Annual Review 2013–2014

The Materials and Techniques of J.E.H. MacDonald

This fiscal year marked the beginning of a new research project to analyze the materials and document the techniques used by J.E.H. MacDonald (1873-1932), a founding member of the Group of Seven. The goal of the project is to build a database of MacDonald's materials, which will assist in devising treatments and selecting appropriate display and storage conditions for his work. The project will provide reference analyses for paintings for which the attribution is questioned and will produce new knowledge about the working methods of this important Canadian painter.

The project, led by Kate Helwig, Senior Conservation Scientist, and Alison Douglas, Conservator, McMichael Canadian Art Collection, was initiated in anticipation of a retrospective exhibition of MacDonald's works. Paintings from the McMichael Canadian Art Collection, the National Gallery of Canada and the Art Gallery of Ontario will be studied.

To date, 21 paintings have been examined and microscopic samples have been removed from each one for study. Analysis of the samples is well underway. Some interesting observations about MacDonald's working methods have been noted: in a number of sketches, MacDonald sealed his rigid supports with shellac prior to painting; he occasionally used coloured preparatory layers; he sometimes blocked in the composition prior to painting using a dilute, brushed-applied paint; and he heavily reworked several of his early paintings. The materials identified so far are quite similar to those in previously analyzed paintings by Tom Thomson and by other members of the Group of Seven, demonstrating the close working relationship among these painters.

Disaster Recovery of Recordable DVD and Blu-ray Discs, and Flash Media

For heritage institutions storing electronic media, the threat of a disaster that destroys the collection is always a concern. One of the most common threats is exposure to water from bursting pipes, extinguishing a fire or flooding of nearby rivers and lakes. A previous study performed at CCI examined the effect of water exposure on a variety of materials (discussed in Disaster Recovery of Modern Information Carriers: Compact Discs, Magnetic Tapes and Magnetic Disks, CCI Technical Bulletin 25). However, since the initial study, new formats have gained prominence in the marketplace and are finding their way into collections of archives, libraries and museums. Unfortunately, there is essentially no information available with respect to the effect of water exposure on these newer materials.

Therefore, a new CCI research project, led by Joe Iraci, Senior Conservation Scientist, has begun to investigate the water resistance of the latest electronic media. In addition to examining more compact discs, other media, such as recordable DVDs (DVD-Rs), recordable Blu-ray discs (BD-Rs), Secure Digital High-Capacity (SDHC) flash cards and USB flash drives, will be tested. These materials will be subjected to tap water soaking for various time intervals, dried and then tested in order to establish the resistance of the materials to this type of disaster event. The information generated from this study will be formulated into recommendations for the recovery of these materials and will assist any collecting heritage institution with the proper care and protection of electronic media.

Iron Stain Removal From Archaeological Composite Artifacts Made of Wood and Iron

Archaeological wood-iron artifacts can become seriously stained with orange iron corrosion products while they are stored in water prior to treatment. This surface staining disfigures the objects and needs to be removed. Experimental studies involved testing different types of solutions to remove iron stains from paper samples (a convenient form of cellulose) to compare the efficiency of chelating agents, reducing agents and mild acids. In partnership with Parks Canada, and under the leadership of Lyndsie Selwyn, Senior Conservation Scientist, the results of these studies were published so that the conservation community could benefit from this work. The research supports the use of a solution of sodium dithionite (a reducing agent) together with a chelating agent, such as ethylenediaminetetraacetic acid (EDTA), to remove surface rust stains on wood-iron composite objects. The stain removal is usually complete after a couple of hours, but is slow enough that the change in colour can easily be monitored visually. The reactions take place at room temperature and at a pH near neutral, conditions that are gentle on wood. The project was completed with the publication of a paper in the 2013 volume of the Journal of the Canadian Association for Conservation.

Estimating Pest Population Growth Rates as a Measure of Relative and Absolute Risk to Collections

In order to better understand the risk to any part of a collection under threat by pest insects, Tom Strang, Senior Conservation Scientist, is developing estimates of the rate of increase of pest insect populations in collections, as well as estimates of the factors that decrease their growth. Over time, information from pests detected by trap captures can be collated to learn how an actual pest insect population compares to estimates of the fastest forecasted population growth. This comparison provides data on how effective the ongoing control operations are for preventing damage and loss to collections.

To date, some insect species have been studied enough to know what factors limit their population growth, such as cleanliness and temperature control. This research will continue to build information to improve advice on limiting pest insect population growth.

By applying developments from agricultural pest control to study pest species in general, and by performing literature reviews to aggregate previously collected data on pest insect populations and their characteristics, CCI aims to provide heritage professionals with useful measures so that they can compare an actual pest insect infestation with the possible damage it could cause to a collection, and to be able to limit that possible damage.

In 2013, Tom Strang presented his research at the University of Natural Resources and Life Sciences, Vienna, and at the University of Guelph at a conference hosted by the Entomological Society of Canada.

The 82nd Overseas Battalion Canadian Expeditionary Force First World War Flag

August 2014 marked the centennial of the start of the First World War, making the conservation of First World War objects a priority for the Department of Canadian Heritage. The 82nd Overseas Battalion Canadian Expeditionary Force (CEF) flag, which belongs to the Firefighters Museum of Calgary, is an example of such an object and is of great historical significance to the museum and the City of Calgary.

The 82nd Overseas Battalion C.E.F. was made up of firefighters from the Calgary Fire Department. Written on the flag's sheer, light-weight wool fabric are messages of encouragement, such as Good luck and Keep the old flag flying, and Lowrey's Lions (Colonel W.A. Lowrey was the commanding officer of the Battalion). In the beige areas of the Union Jack are written the names of battles—Vimy Ridge, Albert, Somme, Ypres Aug 18, Villers Bois—and the names of Calgary firefighters. Printing on the pole sleeve, made from cotton, reads from bottom to top as follows: From the Calgary Fire Dept, the 82nd Overseas Batt. C.E.F. May 18th 1916. These writings make the flag one of a kind.

The flag required conservation due to numerous losses in the fabric and was treated by Janet Wagner, Conservator, Textiles. Fugitive inks limited the treatment options. Creases and folds in the flag were relaxed with localized humidification while ground conservation erasers were used to clean the pole sleeve. In order to fill the losses, textile paint was applied to wool compensation patches, heat set and secured with stitching at the back. The flag was mounted on a padded support covered with a linen display fabric and finished with a five-sided acrylic display case to protect it from light, dust and handling.

Huron-French Dictionary

The Huron-French dictionary is a unique handwritten manuscript that is part of the collection managed by Musées de la civilisation, Québec City, on behalf of the Séminaire de Québec, founded in 1663. The dictionary dates from the third quarter of the 17th century and has been attributed to Father Pierre-Joseph-Marie Chaumonot, a Jesuit priest who worked as a missionary to the Huron-Wendat people in New France from his arrival in 1639 until his death in 1693. He founded the Huron mission of Notre-Dame-de-Lorette in 1674 and is considered one of the most remarkable missionaries of the 17th century in Canada. The Huron-French dictionary is vital to the Yawenda Project, which aims to revive the use of the Huron-Wendat language in the community of Wendake.

Led by Christine McNair, Conservator, Books, the treatment for this artifact focused on the minimal introduction of new materials due to the book's relatively undisturbed state. The original materials were largely sound and could be reused to retain much of the historic integrity of the volume. The book was re-sewn using the original sewing holes to reattach the textblock to the structure with minimal disruption. A custom clamshell box was constructed to store the dictionary in order to provide protection from light, dust, pollution and physical damage.

Kangiakallak Archaeological Excavation

In the summer of 2013, CCI provided conservation field services at the Kangiakallak-1 site, located on Qikirtajuaq (Smith Island) near Akulivik, Quebec. The excavation was run by the Avataq Cultural Institute, the Inuit cultural organization of Nunavik (Northern Quebec). Kangiakallak is considered an exceptional Thule archaeological site because it has the best preservation of organic materials ever excavated in Nunavik, particularly wood. Interesting finds included a sled runner, Thule and Dorset harpoon heads, an ivory panak (snow knife) handle, a stone knife with a wooden handle, a needle, baleen knots and a wooden doll.

CCI services included on-site conservation treatment for the freshly excavated artifacts, assistance with the recovery and packing of fragile artifacts, and basic conservation training for 12 Inuit students from the Akulivik community. The students participated in a five-week field camp where they learned about their local history, the basics of archaeological research and many other aspects of archaeology, such as geomorphology, palaeoenvironments and preservation of artifacts.

Jessica Kotierk, a former intern hired by CCI for this project, was the onsite conservator. She was a mentor to the students and instructed them on how to document, clean and stabilize artifacts in the field laboratory tent, as well as how to assist the Avataq Cultural Institute with the cleaning of faunal material. Jessica Kotierk carried out a difficult block lift of a large section of fur floor covering with hardwood, bone and baleen artifacts in between its folds. These objects were found buried in earth just above the original stone floor of an excavated qarmaq (a single-family dwelling). This block lift was challenging for several reasons. In a standard block lift, the earth under the object would be excavated with a support during removal; this was not possible because of the stone surface. Additionally, the weight and fragility of the deteriorated fur made this a very delicate operation. Artifacts requiring longer and more complex treatments were brought back to CCI.

Beyond the Law

Beyond the Law (1933), painted by Group of Seven artist Franz Johnston, depicts the end of a manhunt. In the painting, the Mountie pursuing the fugitive stands over him, finding him dead by a self-inflicted gunshot wound; his death makes him "beyond the law". Considered as one of the most significant paintings in the RCMP Heritage Centre's collection, Johnston's painting is a priority conservation project for the Centre. The painting was covered with dark, yellowed, very tough varnish layers that prohibited it from being exhibited.

Kate Helwig, Senior Conservation Scientist, identified the materials of the varnish and the paint layers and, with this critical information, CCI fine arts conservators, led by Wendy Baker, Senior Conservator, Fine Arts, were able to test and develop a safe method to cause the varnish to swell in small increments so that it could be separated successfully from the fragile paint beneath. A method of invisible tear repair was used to reintegrate damaged areas by reweaving using original threads or by inserting new canvas into areas of loss. The original canvas stretcher was kept as an integral part of the painting, but it was further supported by an aluminum insert as well as a rigid panel insert.

With the remaining varnish removed, the hues of the painting have been re-established–the whites of the snow are no longer brown and the sky is blue rather than green. The painting is structurally sound and protected from destabilizing vibrations and humidity changes. Beyond the Law returned to the RCMP Historical Collections Unit in September 2013 where it was featured in an exhibit "Beyond Friberg: The Mounted Police in Art." It is currently on permanent exhibit at the RCMP Heritage Centre.

Japanese Cabinet

CCI conservators treated a Japanese, or "Empire," cabinet dated from 1890 that was a souvenir of the 1897 world tour of the Harris family, which for generations occupied and developed Eldon House in London, Ontario. The Harris family was representative of a class of wealthy and confident Canadians, looking beyond the borders of what was then a new and growing nation at the end of the 19th century to explore the world and their place in it. For this reason, and given the complexity of the materials and their conservation, CCI accepted this object for conservation treatment.

The cabinet was studied by a team of CCI conservators and scientists who characterized the cabinet's materials and the processes of their deterioration. For example, the ivory panels had badly warped. They were removed and treated for months with elevated relative humidity in a closed chamber and flattened in small increments. In other decorative parts of the cabinet, the original ivory had been replaced prior to arrival at CCI with polyester-based synthetic ivory since ivory is now a restricted material and cannot be obtained. In addition, delicate carved ivory and bone floral motifs had been reset in incorrect locations with epoxy and cellulose nitrate adhesives. These were removed under the microscope and the decorative motifs were re-adhered with a reversible adhesive. CCI conservators also designed and built an adjustable compression framework to gently coax the warped and bowed structure back into plumb over several months.

The cabinet provided an opportunity to train several CCI interns who dealt with issues like the sprung brass wire decoration and the removal of adhesives.

Treatment of David Cronenberg Film Props and Accessories From His Films The Fly and eXistenZ

The maquette of the mechanically operated fly-creature from the film The Fly and the MetaFlesh Game-Pod film prop created for the film eXistenZ were treated in 2013 by Alison Fleming, Intern, Objects Laboratory. Both objects were treated for the David Cronenberg retrospective exhibit at the Toronto International Film Festival (TIFF) in the fall of 2013 and provided an opportunity for CCI to gain further practical experience in the conservation of modern synthetic materials.

The maquette from the The Fly is made of polyurethane (PUR) foam over a metal-wire structure with a painted surface. This object arrived in relatively good condition for its age and original function. The treatment focused on stabilization and surface retouching: light cleaning, localized paint consolidation and localized repairs or replacements to small loose or missing elements in the area of the claws and teeth. The client specifically requested that CCI provide recommendations for future display, storage and travel. CCI analysis using Fourier transform infrared (FTIR) spectroscopy and thermal desorption-gas chromatography-mass spectroscopy (TD-GC-MS) identified the foam as ether-type PUR, which is known to actively degrade by photo-oxidation caused by light exposure. Strict control of light exposure was therefore recommended.

The MetaFlesh Game-Pod film prop from eXistenZ consisted of a moulded game console made of flexible silicone plastic with hidden inset metal components and was coloured with dry pigment directly applied to the surface. The silicone was unstable: a sticky residue was leaching out, to which lint and dust had adhered, and cracks were forming in areas around the metal components. The leaching was most probably due to an unbalanced mixing of silicone components at the time of manufacture. As there are as yet no known methods of stabilizing this type of degradation, the treatment focused on mechanical surface cleaning, taking care not to disturb the loose powdery pigments on the surface; and on providing a secure environment by constructing a protective support and box. Because this piece will continue to degrade, an exact replica made of similar but stable silicone-based materials was cast and moulded. The replica provides a faithful three-dimensional documentation of the original's current form and surface details and, since it can better withstand handling, can be used for travelling exhibits.

Treatment of a Kindling Basket

A birchbark kindling basket was treated by Alison Fleming, Intern, Objects Laboratory, under the supervision of Carole Dignard, Senior Conservator, Objects. Owned by the York Sunbury Museum (Fredericton Regional Museum), the basket is dated circa early 1900s, and was most probably the work of Passamaquoddy artist Joseph Tomah, who was well-known for his skill at incising wikhegan (picture writing or map-making on birchbark). He occasionally signed his works and is known to have often used as his signature the owl pictograph, which is present on this kindling basket. The museum requested the treatment in view of a future exhibit planned on the works of Joseph Tomah and his son, Sabattis Tomah.

The birchbark was extensively damaged and distorted with numerous cracks, splits and losses; additionally, the bark had been partially fire-damaged, showing signs of charring, blisters and some very brittle areas. Common means of repairing birchbark were modified and adapted to accommodate the condition of the kindling basket's birchbark and the fact that it was immobilized within a wooden frame. The treatment involved reshaping and repairing the bark in a localized manner using solvent vapours and various clamping methods. Once softened and reshaped, the areas were repaired with a paper backing, infilled and inpainted. The challenges posed by this extensively damaged object and the innovative solutions developed during the treatment were presented at the Canadian Association for Conservation's 40th Annual Conference in Québec City. This treatment will support further research aimed at refining treatment options and parameters to reshape and repair birchbark.

Onsite Microfade Testing of Baskets, Dyed Quills, Silks and Embroidery on Costumes and Moccasins, Canadian Museum of History

The Canadian Museum of History (CMH) has an extensive collection of baskets, costumes and quill-embroidered moccasins. These objects are on display in the museum or are on loan to other institutions. Many of them have components that are known to be light sensitive.

Microfade testing is an accelerated light fading test that can be safely performed on objects and can identify colourants that have high sensitivity to light and are at risk of light damage. In June 2013, the portable microfade tester was used by Season Tse, Senior Conservation Scientist, and CMH conservators to test 23 objects. Most of the objects were found to have "high sensitivity to light" with lightfastness ratings between ISO Bluewool 2 and 3. The test results were presented to museum staff, with the CCI Light Damage Calculator as a visual aid. The CCI Light Damage Calculator is a web tool that helps visualize the impact of light level and exposure duration on the fading of objects.

This onsite service provides valuable lightfastness data to museum staff, helping them plan safe exhibitions of Canadian collections. Training the conservation staff to carry out testing enabled them to understand how different materials in the objects they conserve react to light. Presenting the results to other museum staff together with conservation staff helped build consensus among different departments in developing safe exhibition protocols for these collections. For CCI, collecting light sensitivity data from historic artifacts is valuable for research and for supporting existing tools such as the CCI Light Damage Calculator.

Lienzo of Tlapiltepec, Royal Ontario Museum, Ontario

The Lienzo of Tlapiltepec is a 16th-century pictographic painting on cotton from southern Mexico and is one of the most important Latin American objects in a Canadian collection. In January 2013, the Lienzo travelled from the Royal Ontario Museum (ROM) to CCI for photographic documentation and scientific analysis. The examination at CCI, led by Kate Helwig, Senior Conservation Scientist, was undertaken to inform ongoing research into the history and interpretation of this rare textile.

Infrared photography and ultraviolet fluorescence photography produced a slight improvement of the readability of some areas of the pictograph. Although the painting is very faded, analysis allowed many of the original colourants to be identified. All the pigments were available locally and have been described in contemporaneous Aztec sources: red and yellow ochre, charcoal black, Maya blue (natural indigo in a clay matrix) and cochineal (an insect-based red). Organic compounds in the samples, which could correspond to binding media or later superficial coatings, include gum, animal glue, animal fat and beeswax. Identification of the pigments in specific areas of the Lienzo helped ROM staff produce a re-coloured image of the textile illustrating what its original appearance might have been.

White Plastic Sheeting Attached to Architectural Drawings, Canadian Centre for Architecture, Quebec

Long strips of white plastic sheeting have been taped along one edge of a large collection of contemporary architectural drawings at the Canadian Centre for Architecture (CCA). The strips were applied to approximately 1,600 drawings as part of their mounting system. Scientists at CCI, led by Kate Helwig, Senior Conservation Scientist, studied the plastic sheeting to determine whether it could eventually damage the drawings if left in place.

Results showed that the plastic is poly(vinyl chloride) (PVC) with a calcium carbonate filler and an epoxidized sunflower oil (ESO) plasticizer. Hydrochloric acid can be produced as the PVC degrades. However, in a controlled museum environment, this type of degradation is unlikely. The more significant issue for the long-term preservation of the drawings is the possible migration of additives, which can cause sticky surfaces or oily stains on materials in contact with the PVC.

Based on the results of the analysis, the CCA plans to remove the strips from the most precious drawings and monitor the rest of the collection regularly for signs of damage.

Polychromy of the Bas-reliefs of the Oka Calvary, Musée de la civilisation, Quebec

The Oka Calvary is a way of the Cross comprising seven aedicules (three chapels and four oratories) built between 1740 and 1742, located on the hill at the centre of the Oka National Park. Originally, each chapel and oratory contained a canvas painting. After being exposed to the elements for some thirty years, these paintings were replaced in 1775-1776 by bas-relief wood sculptures created by François Guernon, dit Belleville, (c. 1740-1817). This set of sculptures, unique in Canada, has also been damaged by time and weathering and is now part of the collection of the Musée de la civilisation. All of the bas-reliefs have been repainted twice, first at the end of the 19th century and then in the 20th century.

To better understand the structure and nature of the original polychromy and the layers of overpaint on the bas-reliefs, the Centre de conservation du Québec, which is responsible for the restoration of these sculptures, called on CCI's expertise to analyze samples collected from two of them, La flagellation and L'Ecce Homo. The analysis was carried out under the direction of Marie-Claude Corbeil, Manager, Conservation Science Division.

CCI's analysis revealed the presence of an additional intervention previous that predates two known restorations. This new information helped guide the treatment process. Although it is not possible to determine the date of this earliest intervention from the composition of the first layer of overpaint, this layer will be conserved after the removal of the 19th- and 20th-century overpaints because it reflects the spirit of the original polychromy, which has been too badly damaged to be exposed today.

Storage and Display Case for the Proclamation of the Constitution Act, 1982

Library and Archives Canada (LAC) holds two signed copies of the Proclamation of the Constitution Act (1982) and has loaned one of the documents for display. Recent loan requests have highlighted two fundamentals issues: (1) the need for purpose-built cases to transport, display and store the documents and (2) the risk of light damage to the signature inks when displayed. CCI and LAC collaborated to address these issues.

High light-sensitivity of the signature inks was identified in 2012 by microfade testing at CCI. In 2013, a study was undertaken by Eric Hagan and Season Tse, Conservation Scientists, to determine if a low-oxygen (anoxic) environment would permit viewing with reduced light damage. The project involved examining the fading response of several fountain pen ink samples under low-oxygen and ambient conditions plus a review of relevant literature. A visual inspection of more than 10 commercial products showed that all of the light-sensitive materials faded significantly slower under anoxia. A storage/display case for each document was concurrently designed by Eric Hagan to have features that would allow for anoxic display if necessary. The primary components were manufactured locally through computer numerically controlled machining of large, solid blocks of aluminum, with details included for o-ring seals, gas fittings, glazing and document support materials.

Facilities Assessment for the Legacy Art Galleries, University of Victoria

The University of Victoria art collection consists of more than 20,000 objects stored in four museum facilities and exhibited primarily in two museum galleries. Approximately 2,300 artworks are displayed in non-museum buildings across and off campus. Irene Karsten, Preservation Development Advisor, conducted a facilities assessment at the request of the director of the Legacy Art Galleries to review the degree of preservation afforded to the University of Victoria art collection.

Of particular interest was the suitability of display and storage facilities for objects that have been certified by the Canadian Cultural Property Export Review Board. The Legacy Art Galleries were designated as a Category A institution under the Movable Cultural Property Program in 1980. This current assessment was requested specifically to address the degree to which the facilities meet the current preservation requirements for maintaining this designation. With minor improvements, the Legacy Art Galleries' museum facilities could provide for adequate display and storage of certified cultural property. However, certain risks to art are higher for objects exhibited in ordinary university buildings: damage from large temperature and relative humidity fluctuations, fading due to high light exposure, theft or vandalism in less secure buildings, and pest and physical damage. Display of art in non-museum facilities at the University of Victoria was still encouraged as long as lower value, non-certified works were used and risks to these objects were managed.

A Novel Approach to Risk Assessment for the Hamilton and Scourge National Historic Site of Canada

During the War of 1812, the Hamilton and the Scourge, two merchant schooners pressed into service by the American navy, sank near the City of Hamilton in Lake Ontario. The City has collected a wealth of information on their state of preservation, culminating in a 2011 report by Parks Canada. It has also heard many opinions on what to do next.

After learning about CCI's comprehensive risk assessments for museums, the City asked for an assessment of its shipwrecks. Unlike the process used for museums, where CCI collects the technical data before ranking risks and recommendations, the risk assessment for the shipwrecks was performed in a single day under the leadership of Stefan Michalski, Senior Conservation Scientist. The assessment was built on the combined wisdom of the experts and stakeholders already in contact with the City. Correspondence allowed CCI to identify a preliminary list of risks, which were partitioned into two questions: How soon would the damage occur? How much loss in value would occur as a result?

Experts and stakeholders were invited to a meeting to discuss options for preserving the shipwrecks. Ten point scales were developed for the two questions described above and the questions, as applied to each preliminary risk, were presented to the participants to vote on. The questions were asked prior to discussions in order to collect the range of opinions before entering the meeting. They were then asked again after discussions, allowing consensus forming.

The final reports submitted to the City of Hamilton included top priority risks that were agreed upon by consensus at the meeting. They also detailed areas where further technical analyses are needed and provided recommendations. The reports also considered the shifts between votes before and after the discussion (minimal) as well as systematic differences due to demographics (not much). No differences could be ascribed systematically to a particular institution, profession or diving experience of the site.

Sculpture Relocation on Parliament Hill

As part of the major construction project for the West Block on Parliament Hill, Public Works and Government Services Canada requested CCI assistance to relocate two monuments on the west side of the Centre Block that were affected by the growing site requirements of that project. One of the monuments depicts Sir George-Étienne Cartier, a Father of Confederation, and the other is of former Prime Minister Alexander Mackenzie. Paul Marcon, Senior Conservation Scientist / Engineer, and John Ward, Preservation Development Advisor, led a project to plan the relocation of the statues to the north east side of Parliament Hill, flanking the Baldwin-Lafontaine monument. The relocation recommendations were accepted by representatives of the Senate of Canada and the House of Commons, by the Federal Heritage Buildings Review Office and by the National Capital Commission. Last fall, the two monuments were successfully disassembled and stored in staging areas to the north side of the Hill over the winter for reassembly in 2014-2015. CCI will continue to provide advice for the construction project on the Hill as other heritage monuments require relocation for their protection.

Advanced Professional Development Workshop, Display Cases: Preservation, Sustainability and Design

Display cases, if well designed, can be used to control the environmental conditions for valuable and vulnerable collections, and can help reduce the risk of damage (e.g. from light, climate, theft and vandalism) when objects are on display. For designers, they provide the opportunity to highlight particular objects and to tell a story. Due to the varying functions display cases fulfill, there are many issues relating to their use, such as the need for retrofitting, sustainable approaches to design, leakage measurements, pollutants, humidity control and new lighting technologies.

In November 2013, 23 Canadians and 3 international participants (United Kingdom, Norway and Belgium) attended this four-day Advanced Professional Development Workshop delivered by many CCI experts led by Jean Tétreault, Senior Conservation Scientist, with valuable contributions from partners, including Alessandro Goppion from Goppion S.p.A, Italy; David Thickett from English Heritage, United Kingdom; Chantal Baril from the Canadian Museum of History; and Nancy McCarthy from the City of Ottawa. The workshop consisted of lectures on key issues combined with hands-on exercises, demonstrations and discussions. Participants had the opportunity to examine display cases in context, by visiting the Canadian Museum of History and the Canada Science and Technology Museum.

Advanced Professional Development Workshop, Wet Treatment of Graphic Art on Paper with a Hydrogel of Gellan Gum

Gellan gum is a new method for cleaning works of art on paper that is especially designed for sensitive paper objects that would be damaged if cleaned using traditional methods. The main advantage of the technique is that it optimizes the properties of water by controlling the method and timing of solvent transfer to the paper without altering the object's original morphological characteristics (the surface texture and printing ink marks). Using the Gellan gum method, chemical stabilization of paper can be carried out by means of non-aqueous or aqueous treatments. The latter allow the further extraction of any inorganic and organic acids still present in the cellulose without interfering with the deacidifying and/or reductive bleaching mechanisms.

In partnership with the Art Gallery of Ontario, CCI offered this three-day workshop in March 2014, given by international Gellan gum experts and pioneers of the method, Simonetta Iannuccelli and Silvia Sotgiu, two book and paper conservators at the Istituto Centrale per il Restauro e la Conservazione (ICPAL) in Rome. The workshop combined lectures on key issues with hands-on exercises, demonstrations and discussions. Attendance included 22 Canadians and 2 international participants from the United States.

Care of Inuit Collections Workshop

CCI delivered a two-day module on preventive conservation as part of the "Nunavut Heritage Training Institute 2, March 2014," which took place in Edmonton and was attended by seven participants from Nunavut. This tailored workshop was designed and presented by Elisabeth Joy, Manager, Treatments and Collections Division - Textiles, Archaeology, Objects and Paper, with the assistance of Jessica Kotierk, Archaeology Conservator for the Inuit Heritage Trust.

The Nunavut Heritage Training Program (NHTP) is a professional development project organized by the Inuit Heritage Trust. The purpose of NHTP is to provide training for Inuit and non-Inuit heritage workers in Nunavut so that they may ensure, through their achievement of professional standards and practices, the adequate preservation and presentation of the cultural materials in their care for public access and enjoyment. The NHTP plans and delivers a train-the-trainer workshop for heritage workers from Nunavut, which CCI's workshop was a part of, as well as introductory museum or heritage training geared toward the needs of the Nunavut heritage community.

Publishing

Training materials: Every workshop includes valuable training materials for participants. In 2013-2014, more than 400 Canadian participants and hosts received training materials, which they could keep for future reference to enable them to care for their objects and collections.

Print Publications: More than 900 CCI scientific and technical print publications were distributed in Canada (65%) and abroad (35%), including the sale of 536 CCI publications. The three most popular publications sold were:

1. Lighting Methods for Photographing Museum Objects
2. Technical Bulletin 30, The Digitization of Audio Tapes
3. Mount-making for Museum Objects

Online Resources: There were 739,414 unique visitors to CCI's website who visited a total of 952,894 pages. More than 498,500 of these visitors consulted learning material documents designed for the heritage community, which represents an increase of 63% compared to fiscal year 2012-2013. As part of its web accessibility compliance, CCI improved search engine optimization and implemented better document tagging features. The former helps clients find content easier, and the latter helps CCI identify the content that is most frequently accessed by clients. Both factors help to explain the increase in online content usage.

Online conservation resources represented 2,125 web pages and these pages were consulted 622,391 times. The most consulted online resources were Conservation Resources web pages (248,968 unique visitors) and CCI Notes (226,565 unique visitors).

Top Three Online Resources:

1. Caring for Objects and Collections, Agent of Deterioration: Light, Ultraviolet and Infrared (consulted 33,042 times)
2. Caring for Objects and Collections, Agent of Deterioration: Physical Forces (consulted 11,954 times)
3. Caring for Objects and Collections, Agent of Deterioration: Incorrect Relative Humidity (consulted 1,632 times)

Top Three CCI Notes:

1. Care of Objects Made From Rubber and Plastic - CCI Notes 15/1 (consulted 13,449 times)
2. Removing Mould From Leather - CCI Notes 8/1 (consulted 10,525 times)
3. Care of Ivory, Bone, Horn, and Antler - CCI Notes 6/1 (consulted 9,754 times)

Library Services: In addition to supporting the research and library requirements of CCI staff (the library's primary clients), CCI's library handled 236 requests for services from external clients:

• 157 books were loaned
• 66 articles were distributed
• 13 reference questions were answered

CCI Notes Updates

CCI Notes deal with topics of interest to those who care for cultural objects and offer practical advice about issues and questions related to the care, handling and storage of cultural objects. The following CCI Notes were updated:

CCI Notes 9/5, Tannic Acid Coating for Rusted Iron Artifacts (formerly published under the title Tannic Acid Treatment) was reviewed and updated to clarify the scientific content and to improve the safety precautions for the treatment.

CCI Notes 13/1, Textiles and the Environment, was updated to include more details on protecting textiles from light, ultraviolet and infrared; incorrect relative humidity; incorrect temperature; and pollutants. Information on protecting textiles from pests and physical forces was also added. This CCI Note was updated in conjunction with the review and update of the materials for CCI's Caring for Textiles Regional Workshop, which was delivered in Montréal in March 2014.

Online Resources for Flood response

CCI offers emergency advice to Canadian museums and heritage institutions dealing with floods or other disasters, and can provide guidance on salvage and recovery of objects and collections. During the devastating floods in southern Alberta in June 2013, CCI was in regular contact with the Alberta Museum Association (AMA). The AMA indicated that both heritage institutions and citizens were seeking online resources to help them properly care for and protect their objects. CCI compiled and published a list of online resources to help those seeking information on salvaging valuables.

Technical Bulletins and Symposia Materials Made Available Online for Free

To ensure that the greatest number of heritage employees and professionals have access to CCI's resources, the majority of CCI Technical Bulletins and all CCI symposia and colloquia proceedings were made available online for free, similar to the approach taken for CCI Notes in 2010.

CCI Technical Bulletins share techniques and principles of conservation on topics of a specialized technical nature to assist heritage professionals in the preservation of the cultural artifacts under their care. New CCI Technical Bulletins will continue to be sold for a period of five years on a partial cost-recovery basis. After that time, they will also be made available for free. Providing these resources online for free will allow CCI to better share the expertise gained through research and treatments.

CCI symposia have provided opportunities to explore conservation issues and topics with the heritage community. The proceedings from these symposia are now available online at no cost so that the information can further reach our clients and continue to contribute to the dialogue on conservation interests.

External Publications

The 18 CCI scientists and conservators identified in bold below wrote or contributed to 11 articles in professional journals in science and conservation.

Binnie, Nancy, Elizabeth Moffatt and Alastair Fox. "Restoring the Colour of Fredericton City Hall National Historic Site: A Successful Communication of Paint Archaeology Findings for Windows and Associated Decorative Elements." In 5th International Architectural Paint Research Conference: Innovation Through Baseline Proficiencies, Stockholm, Sweden, 12-15 March, 2014: Preprints. Stockholm, Sweden: Archetype Publications, 2014.

Dancause, Renée, and Jan Vuori. "Lessons Learned: The Use of 20 Denier Nylon Net in the Treatment of Two Oversized Flags." In Sarah C. Stevens, comp., Conserving Modernity: The Articulation of Innovation, 9th North American Textile Conservation Conference (NATCC), San Francisco, California, November 12th-15th, 2013: Preprints. NATCC: San Francisco, California, 2013.

Down, Jane, Joe Iraci and Greg Hill. "Photographic Activity Tests of Various Adhesives Suggested for Use on Water-sensitive Photographs." Topics in Photographic Preservation 15 (2013), pp. 475-483.

Helwig, Kate, Valery Monahan, Jennifer Poulin and Thomas D. Andrews. "Ancient Projectile Weapons from Ice Patches in Northwestern Canada: Identification of Resin and Compound Resin-ochre Hafting Adhesives." Journal of Archaeological Science 41 (January 2014), pp. 655-665.

Lambert, Simon, and Eric Hagan. "Optimising Climate Control for Canadian Collections." Muse (November/December 2013), pp. 38-45.

Michalski, Stefan. "Stuffing Everything We Know About Mechanical Properties Into One Collection Simulation." In Jonathan Ashley-Smith, Andreas Burmester and Melanie Eibl, eds., Climate for Collections: Standards and Uncertainties. London, UK: Archetype Publications, 2013.

Poulin, Jennifer, Carole Dignard and Kate Helwig. "Identification of White Efflorescence on Wooden African Objects." Studies in Conservation 59 (2014), pp. 69-78.

St-Jacques, Doris, Maria Bedynski, Lynn Curry and Season Tse. "A 1763 Illuminated Haggadah Manuscript: How Ineffective Past Treatments Resulted in an Antioxidant Research Project, Impacting Current Treatment Decisions". In Lieve Watteeuw and Christa Hoffman, eds., Paper Conservation: Decisions & Compromises: International Council of Museums - Committee for Conservation (ICOM-CC) Graphic Document Working Group - Interim Meeting, Austrian National Library, Vienna, 17-19 April 2013. ICOM: Vienna, Austria, pp. 17-20.

Strang, Tom. "Mould Risk to Cultural Property - On the Problem of Defining Adverse Environmental Conditions and Potential for Harm." In 36th International Symposium on the Conservation and Restoration of Cultural Property - Microbial Biodeterioration of Cultural Property: Recent Topics on the Investigation of and Countermeasures for Biodeterioration of Outdoor/Indoor Properties and Disaster-affected Objects. Tokyo, Japan: National Research Institute for Cultural Properties, Tokyo, 2013, pp. 149-166.

Sullivan, Kathleen, W. Ross McKinnon and Lyndsie Selwyn. "Carbon Dioxide Absorption in Alkaline Treatment Solutions for Archaeological Iron." In E. Hyslop, V. Gonzalez, L. Troalen and L. Wilson, eds., Metal 2013: Interim Meeting of the ICOM-CC Metal Working Group Conference Proceedings, 16-20 September 2013, Edinburgh, UK. Edinburgh, UK: Historic Scotland, 2013, pp. 77-84

Tétreault, Jean, A.-L. Dupont, Paul Bégin and S. Paris. "The Impact of Volatile Compounds Released by Paper on Cellulose Degradation in Ambient Hygrothermal Conditions." Polymer Degradation and Stability 98 (2013), pp. 1827-1837.

CCI Technical Achievement Award
Implementation of the Image Management System

Carl Bigras, Senior Scientific Documentation Technologist, received the CCI Technical Achievement Award for his leadership and professionalism to develop and implement the Image Management System (IMS), a useful tool to manage and access thousands of images needed by CCI staff to perform their work. He was responsible for selecting an image management program and implementing its use. IMS has been fully functional and available to all staff since the end of fiscal year 2011-2012.

CCI Director General Excellence Award

The Director General Excellence Award recognizes an exceptional contribution to the achievement of CCI's mission, goals and objectives. This year, it was presented to Sean Coyne, English Editor-Writer, Client Relations and Professional Development Division, for consistently demonstrating high quality work through his technical editing expertise, particularly for his work on the upcoming CCI publication Adhesives Compendium for Conservation. The award also recognized Sean Coyne for his ability to inspire a "teamwork" attitude and for his marked contribution to employee morale.