"In einer der Schatzkammern des Bremer Staatsarchivs hat es getropft. Wasser. Ausgerechnet die fast Hundert Jahre alten Ausgaben der Weser-Zeitung hat der stete Tropfen getroffen. Kraft Foods ist mit einer Maschine eingesprungen, die sonst Kaffee trocknet. .... Schuld an dem Dilemma war die kaputte Dichtung einer alten Wasserleitung im Außenlager, die im April 2010 zu lecken begann. "Die Bände, die es nur wenig erwischt hatte, haben wir in der Frühlingssonne zum Trocken aufgestellt", erzählt Elmshäuser. "Doch vier Bände aus den Kriegsjahren 1913 bis 1915 hatte es besonders erwischt." ...."Ich war mir sicher, dass sämtliche Firmen vom Rheinland bis nach Bayern, die Bücher restaurieren, tonnenweise Material da stehen hatten", sagt Elmshäuser. "Ich ahnte also schon: Das wird grausam." Doch er erinnerte sich, das einst bei einer ähnlichen Panne im Archiv des Übersee-Museums ein Gefriertrockner von Kraft Foods nasse Papiere gerettet hatte.

Und wandte sich hoffnungsvoll an Bärbel Kern, Leiterin des firmeneigenen Archivs von Kraft Foods. Sie fand eine Lösung: Im Elmshorner Werk, wo löslicher Kaffee hergestellt wird, gab es neben den riesigen Gefriertrocknern für die Massenproduktion auch einen kleinen, feinen Versuchstrockner, der dazu dient, die Verfahren weiter zu verbessern. Kompakt, aber doch groß genug, um ein Buch zu bergen.

Dorthin sollte die Reise für die nassen Bände gehen. Das Staatsarchiv orderte ein Taxi, Direktor Elmshäuser fütterte das Navigationsgerät des glücklichen Taxifahrers mit der Adresse in Elmshorn und dieser kutschierte die Bücher ins Kaffee-Werk. Doch Werksleiter Norbert Verhaagh und seine Kollegen waren zunächst ratlos: "Wir hatten natürlich erstmal keine Ahnung, was wir mit den nassen Büchern machen sollten", sagt Verhaagh. Um Zeit zu gewinnen, wurden die Bände also erst einmal bei minus vierzig Grad schockgefrostet. Mit einigen vorsätzlich angefeuchteten Ausgaben des Hamburger Abendblattes tüftelte man tagelang und fand heraus: Kaffee braucht im Gefriertrockner vier bis fünf Stunden, ein Buch sechs bis acht Tage. ...."
Quelle: Weser-Kurier, 16.2.2011

Themenschwerpunkt:
Veranstaltungen und Fortbildungen zur Bestandserhaltung im Jahr 2011
Aus dem Inhalt:
"... Bestandserhaltung Fotografie - Identifizieren - Archivieren - Präsentieren (B 14)
25. Februar 2011 in Berlin
Veranstaltungsort: FU Berlin, Weiterbildungszentrum, Otto-von-Simson-Str. 13, 14195 Berlin
Tel.: 030-83 85 14 58, Fax: 030-83 85 13 96
Mail: angela.vonderheyde@weiterbildung.fu-berlin.de
Weitere Informationen: http://www.fu-berlin.de/weiterbildung/weiterbildungsprogramm/bib/
Entsäuerung von Archivgut
2. März 2011, 10.15 bis 15 Uhr, Brandenburgisches Landeshauptarchiv, Am Mühlenberg 3,
14476 Potsdam, OT Golm
http://www.landeshauptarchivbrandenburg.
de/FilePool/1_Neu_Newsletter_Archiv_1_2011.pdf ...
Langzeitarchivierung von AV-Materialien
6.-7. Juni 2011 Österreichische Nationalbibliothek, Wien
http://www.onb.ac.at/brainpool/sem/kurs25.htm...
Preserving endangered audio media – Rethinking Archival Strategies for conservation
of analogue audio carrier
Berlin, 9.-10.Juni 2011. Call for Papers bis 15.2.2011
Nähere Informationen siehe: http://www.crcc.cnrs.fr/spip.php?article265&lang=en ....
Safeguarding Sound and Image Collections
11. bis 29. Juli 2011 in Riga, Lettland
Veranstalter: ICCROM (International Centre for the Study of the Preservation and
Restoration of Cultural Property). National Archives of Latvia. The Baltic Audiovisual Archival
Council (BAAC)
Weitere Informationen: http://www.iccrom.org/eng/01train_en/forms_en/applfrm_en.doc ....

3. Literaturhinweise und Zeitschriftenauswertung
Zeitschriftenauswertung:
Restauro, H. 1. 2011
Das Gedächtnis aufgefrischt. S. 7
SW:
- Historisches Archiv, Köln
- Dekontaminierung"

Link zum PDF

The Conservation Lab at the National Archives is one of the world's premier document preservation laboratories. Paper conservator Annie Wilker demonstrates various techniques employed to preserve damaged documents and prepare them for exhibit at the National Archives. Wilker repaired an 18th-century illustrated family document in the holdings of the National Archives, one of more than a hundred such documents -- or frakturs -- in the collection. The document records the marriage of John Tomlin and Jane Chamblin of Virginia, and the births of their five children: George, Elizabeth, William, Reuben and Mary.

Es handelt sich um eine der bedeutenden Altbestandsbibliotheken der USA.

http://www.bostonathenaeum.org/node/805



Reading room (1855)

http://www.geh.org/taschen/htmlsrc15/m197401931116_ful.html

Der Aufsatz/Veranstaltungsbericht von Ellen Stöcklein: Alltagsprobleme der Bestandserhaltung in Bibliotheken und Archiven: Klima und Lagerung, Staub und Schimmel. In: Bibliotheksdienst 2010 H. 2 ist online unter

http://www.zlb.de/aktivitaeten/bd_neu/heftinhalte2010/Bestandserhaltung010210_BD.pdf

"Témoins privilégiés de notre passé, les archives réapparaissent parfois après des siècles d'enfouissement et d'abandon. Blessées, décolorées, déformées, déchirées, moisies, rongées par les champignons, endommagées par la pourriture, elles sont devenues alors méconnaissables, lacunaires ou réduites à l'état de fragments et de poussière.


Quels sont les agents de dégradation des documents ? Quels sont les facteurs aggravants ? Quelles sont les protections appropriées possibles ? Quels moyens mettre en œuvre pour stopper les outrages du temps et prévenir les détériorations de ce patrimoine ? Comment éviter la disparition irrémédiable de précieux témoignages historiques ? Comment bien conserver pour transmettre au futur la compréhension de notre quotidien ?


La conservation préventive, devenue aujourd'hui l'une des préoccupations majeures des spécialistes du patrimoine, identifie les causes des mécanismes d'altération, tente de les enrayer en établissant des diagnostics permettant le choix de traitements adaptés qui viendront ralentir ou arrêter les processus de dégradation.
Le travail des restaurateurs interviendra lorsque les traumatismes du document portent atteinte à sa lisibilité et à sa survie.
Les pratiques archivistiques, les classements, les techniques de communication, les transferts sur de nouveaux supports viennent s'inscrire dans le long parcours de sauvegarde du patrimoine.


Le temps passe, la matière se transforme inéluctablement, mais il est possible de retarder cet instant de la disparition définitive.
Exposition présentée dans le hall d'entrée des Archives départementales [Vaucluse]
lundi de 11 H 00 à 17 H 00
et du mardi au vendredi de 8 H 30 à 17 H 00
Entrée libre "
Link

"Het Stadsarchief van de gemeente Amsterdam is bestolen door een eigen medewerker. De man nam 17de- en 18de-eeuwse gelegenheidsgedichten mee uit het archief, en bood ze aan bij antiquaren. Omdat een conservator van de afdeling Bijzondere Collecties van de Universiteit van Amsterdam de zaak niet vertrouwde, liep de man tegen de lamp.
Burgemeester Van der Laan, de portefeuillehouder van het Stadsarchief, stelt deze week de gemeenteraad op de hoogte van de kwestie. De diefstallen vonden plaats in 2009. Het Stadsarchief zoekt nu de publiciteit, omdat is gebleken dat er mogelijk nog meer door de man is gestolen dan bekend is. Een recherchebureau doet daar onderzoek naar.

Geen groot bedrag
'De stukken zijn een paar duizend euro waard', zegt Emmy Ferbeek, het hoofd van de afdeling Archief- en Collectiebeheer van het Stadsarchief. 'Dat is geen groot bedrag. Maar de schok bij ons was er niet minder om. De collega die dit heeft gedaan, werkte al dertig jaar bij het Stadsarchief en werd zeer gewaardeerd.' De man, die ook enkele boeken en almanakken stal, is ontslagen en veroordeeld tot een taakstraf.

Gelegenheidsgedichten werden in de 17de en 18de eeuw gemaakt bij familieaangelegenheden als huwelijk, geboorte en overlijden. Maar ook over beroemde personen werden dit soort gedichten geschreven. Ferbeek: 'Ze werden gedrukt en uitgegeven, soms als boekjes. Ze zijn niet heel zeldzaam, maar er zijn er ook niet heel veel bewaard gebleven. Dat maakt het tot goed verhandelbaar, interessant materiaal.'

Teruggekocht
Het Stadsarchief heeft alle materiaal dat was gestolen, teruggekocht. Maar nu zijn er aanwijzingen dat de oud-medewerker mogelijk nog meer heeft aangeboden bij antiquariaten. 'We weten het niet zeker, en dat is een afschuwelijk gevoel', zegt Ferbeek. Het Stadsarchief beheert bij elkaar 40 kilometer aan planken met materiaal, waardoor diefstal niet makkelijk te ontdekken is.

Het Stadsarchief hoopt dat collega-instanties zich ervan bewust worden dat dit soort diefstal ook bij hen kan plaatsvinden. 'Wij zijn niet het enige archief waar dit gebeurt, het probleem bestaat bij meer erfgoedinstellingen', zegt Ferbeek. 'Meestal wordt daar weinig ruchtbaarheid aan gegeven. Wij kiezen voor openbaarheid, ook om maatregelen en de onderlinge samenwerking te bevorderen.'

Ferbeek hoopt ook dat er bij de politie meer kennis over dit probleem komt. 'De politie is zeer behulpzaam, maar weet te weinig van archieven om echt goed onderzoek te kunnen doen.' "
Quelle: Volkskrant, 17.1.2011

Diskussion im holländischen Archivforum

"A disaster can occur to an audiovisual materials collection as a result of long-term or short-term factors.

Short-term factors involve the more commonly thought of disasters such as flood, fire and severe damage or destruction of the storage vaults.

Long-term factors can include extended periods of storage where:

* the relative humidity is high, especially when it is greater than 60 per cent
* storage temperatures are constantly or frequently high or fluctuate over a short period
* vermin are uncontrolled
* high levels of oxidising agents or other pollutants are found.

Disaster planning should be a very high priority and plans need to be reviewed on a regular basis. Creating a list of disaster planning questions that cover likely disaster scenarios is an important first step in planning or planning review.

Equipment and external services required for recovery should be checked and updated similarly. Staff should be familiar with the elements of the plan, especially their own areas of responsibility.
Prevention practices and planning

Some aspects of good collection management practices such as correct wind tension, clearly identifying marks on both the film can and film, and condition reports are important elements of disaster planning. Correct wind tension can prevent or reduce the impact of some disasters and clear identification marks will enable accurate notes to be included in condition reports. Any unanticipated changes in the condition of the film in the future can be cross checked against other films that have suffered the same disaster and treatment, possibly avoiding a further collection crisis.

An essential factor of any disaster recovery is the ability to rapidly house the collection in a safe and stabilising environment as soon as the disaster has been noted. In film collections this invariably means cool or cold, dry conditions. An important first stage of disaster planning is identifying local cool-store or cold-store facilities that may be used at short notice. Food suppliers and shipping agents are often a good starting point for this.

Other components of a disaster recovery plan should include:

* identify high priority sections of the collection
* staff organised into teams to handle each stage of a disaster recovery
* equipment and training needs to be provided and procedures continually refined
* organisations or companies that offer products or services that are required for disaster recovery should be listed and the list should be frequently revised.

Water

Where significant water damage is suspected, as in floodwater or fire supression, films need to be stored in very cool conditions to reduce the likelihood of mould growth or bacterial action. Rapid air drying of wet film can create significant problems with the gelatin emulsion strongly adhering to adjacent layers in the film pack. This is known as 'blocking’.

Where fire hoses have been used there may be the need to match films with cans as the hose pressure may have blown cans from shelves.
Water damage recovery

The first recovery actions should involve a rinse with clean, preferably deionised or distilled water, to remove any surface debris and then placing in temporary storage under very cool or cold conditions until conservation treatments can be arranged.

Time is critical. Biological and chemical reactions are only slowed down by cold conditions, not stopped!

The sooner conservation treatments can start, the lower the risk of more serious damage.

Films should not be unwound for examination at this stage. If the film had high free acid levels, as may be encountered in decomposing films, then the gelatin emulsion will be very unstable and suffer significant damage by unwinding.

Where extended storage under high relative humidity has occurred, the films should not be immediately unwound as the gelatin may have blocked.

To identify the extent of the effect of the disaster a program of careful unwinding and examination needs to be instigated, possibly working on a statistically determined sample from each storage location. The program must incorporate training of staff in film handling and especially the problems of blocking and the degree of damage that can occur by incautious examination.

In the desire to quickly establish a remediation plan staff concerns such as OH&S issues of extended periods of film winding, with the possibility of Occupational Overuse Syndrome, and suitably designed and equipped work spaces must be considered.

Water damaged films where the gelatin is still stable will most probably require some form of rewash treatment to rinse any pollutants from the gelatin and film base. Before a rewash can be performed some films may require an unblocking treatment to gently release the adhesion between the film layers. This is a specialised treatment that often requires long periods of time with regular attention to the films to prevent further damage.

After rewashing, which is an aqueous process, a solvent cleaning may also be required to remove any oils or greases that have been carried onto the film during the disaster.
Fire

Fire poses the obvious problem of charring of the film itself, but there are several other issues that can arise:

* melting or fusing of a plastic reel, film can or can coating onto the film
* large dimensional changes in the film base or distortion of the film base
* fading or loss of the image, especially colour dye images
* blocking of the gelatin emulsion by melting.

It is often the case that only one part of the film is affected when there is a fire. This could be in part due to the low specific heat of film base materials, so only the area directly touched by fire is significantly affected. However, due to the way in which film is stored and transported through equipment, this can have a devastating effect on the film. If one part of the reel has been damaged then this will appear as a cyclic blemish, or regular loss of content when a film is projected or duplicated.
Fire damage recovery

The first stage of recovery from fire is identifying the film and assessing any obvious physical damage or soiling. Loose soils can be vacuumed away and melted plastics or coatings can usually be carefully removed — often there is little in the way of adhesion. The film should be recanned if necessary with all identification marks transferred to the new can.

When the film is examined, extreme care is required as the film may be blocked or very brittle, especially the emulsion. Assess the first few layers or wraps of the film reel for any dimensional changes or distortion. Any changes will be most apparent in the outer layers.

Some success has been had with unblocking fire damaged films. This, however, is a high risk operation and should only be undertaken if there are no alternatives.

Before extensive repair work is commenced, check the holdings of the collection for duplicate films as it may be more cost effective to change the collection status of the duplicate film or even obtain a copy from another institution.

If no other options are available then the film can be spliced together, removing the damaged sections.
Severe damage or destruction of the storage vaults

In the event of an earthquake or other event that seriously damages the storage structure and dislodges films the first response, once the site is safe for staff return to, is to identify films and return them to their respective cans or recan them if the former is not possible. Debris can be vacuumed away at this stage.

Physical damage needs to be assessed. If the films are not affected by water or fire they can be carefully unwound for examination. Film wound in a pack is relatively tough and any physical damage is likely to be restricted to the edges of the pack or the reel or core. Therefore basic repair techniques should be able to restore the film to a fully useable condition.

A solvent clean before returning to storage is advisable, but not necessarily essential. The decision needs to be made on the type of conditions the film was exposed to and whether the cans remained intact.
Storage plant failure

In the event of plant failure in the storage vault all access to the store should be suspended. This will slow the rate at which the temperature inside the vault will rise and help reduce the inflow of water vapour.

If the plant cannot be repaired quickly or if the fault occurs at a time when staff are not around to monitor the failure or there are delays in arranging repairs, 'time out of storage’ should be noted in condition reports. Remote sensing of the conditions inside the vault is highly desirable. If the conditions exceed preset safety levels then arrangements to relocate the collection to temporary storage should be made.
Long-term issues

The effect of the long-term issues listed can be controlled by regular inspection, testing and datalogging of environmental conditions of the storage facilities. Correct preparation of films before entering long-term storage, i.e. correct wind tension, can material and no foreign matter inside the film can, will further ensure a reduction in the risk.

Good environmental hygiene and pest management to reduce vermin around vaults are also important. Pest management does not necessarily mean chemical fumigation, but rather preventing vermin becoming established through measures such as:

* clearing away vegetation and rubbish from around buildings
* sealing potential entry points around the roof or service areas
* regularly cleaning and removing rubbish from the vaults themselves."
Link

Binden auf erhabenen Bünden in der Restaurierungswerkstatt


Stillleben Konservierungsband aus der Restaurierungswerkstatt


Privilegienurkunden erhalten ein neues Schutzbehältnis

Witness: Defining Conservation Photography Feature from iLCP on Vimeo.

"Directed and produced by Neil Ever Osborne with editing and production by Chad A. Stevens and support from the iLCP

A contemporary account of the emerging genre of conservation photography is explored through the voices and imagery of some of the best environmental communicators working today. Notable anthropologist Jane Goodall, National Geographic Editor-at-Large and iLCP Fellow Michael Nichols, and International League of Conservation Photographers (iLCP) president Cristina Mittermeier, among many others, share candid thoughts on the power of photography and its value as an effective conservation tool. The narrative is accompanied by stunning photographic contributions from over 40 iLCP conservation photographers to illustrate the convergence between the conservation and photography realms.

Inspired by “Conservation Photography”, a thesis by Carlton Ward, Jr. "