chelsea Dinsmore is also planned during the Flor ida Libraries Association meeting in Orlando in April. Web Site Enhancements From the University of Florid a Smathers Library web site, http://www.uflib.ufl.edu/ click on Giving to the Libraries in the left-side me nu. This results in the following link: http://www.uflib.ufl.edu/giving/ and clicking on Giving Opportuni ties in the left-hand menu will bring you to http://www.uflib.ufl.e du/giving/giv_ops.html At the bottom of the page, there is a paragraph about the PCM collections, and there is a li nk to the Past, Present, Future brochure (in blue print).
Latin American Collection Paul Losch traveled to Panama in July and visi ted several potential museum partners including the West Indies Museum. Paul spent time in meetings reference work, and correspondence (including email correspondence with PCM board members about donations, exhibits, etc.) For example, Paul was involved in exhibit planning w ith Lourdes Santamaria Wheeler an d Rachel Schipper. Other time was spent as Paul supervised his students in processing the collection and providing reference assistance. 70 student hours x $7.31/hr=$511.70 Herrera 35 student hours x $7.31/hr=$255.81 Gesualdi Student total=$767.51 106 hours x $27.54/hr =$2918.96 Losch UF Provided: Wages=$3686.47 UF provided: Travel Expenses= $539.00 Gifts and Exchange For this past quarter Gifts pers onnel have coordinated two PCM effo rts: the acquisition of a large donor gift, and a donor mailing. On August 1, 2011, Gift s met Kathy Egolf at UF and received 1164 Molas of various sizes (small, medium, and la rge), 51 Journals, 45 Hardbound Books (Yearbooks), 26 Items of Clothing (boleros, penitentiary shirts), 6 Items of Jewelry (necklaces, bracelets), and 2 Movie Reels. These items were inventoried and then delivered to John Freund in preservation. A letter of acknowledgement for this gift was mailed on August 5 to Kathy Egolf. On August 22, 2011, eight letters were mailed to PCM donors whose items could potentially become part of the pre-Columbian materials preserved by the Florida Museum of Natural History. The letters included Deed of Gift forms to be completed and returned to Michelle ElNeil. They also included information regarding the 1972 UNESCO Convention on World Heritage and Natural Preservation as it may pert ain to donated materials, and a request that the donors confirm that the items exited their country of origin before the 1972 Convention. UF Costs for Salary/Postage: $65 National Bagger Museum Rachel Schipper emailed the National Bagger Museum to request costs for transport of the Canal model. Ronald de Heer subsequently emailed seve ral articles that publiciz ed the Canals dredging. Ronald continues to resear ch the costs for container transport of the model.
Preservation Department, Conservation Unit John Freund continues to work on the PCM inventor y and this month transferred Judy Lindseys preColumbian collection to the Florida Museum of Na tural History. He hosted a tour of the molas and pre-Columbian collection for Susan Cooksey (Harn curator) and a member of the UF Art and Art History faculty, Maya Stanfield-Mazzi. Conservation Inventory of all items currently in possession of UF is complete except for boxes of paper records and oversize items at ALF. UF Received the Bertha Br own Mola Collection. They are currently being sorted and boxed while we look in to the proper way to label them. Pre-Columbian material was sorted and UF is aw aiting deed of gift si gnatures and acquisition information. Deed of gift was received from Judy Li ndsay and the gift was transferred to the Florida Museum of Natural History on 9/21/11. Archival boxes and storage materials costs UF Total $901.00 Humidified and flattened 25 ro lled panoramic photographs John Freund spent approximately 72 hrs at $30/hr working with the collection UF Total $2,160 The current inventory is up to 9,249 items received. Government Documents Chelsea Dinsmore reviewed a new list of potential items to come from the PCM. She reviewed items from the last shipment from PCM. The post quality control was completed on the last shipments of Panama Canal material to go to Internet Archive (IA). This batch was mentioned in last quarters report, but now UF has an actual invoice a nd the following amounts will be paid to IA: 1 item 30 foldouts / pages ($0.23) UF Total: $6.90 95 items (books) 9116 pages ($0.08) / 13 foldouts ($2.00) UF Total $ 755.28 Chelsea spent approximately 20 hours of her time on th e project this quarter. The cost share rate used is $29.84/hr. UF Total $596.80. Work-study students spent 30 hours doing post-scanni ng quality review at the Federal Work Study (FWS) rate of $1.83/hr. UF Total $54.90 (UF cost share of FWS). All titles scanned for the G overnment Document/PCM project can be viewed at http://www.archive.org/details/ufpancan or also within the UF Digital Collection.
Panama & the Canal Digital Collection DLC Materials and labor for processing $798 7/1/2011-9/30/2011 In addition to creating and assist ing with the DVDs, the Digital Libr ary Center conti nued to process materials digitized externally into the Panama & the Canal Digital Collection The Digital Library Center continued to digitize the Panama Canal Spillway newspapers and as-needed additional items, as well as responding to and ro uting patron email i nquiries on the Panama Canal. All of the completed Panama Canal materials are available in the Panama & the Canal Digital Collection ( http://ufdc. ufl.edu/pcm ). In July 2011, the Panama & the Canal Digital Collection saw 49,679 views and 76,413 views in August. Most Accessed Titles Below is a list of the most co mmonly accessed titl es within the Panama & the Canal Digital Collection with the numbers of views to date. BIBID TITLE VIEWS UF00094771 Panama Canal spillway : el Canal de Panam spillway 307311 UF00093680 Caribbean 56250 UF00097366 Panama Canal review 37013 UF00097368 Panama Canal record 19001 UF00094141 The Makers of the Panama Canal 12411 UF00097365 Annual report of the Gover nor of the Panama Canal for the fiscal year ended .. 6002 UF00095973 Conquistador (Canal Zone Junior College) 4739 UF00093678 Zonian 4474 UF00083288 Leonard Carpenter Panama Canal Co llection. Publication: The Panama 4286
Canal: Twenty-fifth Anniversary. UF00083287 Leonard Carpenter Panama Canal Collec tion. Publication: The Canal Diggers in Panama 1904 to 1928 3177 UF00098946 Spillway 2856 UF00083281 Leonard Carpenter Panama Canal Co llection. Photographs: Miscellaneous Photos and Negatives, Panama Canal. 2663 UF00083277 Official Handbook of the Panama Canal 2332 UF00083286 Leonard Carpenter Panama Canal Colle ction. Publication: Panama Canal Review Special Edition. 2250 UF00083284 Leonard Carpenter Panama Canal Colle ction. Photographs: Views of Panama and the Canal. 1535 UF00083278 Leonard Carpenter Panama Canal Collection. Photographs: Assorted uncaptioned photos, Panama Canal. 1503 UF00074065 The Americans in Panama 1479 UF00097364 Annual report Panama Canal Company, Canal Zone Government 1358 UF00097367 Annual report, Panama Canal Commission 1351 UF00098947 Tropic Times 1323 UF00083275 Leonard Carpenter Panama Canal Collection. Guide: My Trip Through the Panama Canal from the Atlantic to the Pacific. 1288 UF00083279 Leonard Carpenter Panama Canal Collection. Photographs: Dredging, Soldiers, and Ships. 1194 UF00097363 Annual report of the Is thmian Canal Commission for the year ending .. 994
UF00095940 63d Cong., 1st sess. Senate. Doc. 146 871 UF00098900 Panama Canal Museum Exhibit Materials : Cauco Race 2006 866 AA00000354 Photographs from 1978 856 UF00083276 Leonard Carpenter Panama Canal Colle ction. Miscellaneous Memorabilia, Notes and Publications re garding the Panama Canal. 842 UF00098885 Panama Canal Museum Exhibit Materials : 1908 1961 Photographs 837 AA00000265 Panama Canal review en espaol 791 UF00098889 Panama Canal Museum Exhibit Materials : Housing Exhibit 740 UF00097362 Annual report of insuran ce business transacted in the Canal Zone, including laws concerning licensing of insuran ce companies during the calendar year 717 UF00093710 Balboa Bust, Balboa High School Monument 666 UF00098892 Panama Canal Museum Exhibit Materials : Scouting Exhibit 652 AA00004276 Panama Calendar 633 UF00098884 Panama Canal Museum Exhibit Materials : Police 629 AA00000275 CMH pub ; 624 UF00098896 Buildings and Infrastructure 622 UF00083282 Leonard Carpenter Panama Canal Collection. Photographs: U.S. Military Personnel, Panama Canal. 580 AA00000266 Canal Zone code (1934) 576
UF00083280 Leonard Carpenter Panama Canal Co llection. Photographs: Miscellaneous Military Base Camp Photos, Panama Canal. 543 UF00083285 Leonard Carpenter Panama Canal Collection. Photographs: Workers (Unidentified) and Work Camp, Panama Canal. 507 Summary of Funds The endowment (non-expendable corpus) account: $103,052.16. Total funds available from F016629 for processing: $3,503.13 The total amount remaining in the PCM Fund = $6,850.17 Of this remainder, $2300 is yet to be paid to Turner Moving when they complete the tran sfer of items post March 31, 2012, leaving a total within the processing account of $4550.17 (student processing/OPS will further deplete this by $1048.04, leaving a total of $3502.13 expendable for processing ). UF expenditures for this same period total $ 24,265.35 with an additional $4,767.78 spent for the reunion/advisory board participation. Total UF expenditures for the quarter = $ 29,033.13. This figure does not reflect most of the work effort fr om the 27 workers who devot e portions of their work time to the processing of PCM collections.
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Exhibit VenuesFlorida Museum of Natural History Samuel P. Harn Museum of Art UF George A. Smathers Libraries Website (online exhibit) UF Health Science Center Libraries UF Lawton Chiles Legal Information Center UF Library West (Humanities and Social Sciences Collections) UF Marston Science Library UF School of Business UF Smathers Library (Special and Area Studies Collections) Advisory Groups Integration and Centennial EventsFriends of the Panama Canal Museum Museum Experts Team Panama Canal Centennial Advisory Board Panama Canal Society UF George A. Smathers Libraries Leadership Board George A. Smathers Libraries Collection Support and IntegrationAdministration, Development and Communications Cataloguing and Metadata Department Digital Library Center Gifts and Exchange Government Documents Latin American Collection PreservationResources and Relationships Mapof the Panama Canal Museum Integr ation and Centennial Celebration Ongoing Academic PartnershipsAssociation of Southeastern Research Libraries Bagger International Museum of the Netherlands Historical Museum of San Diego Library of Congress National Archives and Records Administration UF Center for Latin American Studies UF College of Engineering UF College of Fine Arts UF Samuel Proctor Oral History Program UF School of Business Public Education ProgramsK-12 Teacher Curriculum Modules Panama Canal Museum in a Trunk Traveling Exhibits Panama Canal Society Reunions Professional conference presentations (AAM, FAM, ACRL, etc.) UF Center for Latin American Studies Lecture Series UF Education Library UF Graduate Level Exhibitions SeminarSupport Document:
Chapter One9Erich and Kathleen Aanstoos Marylyn Dewey Adams Annabelle Alden Victoria Hollowell Allen David and Barbara Curles Aycock Bill and Dixie Humes Ayers Fred and Melanie Trim Bales Richard and Marcia Copenhaver Barrere John Bates Dorothy Irish Beall John and Ann Mackey Beers Alan P. Bentz Joan Scott Bernard Bob and Ann Cowles Best Boyd and Lucille Bevington Ruby Miriam Bissett David and Katy Miskovsky Bivin Margaret Bivin Don and Geneva Boland Dr. W. Eugene and Jane Bondurant Lt Col Robert and Mary Jill Wells Bowman Ronald Bowman and Kristan Bowman Jim and Diane Stephenson Bradley Alina Bradman Hap and Beth Brandenburg Fred and Aurora Bremer Pamela A Brown Richmond Brown Kathleen McConaghy Campbell Bill and Kay Cross Carson Major Larry and Kathryn Castleman Jim Catron Vernon and Ruth Studebaker Caturia Richard and Lila Cheville Rupert and Shirley E. Lee Chin Sue Sartain Clark John Lloyd Clement Orrin and Carol Clement George R. Cockle John and Angela Coey Mary Morland Coey Michael and Shawn Coey Carolyn Con Cunningham omas G. Con Howard and Lyn Mimi Stratford Collins James and Frances Coman Condor Outtters Alice Conover Robert and Maureen Copeskey Edward and Geraldine Pierce Corbett Sydney B. Townsend Corbett Wendy Cotton Corrigan John and Valerie Spencer Cronan J. Peter and Sara Snyder Crumpacker Nola Bliss Culley Richard Dahlstrom George and Linda Hu Dany Judy Walton Davis Louis and Barbara Egolf Dedeaux Jon and Debra Dedeaux Bonnie (Fig) Leber Dehlinger Mary C. Nehls DeMartini William and Mary Derr Donald and Elizabeth DeStano Gerarde DeTore Richard and Carolyn Rowley Dillon Ed and Bonnie Davis Dolan Palma Doner Richard and Marie Pierobon Drake Mort & Anna Dworken Clare Dyer Isabel Wood Egan George and Roberta Williams Egolf Katherine Egolf William and Carol Egolf Mary Ann Eldridge Edward and Andra English John and Marion Fahnestock Michael Felack C. B. Fenton & Co., S.A. Leslie Firth Greg & Vicki Baldwin Fischer Curtis Fitzgerald Mabelle Walker Fitzgerald Jacquelyn R. Forrest Robert G. Forsythe Mary Simpson Francis Irwin Frank Gilbert E. Freund Fern Fugleberg-Rotto Barbara Bartlett Garlitz Howard and Margaret Garner Richard and Marilyn Gayer Robert T. Geddes, Jr. Frank J. Gerchow, Jr. James and Dorothy Rowley Gerhart Kenneth R. Gerhart C. Robert & Lorraine Gibson Juanita Jones Girand Paul D. Glassburn omas R. Goethals Sharon Gonzalez Barbara Gorin-Sieger Robert and Penny Pennington Graham Jonathon J. Green Rebecca Green Dawn Crowell Gressang T. Richard and Diana Hu Grimison Vincent and Pamela Maedl Gutowski LeMoyne and Dolores Wheeler Hall Susan Hall Gerald and Sharen Halsall Max William Hanna omas and Rita Hannigan Frank Stevens Hawks Terrie Strey Harmon William J. Hatchett Reggie and Bev Boyette Hayden Stevin Helin Dona Helmerichs Walter and Sandra Zumbado Herbert Jack and Fran Yost Hern Richard and Ruth Hern Leslie and Annette Hall Highley Bernice A. Hill, Jr. Bernice A. Sanders Hill Dave and E. Jane Hilliard Charles and Felisa Hinz Carol Sergeant Hoover Tim and Helen Hotz Samuel T. and Corinna K. Huang Dennis and Peggy Hale Hu William and Jane Hu James and Joan Human Ove and Billie Hultin Charles and Sandra Hummer Louise Rathgeber Hunt Patrick Hutchings John Ingram Gary and Judy Beeby Inman Gary W. Irving Joe Jenkins Richard and Vilma M. Lopez Johnson Hubert and Margot Jordan Joseph and Ida Lucille Kane Nona Kane James and Patricia Kearns Charlotte Kerksiek Nancy King Tara King Walter H. and Suzanne Urey Kleeens Edgar and Carol Dimp Kourany James and Grace Kraemer Ernest and Barbara Bartholomew Krueger Len and Maria Kujawa Raymond K. Kulig and Barbara M. Hall Vose-Kulig Islay Lamberty William and Debra Egolf Lane Peter and Mary Lou Lang Alice Whittaker Latimer Brian & Julia Laverty Frank and Deborah Mokray Lee Roland Lees Margaret Leigh Charles and Frank Leves Amy Linden Judith R. Lindsay Lesley M. Hendricks Litzenberger Charlotte K. Longanacre Edwin Longanacre Paul Losch Christine Luken Agnes Lyman Maxine C. MacDonald Raymond Macht John M. Mallia Louis Mallia Elisa Malo-Brooks Deborah R. Mann Dottie Manthorne John and Jody Davies Marcum Robert and Colleen Lawson Mate Linda Mazerolle Eveline K. McClean William McConaughey Jimmy and Alice McKeown William and Barbara McKeown Robert R. McMillan Gail McNally and Herb Dawson Children Tom McNaughton Dr. Gustavo A. and Nelly Mellander Carol F. Meyer, M.D. Margery A. Connard Meyer Adam and Donna Malin Meyerson John and Judith Engelke Montanaro James B. Morin and Derheta Johnson Paul and Stacia Morgan Richard and Julieta Preciado Morgan Diane Morris John and Marie Morris Frank and Marilyn Mott Robert and Vernell Lukasko Mullins Declan and Emily Hearn Murphy Shirley Million Muse Ed and Joan McCullough Ohman Arvid and Pat Olson Ronald P. Nessler Dr. Terry Louis Palls-Morrison John and Linda Parazynski Deborah Pate John and Deanna Petersen Lynda Carol Philips Jerry and Kay Frangioni Pierce Fred B. Raines Robert and Gayle Fettler Rankin Virginia Kleeens Rankin Bob Redeld and Carolyn Merry James and Janet Stockham Reece Nancy Remak Ann Richardson Duane and Edna Rigby Raymond and Forest Wise Robberson Jody & Dolores Roberson Randal and Camille Robertson Joanne Steiner Robinson Sam and Beverly Rowley Robert and Jeanne Chance Rupp Judith Russell Robert and Cheryl Russell Rodney and Linda Russell Don and Joni Ryter Ray Sanchez and Ann Wood Evelyn Sanders Dr. Rachel A. Schipper Douglas and Sharon Booth Schmidt William and Barbara Scott Anthony Scottino Raquel Scottino Kathleen Lavallee Sears Geary and Bonnie Serpas Ruth E. Shaw Frederick P Sill Anne Sistrunk Frank M. Smith Gilbert M. and Pauline Sue Pincus Smith Space Coast Panazonians Jean Spitznagle Lloyd and Margaret Spradlin Alex and Linda Stearns Gary Strong James and Carol Sullivan Duncan W. Summerford Janet Sutherland Swearingen Family Lewis and Sandra Taber Christopher Tate Howard T. Tettenburn J. E. Dorn and Dolores M. omas Jed and Janice omas Mary-Ellen McGann omas Jess Kyle and Gail Goodrich Totten Frank and Marvel Davison Townsend John and Lynn Boswell Turner Mary Gilbert Urey Edna Dahl Valentine Peter Van Overen Stephen and Mary Vaughn John Viall Jacqueline E. Ashton Wagner Jeanne Walker Wagner Richard and Yovi Wainio Nancy Wells Robert Wheeler David and Jeannine Hebert Wilder omas and Kathy Wilder Rosemarie Bowker Wildsmith James R. Williford Edith Hu Willoughby Lowell and Magnolia Wilson James and Maria Martinez Witte Joseph and Beverly Bowman Wood omas M. Woodell II William and Judith Johnson Wymer William D. and Virginia M. Coy Young Deborah Zumbado Robert and Marguerite Neal ZumbadoDonors to the Panama Canal Museum (PCM) Collection EndowmentThe Panama Canal Museum (PCM) Collection Endowment supports the care and maintenance of the collection, including cataloging, digitalization, preservation and processing; planning and conducting local, traveling and online exhibits; hosting events; acquisition of related materials to enhance the collection and making the collection availablle for global access. The following have generously given to the endowment. Supporting Document:
8 Chapter One Includes gifts received by the George A. Smathers Libraries from November 1, 2010 through September 30, 2011GIFTS IN KINDACHDUS Nasimi Aghayev Mr. Gregory R. Allen Mrs. Elizabeth Allen Ms. Shelley Arlen Nihad Awad Ms. Jessica Bara-Skowronek Mr. James G. Basker Mr. Gabriel Cabrera Becerra Mr. Edward G. Borgens, Jr. Ms. Patricia Borucki Mrs. Jenna Broyles Mr. Gene A. Budig Mr. R. Cary Bynum Dr. Roberto Cass Mr. Greg Cole Committee for the Sixty ird Year Korean Economy Southern Company Rev. Joachim Cotsonis Mr. Emilio Cueto Dr. Florin Curta Dr. Elizabeth Dale Mr. Mathew Daley Mr. Jared Daugherty Ms. Suzanna Dawidowicz Dr. Kathleen Deagan Mr. Luther Deese Dr. Frank Di Trolio Kim Dong-Nyoung Rev. Walter Edwards Dr. Bonnie Eros Ms. Kathy Egolf Dr. Ron Emihovich Jupinski Erlander M.Z. Farrukh Mr. Guillermo Fernandez Dr. Chuck Frazier Mr. Keith Fuller Mr. Lou Galambos Ms. Lauren Garber-Lake Dr. Andres F. Garces Dr. Eugene Gerberg Global Communications Publications Dr. Alex Green Dr. Philip Grow Fundacao Calouste Gulbenkian Dr. Gerrardo Gutierrez Mendoza Dr. Maurice Gyer Mr. Abram Harrell Rainer Hemgsbach-Parcham Mr. William vanden Heuvel S. Hibi Dr. Talley Hipp Houston Museum of Fine Arts Dr. Jacob B. Human Institute Ramon Llull Ms. Jeri Irwin Ms. Sheila Grant Johnson Heerak Christian Kim Dr. Emile Kok-Kheong Yeoh Ms. Stephanie Koregay Mrs. Rita Kramer Mr. Frank Kubic Mr. Craig Kunaschk Ms. Katherine Lane Dr. Joe Levinson Ms. Anne Lillios Dong-Yi lin Ms. Ann Lindell Ms. Mary Litcheld Ms. June D. Littler Mr. Sean Macdonald Dr. Bernie Machen Mr. Victor Malta Mr. Jose Newton Cardosa Marchiori Mr. Joe Marianno Marine Corps History Division Mr. Larry Mason Kodo Matsunami Dr. Brian McCrea Mr. Tom Mininger Etsuya Miyamoto Mr. Gerald Monsman Mr. Jack Moore Ms. Michelle Mulholland Dr. Gerald Murray New York State Museum Ms. Alan R. Orschel Ms. Stephanie Ospina Panama Canal Museum Dr. Anne Paolucci Mr. Bruce Peele Dr. Charles A. Perrone Ms. Rochelle Pienn Ms. Mary Pixley Mr. Russell A. Pizer Ms. Tina Pruitt Mr. Andrew Reynolds Mr. Steven R. Rogers Ms. Mary Joe Romaniuk Ms. Judy Russell Ms. Norma Jean Russell Dr. Warren Samuels Mr. Safraz Sattaur Dr. Gareth Schmeling Dr. John Seelye Mr. Caleb Simmons Mr. Kyle omas Smith Mr. Lou Somma Mr. David Sowell Dr. Halina Stephan Ms. Eileen Stephens Ms. Eileen Sullivan Ms. Katherine Jane omas Ms. Susan Victoria Mr. Edward Villalon Mr. Raul Fernandez Vitores Mr. Kent Vliet Mr. Jack Waters Ms. Sandra L. Wood Mr. Sam Wyly Cruise the Caribbean with the Panama Canal Museume Panama Canal Museum, which is in the process of transferring its collection to the University of Florida, is sponsoring two fundraising cruises in early 2012 and invites the University of Florida community to come along. An 11-night cruise on Holland Americas Zuiderdam on January 16-27 will depart from and return to Ft. Lauderdale, Florida, visiting the Bahamas, Aruba, Bonaire, Curacao, Panama and Costa Rica. $100 o group fare prices is being oered museum members, and family membership in the museum is only $26. e 7-day Exotic Western Caribbean cruise on NCLs Norwegian Star leaves from Tampa, Florida on March 4 and returns on March 11. Excursions to Mayan ruins will be available in several of the ports, which include Roatan, Honduras; Belize City, Belize; Costa Maya, Mexico and Cozumel, Mexico. Onboard events are being planned. Fares begin at only $469. Special prices are available to AARP members and retired military personnel on a space available basis. More information can be obtained from the museum at 727-394-9338, firstname.lastname@example.org or www. pamamacanalmuseum.org or Travel Leaders (386-4450007, 888-652-1365, or email@example.com). A promotional yer is available here: www.uib.u. edu/pio/PCM-cruise.pdf. e mission of the Panama Canal Museum is to document, interpret and articulate the role played by the United States in the history of Panama, with emphasis on the construction, operation, maintenance and defense of the Panama Canal and the contributions to its success by people of all nationalities. e museum is located at 7985 113th Street, Suite 100 in Seminole, Florida.
The Panama Canal Preserving a Legacy, Celebrating a Ce ntennial, Leveraging an Extraordinary Human Achievement University of Florida Supporting Document: 1 Biographies Panama Canal Centennial Advisory Board Patrice Brown is a native Washingtonian (D.C.) and has worked for the National Archives and Records Administration (NARA) since 1976. She is currently a Senior Archivist and a subject matter specialist in Transportation and Panama Canal records with the Evaluation and Special Projects Division of the National Declassification Center. She has pr ocessed and described seve ral hundred cubic feet of Panama Canal records over her thirty-six years at the Archives. She has also guided and assisted researchers and scholars at NARA utilizing these records. She has given presentations to staff and the general public concerning the Canal records in agency custody. She received her B.A. in History from Dunbarton College and her M.A. in American Studies from George Washington University. Her articl e entitled, The Panama Canal: The African American Experience appeared in the 1997 Summer Issue of Prologue She is a member and has served as an elected official of several historical and archival organizati ons such as the National Arc hives Assembly, MARACMid Atlantic Regional Archives Conference, and the Society for History in the Federal Government. Ronald de Heer, guest-conservator for the Nationaal Baggermuseum in Sliedrecht (the Netherlands), worked on the design and construction of the museums Panama Canal exhibition in 2011. He holds a degree in civil engineering, specializing in port and coastal engineering from the Delft University of Technology. He served for 25 years as a lecturer on hydraulic engineering at his alma mater and has traveled extensively to investigate Canal dredging. Julie Greene Ph.D., Professor of History at the University of Maryland at College Park, has authored or coedited a number of books. She is the author most recently of The Canal Builders: Making America's Empire at the Panama Canal (Penguin Press, 2009). The Organizati on of American Historians awarded The Canal Builders its 2009 James A. Rawley Prize for the best book on the history of race relations. Greene has received fellowships from the National Endowment for the Humani ties and the American Council of Learned Societies, among others. She is working now on a history of World War I and the postwar period in the United States, the Panama Canal Zone, and the Caribbean. Douglas S. Jones, Ph.D., is Director, Professor and Paleontologist at the Florida Museum of Natural History (FLMNH), University of Florida (UF). For the past se veral years he has worked on understanding the fossils contained in geological strata exposed by the curren t Canal Expansion Project with grant support from the National Science Foundation (NSF). Several profession al publications have resulted and the fossils are represented in the collections of the Smithsonian as well as at the FLMNH. Aims McGuinness, Ph.D., is Associate Professor of History at the University of Wisconsin-Milwaukee. A recipient of a Fulbright Fellowship to Panama and Colombia (1998-9), he is author of Path of Empire: Panama and the California Gold Rush (Cornell U. Press, 2008). He was cura tor of the 2009-2010 exhibition at the Smithsonian Institution entitled, "Panamanian Passa ges/Pasajes Panameos." Co-sponsored by the Smithsonian Latino Center, the Museo del Canal Inte rocenico de Panam, and the Smithsonian Tropical Research Institute, the exhibition explored 2 million years in the history, ecology, and geology of the Isthmus of Panama. Paul W. Morgan, Ph.D., was born and raised in the Panama Canal Zone, the son of a Panama Canal government employee, and was a product of the Canal Zone school system through junior college. He holds a
doctorate degree in history from Florida State University (FSU). The title of his dissertation was The Role of North American Women in U.S. Cultural Chauvinism in the Panama Canal Zone 1904-1945. He has served as a trustee of the Panama Canal Museum since 2000. Paul S. Sutter, Ph.D., Associate Professor of History at the University of Colorado, Boulder, is an expert on U.S. and transnational environmental history. He is current ly researching and writing a book on the environmental and public health history of the construction of the Panama Canal, and he has published several articles and book chapters on the subject including, Natures Agen ts or Agents of Empire? Entomological Workers and Environmental Change during the Construction of the Panama Canal," which appeared in the December 2007 issue of Isis and has won several awards. His research is cu rrently being supported by a three-year, $146,886 National Library of Medicine (NIH) Grant, for Scholarly Works in Biomedicine and Health. Frank Townsend, Ph.D., was born and raised in the Panama Canal Zone. He is a 3rd generation Zonian with both grandfathers being Roosevelt Medal holders. He re ceived his baccalaureate degree in civil engineering in 1962 from Michigan Tech and Ph.D. from Oklahoma Stat e University (1970). He worked as a Research Civil Engineer at the Corps of Engineers Wa terways Experiment Station prior to joining the Civil Engineering Faculty at UF as a Professor of Civil Engineering. He has pub lished over fifty papers and directed over $4 million of geotechnical research on centrifugal modeling, waste clay disposal, in situ testing, and deep foundations. He is past president of the U.S. Univ ersities Coalition for Geotechnical Engineering Research (USUCGER), past chairman of the American Society of Civil Engineers (ASCE) Soil Properties Committee and past chairman for the International Conference of Stress Wave Applicatio ns to Piles. He is a member of ASCE's Deep Foundations Committee, and leader in the development of ASCEs Geo-Event. Joseph J. Wood Panama Canal Museum president and founding member, was born in Panama and attended the U.S. schools in the former Canal Zo ne. After graduating from the University of Florida (UF) he returned to Panama to work with the Panama Canal Commission, serving in several senior management positions, including Director, Office of Executive Administration, a nd Chief, Administrative Serv ices Division. In 1998, he helped found the Panama Canal Museum (PCM) in Seminole, Florida, serving as president, a position he has held for all but two years of the museum's 12-year existence. Joe Wood serves on the Panama Canal Advisory Board and the Library Leadership Board, helping to be the liaison between the PCM and the developing Friends and the Panama Canal Collections. Guest Lecturer Edith Read Barkowitz Crouch an author, glass artist and teacher, liv es and works in Char lotte, North Carolina. She grew up in the Panama Canal Zone. She holds an undergraduate degree in Art Education from Florida State University (FSU) and has worked in corporate co mmunications. While studying in Florida, she traveled frequently to Winter Park's Charle s Hosmer Morse Museum of American Art where she was enthralled with the works of Louis Comfort Tiffany and his talented artisans. Her first book, The Mosaics of Louis Comfort Tiffany was published by Schiffer Publishing, Ltd. in 2009. Tiffany Studios Techniques: Inspiration for Today's Artists was published by Schiffer in 2011. She returned to he r background in Panama to write about the textile art of the indigenous Kuna in her latest work, The Mola: Traditional Kuna Textile Art Museum Experts and Evaluators David Curry, MSLS, is Managing Principal of davidrcurryAssoci ates, an intellectual services firm with competencies in nonprofit governance and leadership; knowledge/heritage stewardship and supporting digital strategies; market positioning, brand engineering and reputation management; and policy development and issues management. David served as Vice President, Corp orate Public Affairs for Unisys Corporation, the global information technology services firm. He was a me mber of the senior management team for over two
decades leading the companys public affairs function. He currently serves on the Advisory Council for Center for the Future of Museums (American Association of Museums). He recently comple ted nine years of service as a trustee of The Franklin Institute Science Museum (Philadelphia) and he led the team in creating the Burroughs Corporation Historical Arch ives in preparation for the companys centennial celebration in 1984, which he led as organizing chair. David worked with the Smithsonian on two major exhibitions relating to computing. The first was with the National Museum of American Historys Information Age. He also worked with the Air & Space Museum on its major Computing in Flight exhibit that explored the role of computing technology in flight and space explor ation. He continues active relationships with current Smithsonian staff on various digitization initiatives. Wit Ostrenko, President of the Museum of Science & Industry (MOSI) for the last 24 years, has 35 years in the museum field. He holds a Bachelors in Zoology from Florida Atlantic University, a Masters in Aquatic Ecology from the University of Miami, and a Ph.D. in Oceanogra phy. Wit is the internationa l immediate past president of the worldwide Association of Science Technology Cent ers (ASTC) and an officer of the Florida Association of Museums (FAM) and is actively involved with several community chamber and leadership organizations. He lectures on the museum profession, science topics, and creative problem solving. He leads trips into the Florida environment particularly the Everglades and the Big Cypress Swamp to help people understand and appreciate the state's natural beauty and its resources. He has led severa l trips for the Smithsonian Associates Travel Program. Wit has led the MOSI effort to make it the largest museum in Florida and the 5th largest science center in the U.S., which features the nation's first Head Start, an elementary school, a charter middle school, the nations largest children s science center, and the Technology /Invention Laboratory called Idea Zone. Glenn Willumson, Ph.D., is a Professor of Art History and the Director of the Graduate Program in Museum Studies at the University of Florida (U F). He served as curator of the Getty Research Center before moving to Pennsylvania where he was senior curator at the Palmer Museum of Art. In addition to his publications Willumson has organized exhibitions on American daguerre otypes, the artists of the Stieglitz circle, the Pincus collection of contemporary art, the video work of Bill Vi ola, and the photographs of Allan Sekula. He has held affiliate and visiting faculty positions at the Universi ty of California, Irvine, and at The Pennsylvania State University. His forthcoming book w ill be published by the University of California Press and is entitled Iron Muse: Picturing the First Transcontinental Railroad Sophia Krzys Acord, Ph.D., is the Associate Director of the Center for the Humanities and the Public Sphere at the University of Florida (UF). Prior to coming to UF, she was a Research Sc ientist at the Center for Studies in Higher Education (CSHE), University of California, Berkeley, where she managed the Andrew W. Mellon Foundation-funded Future of Scholarly Communication Project and studied scholarly communication and publication behavior, research support services, open e ducational resources, interd isciplinary collaboration, and public engagement. Dr. Acord ho lds a Ph.D. in Sociology and an M.Res. (Masters of Research Methodology) from the University of Exeter, UK, and she has published work in museum studies, qualitative research methods, information technology, and cultur al sociology. Dr. Acord also provided consultancy services in the areas of digital libraries, museum evalua tion, graduate student training, and online learning. At the Center for the Humanities and the Public Sphere, Dr. Acord works in program development and evaluation to support the Center's host of activities and develo p new connections between ac ademic research, museums, libraries, and technology providers. Samuel Proctor Oral History Program Paul Ortiz, Ph.D., Director of the Samuel Proctor Oral History Pr ogram, first became involved in the Panama Canal Zone in 1984 when he was assigned to the 7th Spec ial Forces Group at Fort Davis, Panama. Shortly after
relocating to Panama from the 82nd Airborne Division, Ortiz was promoted to sergeant and served on Special Forces mobile training teams throughout Central and South America until 1986 when he received an honorable discharge. As director, Ortiz has overseen the completion of approximately fifty oral history interviews with Americans who lived, served and worked in the Panama Canal Zone between the era of World War II to present. Each summer, Ortiz leads a team of UF undergraduates and gr aduate students to conduct oral history interviews with members of the Panama Canal Society (PCS) and Panama Canal Museum (PCM). He has worked closely with the board of the PCM to iden tify interview subjects as well as to create interview guides to use in the recording sessions. Ortiz has also supervised the transcribing, editing, and podcasting of several interviews. Working in conjunction with the PC M Board, Dr. Ortiz has put together funding proposals to help move the Oral Historie s research program forward. Smathers Library Judith Coffey Russell Principal Investigator, is the Dean of Universi ty of Libraries of Florida, a position she has held since 2007. Russell is the immediate past-president of NFAIS (the National Federation of Advanced Information Services) and president-elec t of the Association of Southeastern Research Libraries (ASERL). She is also a member of the Board of directors of the Associat ion of Research Libraries (A RL). She was formerly the Managing Director, Information Dissemination and Supe rintendent of Documents at the U.S. Government Printing Office (GPO), the first woman and second librarian to hold that position. Prior to that, Russell served as Deputy Director of the U.S. National Commission on Libraries and Information Science (NCLIS). Russell worked for over ten years in the information industry, doing marketing and product development as well as serving as a government-industry liaison. Her corporate experience includes Information Handling Services (IHS) and its parent company, the Information Technolo gy Group; Disclosure Information Group; Lexis-Nexis (then Mead Data Central), and IDD Di gital Alliances, a subsidiary of Inve stment Dealers Digest. She began her professional career in special libraries, establishing the technical library for COMSAT Laboratories, the R&D arm of the Communications Satellite Corporation, as well as the research library for the U.S. Congress Office of Technology Assessment (OTA). Rachel A. Schipper Ph.D., co-Principal Investigator, has graduate degrees in librarianship, museum studies, education and computer science and currently serves as the Associate Dean for Technology and Support Services at the University of Florida. She performe d curatorial duties and installed exhibitions at the Pennsylvania State University (PSU) and has trained doce nts, museum studies students, and has been a thesis advisor in museum studies. Schipper has worked in libra rianship at PSU, Johns Hopkins, the University of Maryland and the Florida Institute of Technology. During her 10 years as Dean of Libraries and Instructional Technology, first in West Virginia and then in Georgi a, Rachel Schipper designed and coordinated the building of libraries with museum and gallery spaces, often wo rking with donor groups and grantorsboth public and private--to fund ongoing exhibitions and permanent collect ions. Dr. Schipper authored an article in the 2011 Florida Libraries entitled, Museum and Library Partnerships : The Panama Canal Museum Joins the Gator Nation. She lived and worked in the Panama Canal Zone, and has served on the Panama Canal Museum Board, the Panama Canal Advisory Group, the Library Leadership Board, and is a member of the Panama Canal Society. Bess de Farber, is the grants manager for the George A. Smathers Libraries at UF, and previously served as the University of Arizona Libraries grants manager. She has provided grantsmanship instruction throughout the past 26 years, and has led efforts to secure million s in grant funding for nonprofits and academic libraries. Her research interest is asset-based collabo ration development. As a certified professional facilitator through the International Association of Fac ilitators, she invented the CoLAB Planning Series, large group processes, for individuals and organizati ons seeking new collaborative partnerships. This process has served more than 1,200 individuals and 600 organizations since 2002. Bess de Farber has served
on grant panels for the National Endowment for the Arts, Florida Division of Cultural Affairs, Education Foundation of Palm Beach County, Arizona State TRIF (T echnology Research Initiati ve Fund) Awards, and The Childrens Trust (Dade County). As program office r for the Community Foundation of Palm Beach and Martin Counties and Palm Beach County Cultural Council she managed the allocation of funds for arts and culture, human and race relation s, and social services. Price Waterhouse/ South Florida magazine honored her as the Up & Comer for Community Development. She holds a Master of Nonprofit Management from Florida Atlantic University and Bachelor of Music from the University of Southern California. Chelsea Dinsmore holds an MA in History from the University of Florida and a MLIS from the University of Texas, Austin. As the International Documents Libraria n in the Government Documents Department within the George A. Smathers Libraries, sh e manages the EU (European Union) depository collection and oversees digitization efforts in the documents department. She has been the lead in developing the Association of Southeastern Research Libraries (ASE RL) Panama Canal Center of Excellence (CoE) within the Collaborative Federal Depository Program, creating both a physica l collection of government documents related to the creation and administration of the Canal as well as c oordinating printed materials through the digitization process. John Freund head of the Conservation Unit within the George A. Smathers Libraries since 1988, is responsible for the repair and maintenance of the circulating libra ry collections and restoration and repair of Special Collections materials. He previously worked at Stanford University, the Sutro Library in San Francisco and San Anselmo Theological Seminary Library. He taught b ook restoration and repair at San Francisco State University. He has built a full service conservation lab at UF. Equipment includes an ultrasonic encapsulator, a bookkeeper spray deacidification system, a cold suction table and humidity dome, several leaf casters, a blast freezer and a paper washing station able to handle flat pa per up to 6x4 feet. He treats modern and rare books, maps, manuscripts, photographs and obje cts. As Head of the Conservation Unit, his immediate work with the Panama Canal material is to receiv e and inventory deliveries, ensure pr oper storage and document condition and damage. He supervises students and volunteers who are maintaining, correcting and completing information in the inventory database to ensure accura te information and ease of searching the collection. Samuel T. Huang Associate Dean for Advancement & Development at the George A. Smathers Libraries, previously served in this capacity at the University of Arizona Libraries (2000-07), and raised $7 million in private funds. Prior to Arizona, he held multiple position s at Northern Illinois University including curator of rare books and special collections and assistant dire ctor for the Undergraduate Library. Huang plans and oversees major fundraising activities, public information, and grants management. Since joining UF in 2008 the development team has raised private contributions of $7,173,827.00 (UF Foundation report includes in-kind gifts and pledges from 1,420 donors), pl us $2.97 million in government grant awards for the Libraries. Huang is nationally respected for his fundraising expertise among academic library deans and development directors. In 2005, he was featured in an article, Conversations with Two of the Best , by John S. Wilson for BottomLine: Managing Library Finances, Vo l. 18, no. 4, pp 191-196. Paul S. Losch is a subject specialist in Latin American Studies, and has been part of the UF team working with the Panama Canal Museum to transfer their collections. He holds an MA in Latin American Studies and an MS in Library Science. He has been operations librarian in the University of Florida's Latin American Collection since 2002, overseeing public and technica l services. He is an affiliate facult y member of UF's Center for Latin American Studies, and is currently on the Executive Boar d of the Seminar on the Acquisition of Latin American Library Materials (SALALM). He is fluent in Spanish and Port uguese, and has traveled extensively in Latin America, including a visit to Panama in 2011.
Randall Renner Operation & Digital Projects Manager University of Florida Libraries, received his MFA in Creative Photography in 1997, focusing on the intersection of traditional and digital photography. Before coming to the Digital Library Center in 2002, Randa ll taught college level courses on computer art and montage, mixed media studio classes, black and white photography, training semina rs on various computer applications, and worked as a photographer, photographing rare books, artwork, 3-D models, in a studio environment and on location. His expe rience in photography spans the enti re process, from image capturing via digital or analog methods to the printing and displa y of the captured images. Renner is an imaging expert for two and three dimensional objects. He supervises all of the production units in the Digital Library Center (Copy Control/Ingest; Main, Newspaper, and Large Format Imaging; A/V Digitization; Quality Control; Text Processing and Archiving) to ensure quality control of the all production in regards to preservation and presentation. His current projects include digitizing or al histories for the Matheson Museum Digital Collection and the Samuel Proctor Oral History Program and cr eating three-dimensional renderings of the Harn Museum's archival objects. Lourdes Santamara-Wheeler is the Exhibits Coordinator for the Univ ersity of Florida George A. Smathers Libraries. This role includes planning, directing, and organizing an active ex hibition program designed to share, interpret, and promote the Libraries collections. She se rves as the designer and translator of the Digital Library of the Caribbean. Previously she was the Museum and Special Projects Coordinator at the UF Digital Library Center. She holds an MA in Museum Studies a nd a BFA in Creative Photography, both from UF. Her research interests include visitor participation and user-g enerated content in exhibits as well as exhibits as a form of scholarly publication. Nina Stoyan-Rosenzweig Health Science Center Libraries archivist a nd historian, develops historical programs, projects and exhibits covering J.H. Miller Health Scienc e Center history and general history of medicine topics. She also teaches and develops programs and curricula in medical humanities. She regularly presents on and lectures in historical topics and serves on national committees related to medical humanities Laurie N. Taylor, Ph.D., is the Digital Humanities Librarian for th e UF Digital Collections (UFDC), including support for existing projects and initiating discussion s for potential new projects and partners. She is the technical director for the Digital Library of the Caribbe an (dLOC), technical director for the Florida Digital Newspaper Library, and co-principal in vestigator on America's Swamp: the Historical Everglades, a project to digitize six archival collections. Prio r to joining the Digital Library Center in 2007, she taught undergraduate digital humanities courses and graduate writing courses, as well as workshops on digital technologies. Her current research explores methods to digitally represent and contextualize archival materials, as well as other issues related to the digital humanities. She has publis hed refereed articles on collaborative international digital libraries, digital media, library and information science, open access, and literature; and she co-edited a collection on digital representations of history and memory, Playing the Past: Video Games, History, and Memory.
The Panama Canal Preserving a Legacy, Celebrating a Ce ntennial, Leveraging an Extraordinary Human Achievement University of Florida Supporting Document: 1 Communications Assistant Position Description The Communications Assistant (.5 FTE) will wo rk with the Director of Communications to formulate a comprehensive marketing and communi cations plan to promote the Panama Canal Collection at the University of Florida and all events and activities commemorating the 100th anniversary of the opening of the Canal in 201415. The plan will develop over the first year of the grant period in coordination with the Pana ma Canal Advisory Group, the Friends, and the Library Leadership Board and it will be cont inually monitored and adjusted as events and exhibits progress. Prefer Bachelors degree, in journalism, media, communications and at least 2 years relevant work experience in public relations. Requires excellent writing, communication and computing skills. Administrative and organizational skills are a necessity. Must exercise good judgment, accuracy in writing, and have good people skills. Th is is a time-limited 3 year appointment. Duties of the Communications Assistan t will include the following activities: Compile, create, evaluate and disseminate communication schedule and plan Use interviewing, photography, writ ing, editing and proofreading skills to generate and disseminate press releases and to document events and activities Describe the collection, related projects and events in clea r, concise manner for exhibit and promotional purposes Conceptualize, design and produce newsle tters, brochures, promotional pieces, information sheets, blogs and social media, flyers, bookmarks and other materials for public relations Use ongoing research, information and data to identify and target appropriate audiences for communication regarding the Panama Canal Collection, events and activities Use knowledge of marketing conventions to en hance awareness and un derstanding of the Collection while utilizing the goa ls of advisory and Friends to support the universitys mission of teaching, research and service. Understand and utilize public relations and development policies and procedures of the libraries and the University of Florida Acquire working knowledge of the AP Style of media communications and publications standards Develop skill with in-h ouse printing operations Work closely with administration, devel opment, library faculty and staff and collaborative partners to disseminate informa tion and promote the libraries at local, state and national levels Participate in all Panama Canal rela ted meetings, activities and support
Project Assistant Position Description The George A. Smathers Libraries are seeking a Panama Canal Project Coordinator (.5 FTE) who reports to the Associate Dean for Technolog y and Support Services a nd who is responsible for assisting with the daily management of the Panama Canal Collection. The Coordinator monitors progress in accessioning the collection, works with program staff to maintain inventory records, schedules meetings and records minut es, compiles reports and statistical information, and prepares project documentati on. This position coordinates w ith all departments to assess needs, identify challenges and coordinate dead lines while providing administrative support. Masters degree preferred, or its equi valent in work experience in library science, museum studies or Latin American Studies, and at least 2 year s relevant work experience. Requires excellent writing, communication and computing skills. Accu racy, detail orienta tion and excellence in planning and organizational skills needed. Th is is a time-limited 3 year appointment. Responsibilities include: Monitors and accessions collection while maintaining inventory 25% o Position will be responsible for engagi ng community in the active expansion of the collection, identifying and accessioning items, routing items for conservation, preservation and/or cataloging and utilizi ng the Tinnell Manual (thesis prepared by UF student) o Inputs accessions, corrects inventory data, and identifies information gaps o Coordinates with departments, given knowledge of the collection, to offer research assistance Compiles reports, prepares documentation and statistical information 20% o Supports quarterly and annual reports requiring quantitati ve and qualitative data o Researches and identifies releva nt data to support dissemination o Prepares relevant documentation fo r presentations a nd publications Schedules and records minutes for meetings 5% o Identifies venue/secures space o Facilitates confer ence calls, F2F and online meetings o Processes travel and equipment requests
Friends of the Panama Canal Liaison Position Description The George A. Smathers Libraries are seeking a Panama Canal Collectio n Liaison responsible for the daily management of the Panama Cana l volunteer program including the recruitment, training, placement, and recognition of volunteer s, development and monitoring of program budgets, and tracking of all program data. This position coordinates with all departments to assess needs, develop meaningful responsibil ities for volunteers, and provide supplemental training and adequate su pervision and support. Prefer Masters degree, or its equi valent in work experience in libra ry science, museum studies or Latin American Studies, and at least 2 years relevant work experience in a museum or library. Requires previous experience managing a volunteer program and excellent writing, communication and computing skills. Administra tive, supervisory, and shortand long-range planning skills are a necessity. Mu st be able to coordinate nume rous and diverse, concurrent programs. This is a time-limited 3 year appointment. Recruits and places volunteers in positions which are appropriate for the individual (serving as primary contact for all volunteers) 30% Develops and implements training progr ams for volunteers including interpreting, organizing and articulating the collection via metadata formation (tagging of photographs and museum items for the enhancement of the digitized collection) 15% Coordinates with all departments to assess departmental needs, develops meaningful positions for volunteers, and provides supervision and support 10% Maintains a tracking system on volunteer numbers, hours and placement. Provides project data and develops goals fo r the Panama Canal Collection 10% Develops new initiatives, partnershi ps and program opportunities 10% Prepares and monitors program budgets 10% Conducts volunteer program evaluation studies to inform the decision-making process for the Panama Canal Collection and ma kes changes as appropriate 10% Recognizes volunteer contributions through service awards, evening events, and trips (sets tone of support, advocacy, and appreciation of volunteers) 5%