Tape
This article originally appeared in Exchange, a
newsletter published by the Wisconsin Historical
Society. (Volume 25, Number
4, July/August 1983) It is the 11th in a series
of articles titled Conservation Corner. The
series features information about maintaining an
adequate environment for the storage and exhibition
of historical collections, employing proper collection
care techniques, and recording and cataloging historical
collections. This article was written by Tom McKay,
retired local history coordinator for the Wisconsin
Historical Society.
An enemy of historic collections is a common household product found in use far too often in historical societies and museums. The utility drawer at home contains few things that are reached for more often than the roll of tape. Since childhood, people have taped notes to refrigerator doors, wrapped tape around the handles of baseball bats, and taped bandages to nicks and cuts on every part of their anatomy. Reaching for a roll of tape becomes almost a reflex action. However, tape was never intended to be permanent, nor was it formulated to be safe for use on historic materials, and it is neither.
Pressure sensitive tapes of every variety — cellophane tape, "invisible" tape,
masking tape, electrical tape, etc. — cling to the collection
items historical societies are trying to preserve.
In some cases, previous owners applied the tape for
repairs. In many other instances, local historical societies have
used sticky tape to make repairs, mount exhibits or attach catalog
numbers. Whatever the origin of its use, tape applied to historic
materials can cause permanent and unnecessary damage. The adhesives
used for sticky tape dry out in a relatively brief span of time. When
this happens, the paper, cellophane, cloth or plastic portion of tape
falls away. Left behind is a dry patch of adhesive. On historic objects,
the adhesive is extremely difficult, sometimes impossible, to remove.
The damage has been done.
Ironically, the use of tape defeats the purposes for which it was stuck to historical materials in the first place. Repairs will not be permanent and identification labels or numbers will fall off in a matter of years. For cataloging collections of all kinds, safer and more durable numbering systems exist.
Museums can apply catalog numbers to wood, metal, glass, ceramic
or stone objects with a simple three-step system. First,
paint on a small patch of acrylic gesso approximately
one inch by one quarter inch. When the gesso is dry,
write the number on the patch using India ink. A technical
pen with a fine point works well for this purpose.
Seal the number with clear nail polish, taking care
to cover only the gesso and not the surrounding area
of the artifact. A number applied with this method
can be carefully removed if necessary. Remember to
place the number in an inconspicuous spot where it
will not be seen on exhibit or wear away in handling.
On a chair, for example, the inside of a back leg might
serve as a good location for the catalog number. Try
to place catalog numbers in similar locations on similar
objects. Someone who needs to find the number won't
have to be a mind reader to do so. The gesso and ink
method of numbering does not apply to paper or cloth.
However, that is no reason to reach for the tape. Paper items can
be marked on the back in a lower corner. Use a number-two pencil and
press very lightly to avoid making impressions through the paper.
Fabric objects can have labels sewn to the cloth. The label should
be made of unbleached muslin and numbered with an indelible laundry
marker. Once again, attach the label in an inconspicuous location.
Mounting historic materials in exhibits presents an even greater variety of situations. Mounting photographs and documents probably constitutes the most common misuse of tape in preparing exhibits. Never attach historical materials in exhibits with tape, even for a brief period of time. Postcards and snapshots can be mounted quickly and easily in temporary exhibits by using either archival polyester or archival black or white paper mounting corners available from:
Light Impressions
P.O. Box 22708
Rochester, New York 14692-2708
1-800-828-6216
University Products, Inc.
517 Main Street
P.O. Box 101
Holyoke, Massachusetts 01041-0101
1-800-762-1165
Gaylord Bros.
P.O. Box 4901
Syracuse, New York 13221-4901
1-800-634-6307
Conservation Resources International
8000-H Forbes Place
Springfield, Virginia 22151
1-800-634-6932
Many historic photographs were originally mounted on cardboard mats.
Simple maptacks, T-pins, or small nails driven into
the exhibit surface beneath or alongside the cardboard mat will often
provide adequate support. Do not tack or nail through the cardboard
mat. Safely mounting objects, photographs, and documents in exhibits
requires learning a wide variety of safe techniques. But first, discard
that sticky tape!
Historical societies where pressure-sensitive tape has been used
in profusion face the dilemma of removing it. If the
tape is fresh, attempt to gently peel it away from
the object. This task demands extreme care as the tape
can easily pull away surface layers of paint, paper or finish from
fragile historic objects. If the tape has been on more than a few
weeks, attempts to remove the tape will probably leave adhesive sticking
to the item. Removing the adhesive may be possible mechanically, or
chemically, or not at all. Before attempting to remove the residue,
you should seek professional knowledge in publications or from conservators.
Unfortunately, chemicals capable of dissolving the
adhesive residue are toxic and damaging to paint, varnish and other
finishes. Removing adhesive chemically or mechanically is at best
slow, tedious and risky. Pressure-sensitive tape applied to historical
materials for the convenience of the moment will exact a toll of future
damage. Tape used to repair documents, mount photographs or attach
catalog numbers to objects can cause irreparable harm. Every local
historical society should learn safe methods for performing these
tasks and leave tape in the utility drawer where it belongs.
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