RECOVERING OTHER OBJECTS:

PAINTINGS

TEXTILES  

WOODEN OBJECTS  

Some libraries share a building with a small museum or historical society. In other cases, a library will simply own and display a number of paintings; or other works of art as well as old uniforms, flags, etc. While these objects may not be a top collections priority for some institutions, others should include a variety of historical materials in the disaster recovery plan. If the items are valuable (either monetarily or historically), consult a conservator at the planning stage.

The Textile Conservation Workshop in South Salem, NY ;can give advice on treatment of particular kinds of textiles. For advice and references on the conservation of paintings, textiles, or other objects, contact the N.Y.S. Office of Parks, Recreation and Historic Preservation; at Peebles Island; or the Williamstown Art Conservation Center;. These and other resources are listed in Section 7, click here, followed by the names and addresses of individual conservators who may also be helpful.

PAINTINGS

The surface of an oil painting in good condition looks pretty tough and impermeable; however, under the paint layer there is a variable number of other layers that are not at all waterproof. Once these start to soften, usually in the first five to fifteen minutes after immersion, the painting is in jeopardy.

The first step is to drain any excess water by tilting the painting toward one corner and then to lay it flat and face up in a clean, dry area. Call a paintings conservator at this point if you can.

If it will be impossible for a conservator to treat the painting quickly, recovery workers can take some steps to dry it in a way that will cause the least additional damage. A wooden frame may swell and shrink at a different rate from the stretcher; the wet canvas may shrink and/or warp. All these different stresses can cause cracking, buckling and even tearing.

First, examine the front of the painting to see if the paint seems to be adhering firmly. If there are any signs of flaking, softening or dissolving of the  paint, simply place the painting face up in a well ventilated, dry room, on a table or on the floor, and allow it to air-dry. This applies to paintings on any kind of support (canvas, cardboard, masonite, etc.) and is by far the safest course. Later, a conservator can determine what measures are possible and the institution can make a decision about further treatment.

If the paint seems to be sound, the painting can be dried under controlled pressure. This helps prevent shrinkage, separation and distortion of the layers. Remove it from its frame and remove also any hanging devices and backing boards so that the back of the painting support is exposed. Note whether it is canvas or some other material, such as cardboard or masonite.

For a painting on canvas, prepare a padded, absorbent and smooth surface consisting of several sheets of white blotting paper; (if the paint is very thick, extra layers, such as blankets or mattress pads will be needed.) Put Japanese paper ;or tissue; over the padded layer. (This paper may well stick to the paint in the course of drying. Leave it on the painting; it will help keep the paint from coming off. Later, a conservator can remove the tissue). If more than one sheet of paper is required in each layer, butt rather than overlap them to prevent marks.

Place the painting on this prepared surface, face down. Now fill the back, inside the stretcher, with white blotting paper cut to size. If more than one sheet is needed, butt the edges. Cut a sheet of plywood,;masonite; or other rigid material so that it will fit easily inside the stretcher and cover the blotters with the board. Distribute a number of weights evenly over this board. Change the blotters and other absorbent layers, if necessary, every ten minutes at first, then every half hour and finally every few hours until the blotters remain dry between changes. You can test them with one of the moisture meters described in Section 2, here, or simply by touching the blotters to see if they feel cool (this means that they are still damp). Don't attempt to change the tissue or Japanese paper if it is sticking to the paint even a tiny bit; make sure, however, that it stays quite smooth.

If the picture was painted on a cardboard supportcardboard or masonite support;, it should also be dried under pressure, but face up. Place a white blotter or other absorbent layer on a clean surface, lay the painting on it and then cover the painting with Japanese paper or tissue. Place one or more layers of white blotter on this. (Thick or uneven paint requires more padding). Then put a piece of plywood, thick glass or other flat rigid item on top. Place weights at regular intervals over the board. Change the blotters as described above, being careful not to disturb the paper directly nest to the painting. Leave it in place throughout the drying process; make sure it stays unwrinkled. Do not use hot air guns or hair driers to artificially dry the painting since this will create uneven tension in the painting.

Mold is a major risk for wet paintings. Carefully observe the painting as it dries. If mold develops on the blotters, paper or on the painting itself, call a conservator to control the problem immediately.

These directions are intended to serve in situations where a conservator is not immediately available. Don't hesitate to seek advice over the phone; even if a conservator cannot arrive at the scene instantly, he or she will often be able to direct the recovery.

paintings, vandalism

Paintings are sometimes torn, soiled or otherwise damaged, either accidentally or through vandalism. Such paintings should be removed from display immediately and stored until repairs can be made. It appears that even a small rip or accidental mark can trigger some viewers to vandalize the painting further, somewhat like library patrons who feel free to remove plates from incomplete books.

If your institution has a large or important collection of paintings, the disaster plan must take them into account and your salvage kit should contain blotters, Japanese paper and plywood. A paintings conservator should be contacted as part of the planning process; this person should survey the collection in order to point out possible hazards to the paintings and also to gain some familiarity with the collection and the institution. In this way, should an emergency arise, the disaster team will immediately know where to call and the conservator will be much better prepared to help.

TEXTILES

Many of the items in the disaster salvage kit will come in handy in the rescue of wet or damaged textiles. In addition, the institution will need to own or have immediate access to plenty of all-cotton sheets;, towels;, mattress pads, bedspreads or similar items, for draining, transporting and drying the historic textiles to be saved. A hair drier can be used, with care, for spot drying small areas.

Keep in mind that wet textiles, like paper, can be extremely fragile. Various materials will react differently; caution is needed when moving or handling them. Don't carry the wet item unsupported; use any sort of clean tray. A clean towel or sheet can be placed on the tray for cushioning if needed. Another method is to place the wet textile on a sheet or other fabric support and carry it between two people like a stretcher. Freezer or wax paper can be used to keep mud or soot from transferring from one area of the textile to another. If dyes are bleeding, freezer or wax paper can again be used to limit the transfer of staining.

After the garment (or flag, tapestry, etc.) has been transferred to a safe area, it can be allowed to air dry. This step can take place in the same area where paper-based objects are drying, since the same environmental conditions are required. Tables, an area of the floor or even a part of the lawn outside (weather and security;permitting) can be covered with plastic sheeting. Put absorbent materials (cotton sheets, towels, blank newsprint, etc.) on the plastic and the wet textile on top of that. In the case of garments, you can gently insert some absorbent material inside. Cover the textile with a cotton sheet, then place additional layers of absorbent materials on the sheet. Blot very gently. Remove wet blotting materials, change absorbent materials inside garment, if applicable, but leave the protecting cotton sheet over the wet textile throughout the drying process. Allow to dry thoroughly in a well-ventilated area. Remember to remove any wet or damp blotting materials from the drying area to keep the humidity as low as possible.

If the library owns just a few, but cherished, textile items, it might be helpful to designate one or more specific people to be in charge of their rescue. Perhaps the wet garments or other items could be taken to the homes of different staff members or volunteers for drying. This would be included in the disaster plan; a record would be kept of these materials in the same way as for materials sent to be frozen, for example.

Be sure to ask advice from a textile conservator before handling anything that looks fragile. The instructions above are meant as very general guidelines to be used in the case of a small number of not-too-fragile textiles. If your institution has a large collection of textiles, you should consult a conservator for help in formulating an adequate response plan. A conservator can also help you determine whether current storage or display conditions are safe, no matter what the size of your textile collection.

WOODEN OBJECTS

Museum quality wooden furniture, sculpture or other objects also require controlled drying to avoid further damage after a flood. Since different items have a great range of characteristics, it is best for an institution with fine or historic wooden objects to include them in the disaster plan. In this way, their relative importance to the collections is understood and sources of emergency help can be noted. Consult a conservator in the course of planning to make sure that current storage and exhibition practices are not putting the furniture or other items in jeopardy and that the emergency recovery directions are appropriate for each piece.

In general, a wooden object that is only slightly wet, mostly on the surface, should be blotted or air dried quickly, away from sunlight or other sources of heat. After it is dry, it can be put in a dry storage area until it can be examined by a conservator to make sure that nothing is amiss.

An item that is waterlogged, on the other hand, needs to be dried slowly, under controlled conditions, to prevent warping and cracking. As a rule, this must be done by a conservator in a properly equipped lab. If the item is in danger of starting to dry before help can arrive, put it into a plastic bag or cover with plastic sheeting. Mold can certainly grow on wood, however, so don't leave the item in plastic indefinitely.