The Collector as Curator

Care and preservation of wool

An essential facet of collecting militaria is the custodial care and preservation of the specimen and certainly the challenge is formidable with woolen textile items. The category includes uniforms, headgear, insignia, flags and banners to name but a few.

Wool is severely effected by heat and high humidity.

Because wool is an organic material it is subject to photochemical and biodegtration and it is here where the problems of conservation present themselves. Wool is primarily a protein substance. Its composition is that of amino acids, the majority of which are keratin. Keratin contains sulfur which is the attractive feature for those insects that thrive on wool.

The photodegration of wool, an irreversible process initiated by all forms of light, is attributed to decreases in amino acid content and consequently a loss of strength in the fabric. In addition, wool is severely effected by heat and high humidity.

Fortunately for collectors of WWII militaria, age and antiquity of the specimen are not already against us. Most WWII period specimens are at best 50 years old and are generally constructed of superior materials and workmanship. This is particularly true of most woolen items produced by the Third Reich. Most examples can be found in good if not excellent condition and require little or no restorative attention. Perhaps because of their sentimental value most WWII collectibles have been well cared for over the years and the collector needs only to employ some simple conservation techniques. Happily, our job is often an easy one.

It's critical that the collector carefully examine every piece in his collection for evidence of infestation. Such clues indicating an infestation problem are usually cocoons, the presence of moth larvae and actual damage to the fabric. If a specimen exhibits damage from moth larvae then there's a good chance that more eggs

It's critical that the collector carefully examine each article for evideuce of insect infestation.

remain. Moths usually deposit their eggs in secluded places so thoroughly check seams, piping, along pocket edges and under collars. Evidence of moth infestation in headgear can generally be found under the sweatband, along the piping, under the chinstrap and inside the liner folds and pleats.

It is recommended that the collector maintain a record of the condition of each collectible with particular attention to insect damage. This can be done on a 4x5 card for each article, noting the location and extent of all mothing. While it may seen a tiresome exercise, this procedure can save you the distress of discovering existing damage not noted before and also avert serious damage should moth larvae become active.

It is generally agree by museum curators that all woolen articles be cleaned of accumulated dirt and dust. Dirt contains very abrasive particles that wear on the fabric and over time

It is generally agreed by museum curators that all woolen articles be cleaned...

cause considerable weakening of woolen materials. Dirt and grime can also accelerate the fading of textile dyes.

The collector can remove 50 years of filth and grime simply by going over the article with a hand-held vacuum cleaner (a household carpet vacuum with brush attachment can also be used but with much greater care). It's advised that a piece of fiberglas screen be placed over the fabric and that low suction be used so as not to pull the fabric into the vacuum. Use particular care when vacuuming frayed areas or with fragile pieces such as cloth insignia.

This very effective method of cleaning an antique textile is extensively used by museums. It is the safest for the article, particularly those in poor condition, and surprisingly restores the brightness and color of dyed materials. This method also removes moth eggs from seams, piping, pleats and other hidden areas.

Commercial dry-cleaning in not recommended for aged woolen textiles. It is a harsh process that abuses the fabric, removes moisture and natural oils, and leaves the material

Dry-cleaning is not recommended for aged woolen textiles.

with a dry "hand" or feel. Most commercial dry-cleaners are not set up to do museum quality cleaning. Nor are they often sensitive to the historical value of the object.

Once the specimen has been vacuumed clean of dirt and abrasives it must be rendered resistant to moth attacks. Museums typically fumigate their woolen collectibles in chambers containing paradichlorobenzene or diluted ethylene oxide gas. But the collector can accomplish an effective fumigation process at home.

Put the article inside a slightly larger cardboard or corrugated box and liberally place commercial mothballs (naphthalene) inside. Be certain to put enough mothballs inside the pockets, cuffs and sleeves of a uniform or inside the folded layers of a flag. Follow the manufacturer's instructions for the ratio of weight and mass for the article versus the quantity of naphthalene used. Cover the entire box with a plastic trash bag and secure for an airtight closure. Leave undisturbed for at least two weeks.

The one significant caution to be noted is that leather products can be harmed by prolonged direct contact with naphthalene and other insect fumigation materials. So be certain that

Leather proucts can be harmed by prolonged direct contact with naphthalene and other insect fumigation materials.

mothballs are not actually in contact with leather parts. In addition, it should be noted that mothball products can degrade plastic garment and utility bags; never place mothballs in direct contact with plastic materials.

Vacuuming and fumigation should render the article safe from insect infestation.

Despite some manufacture's claims, mothballs do not kill all species of moth larvae under all circumstances. But rest assured that naphthalene does create a hostile environment extremely unpleasant for any insect. The effects of vacuuming and fumigating should render the article safe from insect infestation.

Proper storage of antique wool items is equally important. Prolonged residence in an airtight cabinet is not recommended as stagnant air encourages insect activity and accelerated

Larvae are most active in darkness and where air flow is minimal.

fiber deterioration. If storing woolen materials in a closet, frequently leave the door open so as to promote fresh air circulation. Moth larvae are most active in darkness and where air flow is minimal. Museums advise a natural and steady but slight circulation.

For uniform items use wooden hangers. Metal hangers can rust and corrode in the presence of high humidity and permanently stain a fabric. Many collectors prefer to cover uniforms and headgear items with plastic garment bags. If this is to be done, and the practice is generally sound, make certain not to create a stagnant environment. Again, undisturbed and stagnant sir encourages insect activity. And use care when storing woolen articles in contact with each other; insect infestation can spread from one contaminated article to another.

Flags and banners should be stored flat and those of a large size rolled up. The practice of hanging flags for display is not encouraged, especially with larger examples. since the weight of the material distorts its shape and weakens the fabric. Tacks and nails should never be used in contact with material because of permanent holes in the fabric and staining from corrosion.

Woolen fabrics degrade faster when exposed to diffused light.

All types of light can cause photochemical degradation of textile fibers and dyes. Extensive tests by museums have shown that woolen fabrics degrade faster when exposed to diffused light than when in complete darkness at the same temperature. Particularly harmful are ultraviolet and infrared rays which are both emitted by sunlight; UV by fluorescent lighting and IR by incandescent bulbs. Rays generate heat (especially the IR Jight) and accelerate the aging process. Even brief exposure can irreversibly fade textile dies.

Wool textiles should never come in contact with direct sunlight. In the ideal condition windows should be UV filtered, but heavy opaque (blackout) drapes are considered

Wool textiles should never come in contact with direct sunlight.

adequate. Light fixtures ought to be positioned so as not to be beamed directly on a woolen item and ought to be turned off when the room or storage area is not in use. The devastating effects of all types of light on wool can not be overstated.

Wool fibers react to temperature and humidity changes which cause them to swell or shrink depending on ambient conditions. As a result the fibers rub against one another; an action whose consequences are compounded by the presence of dirt (razor-sharp silica particles), and if repeated often can cause excessive wear.

Absolute museum conditions are not practical for the collector's residence, nor are they desirable to those who wish to display their collections. The perfect museum condition - one that even museums fail to attain -- has been described as total darkness with a relative humidity value of 45/55% and a constant temperature of 60 degrees F. A practical condition for a private residence ought to be a temperature range of 68 to 75% and a RH value of not greater than 70%. It is known that a temperature above 80 degrees F. promotes and accelerates insect infestation. And RH values above 70% will cause mold and fungus growth on wool.

As a final precaution, be certain to inspect and treat accessories and accouterments of wool construction or with a wool backing. Such items include cloth insignia, marksman's lanyards, gorgets, medal and ribbon bars, brocade and parade dress belts, etc. Usually these exhibit some prior insect damage and can harm the uniform display article if the accouterments are not cleared of insects and their larvae. Likewise, display mannequins should be thoroughly cleaned before use.

Never press a woolen textile item.

The harmful effects of tobacco smoke on woolen specimens should not be regarded casually. Tobacco smoke permanently stains and discolors dyed materials.

Never press a woolen textile item. The process will force dirt particles into the fabric; it can also scorch or permanently gloss the surface. Also stain and spot removers are not recommended for use on aged wool. Most commercial spot removers are extremely

Spot removers are not recommended for use on aged wool.

caustic and can cause the yarn to weaken where applied. Some textile dyes will fade when exposed to commercial stain removers. As difficult as it may be to accept an unsightly stain most museums recommend to leave it. A mild facial soap with warm water may yield results at best, but even this must be approached cautiously.

Author's Note

Several notable researchers of Third Reich militaria have addressed the subject of conservation. Tom Johnson's "Collecting the Edged Weapons of the Third Reich", volume 2, presents a well-researched case study of the restoration of an Imperial edged weapon. And Tom Shutt illuminated the care methods for headgear in his "Dress and Field Service Hats of the Third Reich". Likewise, Goodapple et al, discuss proper preservation techniques "German Helmets" volume 2. These works are recommended for the collector's reference.

Alden W. Hamilton, The Collector as Curator No. 2, Der Gauleiter, 1991

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