The Collector as Curator - Part I

CARE AND PRESERVATION OF PAPER SPECIMENS

All of our collectibles are in a state of quite aging. Certain specimens are in an accelerated state of deterioration due to poor care especially after the ownership of a veteran or noncollector. However, proper presentation and care techniques can retard the process of deterioration.

Most papers are due to self-destruct simply because of the method of manufacture...

The problem is particularly evident with paper specimens. Most papers are due to self-destruct simply because of the method of manufacture and certainly the printing papers of the Third Reich are no exception.

The subject of paper chemistry is a complex one, but it is sufficient for the purposes of this article to say that most post-Industrial Revolution papers were manufactured in an acidic process. The most common method of sizing, or rendering a paper receptive to ink, is that of alum rosin. This is a highly acidic material and is retained in the paper after manufacture. Hence the aging process acid hydrolysis is initiated and the paper commences its inevitable self- destruction.

Not surprisingly the printing papers of the Third Reich covered the full spectrum of quality from extremely poor newsprint to high grade rag papers. And all too often, despite their original quality, these paper specimens come to our collections in an advanced state of deterioration. Quite commonly these papers have been folded or creased. Depending upon the degree of deterioration, these creases if continually folded will eventually fail and separate. The entire paper is being slowly consumed by acid hydrolysis, but those cellulose fibers along the crease are particularly susceptible to failure because they are weakened during the stress of folding.

Paper is primarily an organic material and its cellulose composition renders it sensitive to many environmental influences. In particular, heat, sunlight, high relative humidity or extremely dry conditions are environmental stresses that accelerate paper degradation. An extreme example is the evidence of yellowing of modern newsprint when left for just a few hours in direct sunlight.

Frequently these collectibles have been stored for prolonged periods in hot, dry conditions. Equally harmful are the conditions of a damp basement. While our collections are housed in much more favorable conditions, we must nonetheless be cautions in our display techniques.Again, the chemistry of paper degradation is complex and still not completely understood, but is is certain that sunlight, either direct of diffused, is destructive to paper. Artificial lighting, while believed to be less harmful, is certainly no less dangerous over a prolonged period of exposure.

Sunlight causes accelerated aging in paper because of the generation of heat.

Photo degradation is another aspect of the process, but heat is known to be a primary contributor to deterioration because it evaporates imbibed moisture, a vital component in paper which bonds the fiber together. Prolonged storage in an excessively hot environment will prematurely dry a paper, cause it to yellow and fade and thus promote brittleness.

An extremely humid condition for long periods can be equally destructive. The humid climate of the Southern States is particularly troublesome. Unconditioned basement storage in any climate can produce the same results. High relative humidity promotes rapid mold growth, corrodes metal attachments and staples and further accelerates the phenomenon of acid hydrolysis.The problem of mold growth on paper, a condition referred to by paper conservationists as foxing, is most common with antique papers from ca. 1800 on. It is caused by mold spores present in the paper stock from the time of its manufacture.. Most often the condition of foxing is initiated by high relative humidity and results in brown blemishes on the paper' surface.

While all of this may seem at the least very distressing, a collection can be preserved and further deterioration arrested with some simple conservation techniques. Make certain that all display area windows are well shaded during daylight hours. Some blinds significantly reduce sunlight. Artificial lighting ought to be diffused and muted. Lights should be turned off when the room is not in use. It is particularly important to note that many papers contain dyestuffs and colorants which are not lightfast. Even the briefest exposure to direct sunlight is known to fade the dyes contained in paper award packets. Further, it is not recommended to illuminate a paper artifact with a display lamp. Such exposure will fade printing and writing inks.

Archivists discourage the use of clear plastic enclosures for storage of any paper artifacts.

Many collectors have no alternative but to display and store their collections in basements. In such cases a dehumidifier is highly recommended particularly if the residence is in a humid climate. Museum and archive conditions are typically 50% RH at 70 degrees Farenheit and paper is believed to be quite stabile in this environment. While museum conditions are not practical for a residence, it is recommended that approximate values of 65% RH and 70 degrees be maintained. Certainly no conditions are absolute, whether the collection is stored in a archive or a residence, but a consistent environment is critical. Likewise, a humidifier can restore a favorable ambient environment under dry climatic conditions.

The proper handling of paper is imperative.

The perspiration from our hands is acidic and frequent handling can promote further damage. Wash and dry your hands well before handling paper artifacts. This diminishes smudging also.

Use caution when lifting a paper specimen.

Careless handling can cause an already weakened paper to tear particularly at folds or creases. Store your paper documents flat and unfolded. The absolute protection from a purist's view point is to store the document between two slightly larger sheets of acid-free alkaline sized, white cotton fiber blotter paper. . In the ideal condition, storage materials (Le., envelopes, file folders) should comply with the archival specifications of the Library of Congress and the National Archives. This may not be practical for all collections but should be considered for particularly rare specimens. Such conservation quality storage materials, envelopes and file folders are not difficult to acquire commercially. Consult a familiar museum or archive on the sources of such materials.

Not that the aged condition of our collections is distressing enough, but now the additional threat of urban atmospheric pollution has caused concern among paper conservationists. The burning of fossil fuels has rapidly created the condition of acid rain. Urban environments in particular are high in sulfur dioxide, a corrosive gas which is already absorbed into the paper. In many European cities the problem is alarming. Again, proper storage materials can retard the process of deterioration. Archive quality file folders, storage envelopes and enclosures will provide satisfactory protection against the polluting effects or urban environments.

Archivists discourage the use of clear plastic enclosures for the storage of any paper artifacts. Many of these materials are not chemically inert and can degrade over time thus damaging a paper document. Too often a paper will adhere to plastic, either from static electricity or from attraction to oiled surfaces, thereby making removal of the specimen difficult. Surface dirt and grit, although minute, are extremely abrasive and will harm" a paper's surface. This is particularly true in the case of photograph storage.

...framing of paper ought to be a cautious procedure.

Many collectors have chosen to frame certain items. While this makes a handsome display, the framing of paper ought to be a cautious procedure. Most mat boards are highly acidic in themselves. Over time and in the presence of heat, sunlight and humidity the acidic materials in the paper mat will be absorbed into the subject article. This phenomenon is know as acid migration or print bunzing. Make certain that your framer uses genuine archival framing techniques. These methods and materials are also prescribed by the National Archives and mats and mounting boards should be acid-free, conservation quality. The buffing of the paper board with calcium carbonate by the manufacturer is a method that renders the framing of storage materials resistant to acid degradation.

A paper specimen should never be pressed directly into contact with the framing glass. If condensed moisture is present inside the frame the artifact may rapidly exhibit foxing or possibly stain from water damage.

It is certain that these paper artifacts will continue to selfdestruct...

Paper making has always been a complex process. All papers are manufactured to certain exact specifications and certainly this was common to the paper products produced by the Third Reich. This explains the uniformity in certain types of specimens, particularly award documents, although other types of paper for specific applications show common properties. It is probable that such printing papers for military correspondence, award documents or letterhead for high officials, for example, were produced to given specifications. This was no doubt the case during the early years of the Third Reich, although no substantive period data has surfaced to confirm this. It is also likely that shortages from the worsening wartime conditions forced Third Reich authorities to procure paper products from the inventories of occupied countries. This may help to explain the extreme variation in quality in certain papers for specific applications. What is known, however, is that the European paper makers of the 1933-1945 period produced an acidic product and that these papers are not a permanent, durable material. Few period specimens exhibit the quality of permanency.

It is certain that these paper artifacts will continue to self- destruct unless properly cared for. Frequent inspection for signs of distress is highly recommended. Ultimately it is within the judgment of the collector to determine the condition and quality of the specimen and its appropriate care. Preservation techniques are simple, a collection can still be displayed and the integrity of the artifact will be preserved.

Author's note The care of photographic materials is a subject in itself. The most important consideration with photographs is the image emulsion and its response to environmental stresses. Photographic negatives too, must have special care. A follow-up article is planned to discuss this subject.

Alden W. Hamilton, "The collector as Curator - Part I", Der Gauleiter, 1990