OKLAHOMA FIELD ADVISORY SERVICE: TECHNICAL BULLETIN 9

Sponsored by the Oklahoma Museums Association and The Oklahoma Historical Society Field Advisory Service

Arsenic, Old Lace, and Stuffed Owls May Be Dangerous to Your Health: Hazards in Museum Collections Patricia L. Miller, Executive Director, Illinois Heritage Association

Reprinted with permission from the Illinois Heritage Association (Technical Insert No. 50, Mar.- Apr. 1991)

People responsible for the care of museum collections are accustomed to handling objects cautiously in order to preserve them. They recognize the need to provide safe environmental conditions to protect artifacts. Museum personnel also need to be aware of hazards to themselves from the objects and from the objects' environment These can be dangerous, even lethal. This article is intended to acquaint non-specialists with these potentially harmful situations in their museums. It describes some of the hazards and suggests some common-sense measures that should be a part of basic collection management. Resources listed at the end of the article offer more in-depth and technical information about dangers inherent in museum collections.

Understanding the Risk Toxic materials may be ingested by mouth,

inhaled, or absorbed through the skin. They may irritate the eyes, nose, throat, or skin, causing tearing, sneezing, or a rash. They may cause nausea and vomiting. Certain materials can trigger a violent physical reaction or death within a short period of time. Some are especially dangerous in combination with other factors. Others cause long-term health consequences that may not be evident for many years. Museum personnel with allergies, respiratory or cardiac problems, or who are pregnant should exercise special caution about the amount of time spent in closed storage areas.

Safety Procedures There are some fundamental procedures that

should be followed to ensure the safety of anyone who may be dealing with artifacts:

1. Never touch your mouth or eyes after touching a museum object

2. Always wash your hands thoroughly with soap and running water after touching museum objects. Keep fingernails short and use a nail brush when washing up.

3. Be careful about what touches exposed skin. Some irritants and toxic materials may be absorbed through the skin.

4. Keep a lab coat in the museum storage area. Wear it there only, wash it frequently, and do not wash it with other family wash.

5. Limit the time spent in closed storage areas. Do not use these areas as work places.

6. Do not allow any food in storage areas, not only to protect the objects and to control infestation, but also to prevent the contamination of food.

7. Work in well-ventilated areas. Wear an appropriate type of respirator if working with toxic fumes. Wear a particle mask if working with dust.

8. Plan ahead. Think of possible hazards. Do not casually open any container, inhale contents, or expose yourself to possible toxic fumes.

9. Do not touch to your mouth any thread

which you are using on historic textiles, garments, or jewelry.

10. Keep your tetanus shot up-to-date.

11. Do not sweep storage areas. Use a vacuum and/or a wet mop. Dispose of the vacuum bag properly and rinse the mop thoroughly.

12. Read all product labels very carefully, including those on items in the collection. Obtain Material Safety Data Sheets (MSDS's) from the manufacturers or distributors of any solvents or other chemical products, and read and understand them.

13. Be especially careful of any broken artifacts. Loose stuffing from dolls or mounted taxidermy specimens, broken pieces or handles of metal objects, etc., may contain poisonous materials.

14. Restrict young people (such as volunteers or the offspring of staff members) from spending extended time in storage areas. Children's metabolism and their smaller size make them especially vulnerable to hazards in the collections.

15. Encourage personnel to report instances of headaches, dizziness, or nausea, and document them to determine if there might be a pattern suggesting a health hazard on the premises.

16. Appoint a health and safety officer to monitor health hazards and develop a health and safety program as a part of an overall emergency and disaster plan for the museum.

HAZARDS ASSOCIATED WITH COLLECTION OBJECTS

Arsenic. Arsenic is a biocide that was used as a preservative in mounted taxidermy specimens, especially during the last quarter of the nineteenth century. Many of these old mounts are now deteriorating, possibly exposing the arsenic-coated material. It is essential to exercise special care in restricting public access to such artifacts, as well as the access of museum personnel. Arsenic may also be present in mummies, in ethnographic objects such as baskets or items containing feathers or fur, and in textiles and clothing. Alison Gemsheim's VICTORIAN AND EDWARDIAN FASHION, A PHOTOGRAPHIC STUDY, notes the popularity in the nineteenth century of a vivid emerald green dye containing arsenic of copper, and its resultant toxic effects. The book cites the testimony of a Berlin physician that "no less than 60 grains of arsenic powdered off from a single dress in the course of an evening's dancing - enough to kill thirty people if administered in doses." 1 This dye was also used in the bright-green cloth covers of many Victorian books. Emerald green pigments in nineteenth-century ceramics may contain arsenic. There is also evidence to suggest that arsenic was included in materials used in nineteenth-century weighted silks. Residues of arsenic that remain in textiles, fabrics, and artifacts can pose hazards for those who handle them today.

Related poisonous materials that may be

present in organic collections include cyanide, mercury, and lead compounds. Julia Fenn, ethnographic conservator at the Royal Ontario Museum, states, "The presence of biocides is one of the most pervasive hazards in the collection and unfortunately there is often very little record of what was used."2

Cyanide. Wet-cleaning silver- or gold-plated museum artifacts could release deadly cyanide gas, if the plating contains cyanide or if the objects were previously cleaned with cyanide solutions that may be trapped in hard-to-clean areas such as handles. These articles should be cleaned under a fume hood, and handled with caution. Cyanide was also a component of some printers' inks, and it may be present in some nineteenth-century wallpapers. Such papers should not be removed with steam.3

Mercury. Fine art and decorative arts pieces may contain dangerous amounts of mercury. Various artist's pigments, especially vermilion shades, may contain mercury; others may have mercury preservatives.4 Cinnabar (sulfide of mercury) is another dangerous pigment. Julia Fenn points out that the canvas of paintings was sometimes impregnated with mercury to prevent mildew. The mercury may have migrated to the picture frame. The silvered backing of mirrors commonly contained mercury, making them and their adjacent frames dangerous to handle.5 Certain house paints may also contain high levels of mercury. Although a 1990 EPA regulation now bans the use of mercury compounds in interior paints, this does not affect previously manufactured paint.6

Lead. Lead or lead compounds present several potential hazards for humans. Most people are acquainted with the dangers of lead poisoning resulting from exposure to lead-based paints. Although this hazard has been reduced by the limitation of the manufacture of such paint products, some museum artifacts may have been painted with these substances, and the museum itself may be in a building where lead-based paints were used on the walls. Before 1976, almost all outdoor paints contained lead pigments.7 Artists' pigments such as the popular Flake White (white lead) and other lead-based pigments are hazardous, but are still permitted by law. Toy soldiers, bullets, lead weights, sculpture, leaded glass, coins, weights, and seals are types of objects that may be made of lead or lead-alloys. Ceramic glazes may contain lead or other poisonous substances. Special care should be taken in handling any ceramic piece that has a flaking surface. As lead corrodes, it produces a powdery substance that is easily disturbed and can become airborne. It may be inhaled or picked up if touched. It may cling to clothing and be carried from a storage area to other museum areas or out of the building. Julia Fenn describes lead poisoning as one of the most common and potent hazards in museum collec-tions.8

Carbon tetrachloride. This colorless, poisonous liquid is a grease solvent. For many years it was used quite commonly as a spot remover. It

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was also used as a fire extinguisher, lethal amounts may still remain in old fire-fighting equipment. It is a special hazard in nineteenth-century glass balls that were thrown on a small fire to extinguish the blaze. These glass balls may explode, dispersing poisonous Phosgene gas into the air. The fire department can empty them.9 Carbon tetrachloride is also a component in some pesticides such as Dowfume 75, registered for restricted use in museums by a certified exterminator. Exposure to carbon tetrachloride can cause severe liver damage. 10

Pesticides. Pesticides can cause harmful effects on collection items and on humans, but this may not be evident for many years. Artifacts previously may have been treated with pesticides, such as DDT (widely used in the 1940's and 1950's), impregnating them with poison. Vacuum­ing textiles so treated could pull the poison into the air. Current collection management policy recommends avoiding as much as possible the use of pesticides to control infestation. Some museums are developing Integrated Pest Management (IPM) programs that reduce the need to use pesticides by eliminating the food, moisture, and habitats that encourage infestation. 11 Sticky traps that provide evidence of the type, number and migration pattern of pests are especially useful in monitoring infestation.

Some museums practice limited chemical treatments in controlled situations. Examples of pesticides used in museums include naphthalene (mothballs); dichlorvos (Vapona strips, no-pest strips); and para-dichlorobenzene (PDB). All of these are potentially hazardous. Many experts question the effectiveness of napthalene. PDB is known to soften some plastics and resins, and to harm feathers, leather, dyes and bronze. It forms chlorine gas in closed containers, possibly bleaching specimens. Before using no-pest strips or PDB, museum staff should study how to use them effectively and how to control the level of toxicity. Recommended procedures include isolating in a closed container those artifacts that are to be treated; controlling temperature; and wearing an appropriate respirator. One can avoid a disastrous situation by reading labels and instructions very carefully, and by consulting specialists when necessary.

Other pesticides are even more dangerous and should be used only by certified exterminators, and in fumigation chambers. These include ethylene oxide (which may off-gas for as much as ten years), methyl bromide (which can harm rubber, furs, feathers, leather, woolens, and other hair fibers), and sulfuryl fluoride (which may harm metals). 12 Termite extermination, even by licensed companies, may present long-term health hazards, especially if the treated wood is in an area where the public might come into contact with it, for example, a log cabin. 13

Medicines and pharmaceuticals. Many museums have collections of physicians', dentists', and veterinarians' equipment. Old vials or medicine containers may contain deadly poisons. The possession of illegal drugs is another consideration. The lining of a doctor's bag could contain life-threatening residues of poisonous compounds or slivers of contaminated glass. 14 Old bottles of ether are especially dangerous and should not be handled. As ether degrades over time, it forms a peroxide that is extremely explosive. Containers should be disposed of by a bomb squad.15

formaldehyde from wood adhesives and resins is well documented. Urea-formaldehyde foam insulation is widely used in building construction. Composite boards, such as plywood, masonite, particle board, and fiberboard, emit formaldehyde fumes over a long period. This often occurs in a closed storage area, a drawer, or a case. Formalin, an aqueous solution of formaldehyde, is one kind of preservative used on biological specimens. This solution is both a health hazard and a safety hazard, as formaldehyde is a flammable substance. Growing evidence suggests that formaldehyde is a carcino­gen. 16 Replacing formaldehyde in natural history collections with more suitable fluids is recom­mended.

Poisonous plant materials. Julia Fenn points out the possible hazard to humans from seed jewelry, placemats, and other tourist items. Especially deadly are the attractive black and scarlet seeds of the Rosary pea (Abrus precatorius). Also known as the Precatory pea, crab's eyes, or the Jequirity bean, it was "quite commonly used in jewelry [sic], rosaries, as eyes for dolls and figurines, in rattles or maracas, and in Victorian and some Edwardian crafts."17

Cellulose nitrate. Much has been written about the hazards of storing cellulose nitrate film (nitrocellulose). This film became popular in the late 1880's. It was widely used for still photography and later for motion picture film and x-ray film. Because of its serious fire risk, its production was halted in 1951.18 Any film manufactured before 1950 is suspect unless it is marked "safety film." Cellulose nitrate is on an irreversible course of disintegration. As it deteriorates, it advances through stages of decomposition, producing acidic and oxidizing nitrogen oxide gases, which in turn accelerate the decomposition process. At low levels, these gases irritate the skin, eyes, and respiratory system. Decomposing film can cause nitric acid bums if touched. More important, motion picture film composed of cellulose nitrate has been known to combust spontaneously. The film burns quickly with intense heat and releases highly toxic gases that have caused deaths.19

From about 1870 to approximately 1920, cellulose nitrate was also the basis for many molded plastic objects (often called celluloid or French ivory) now in museums. Light-colored transparent or translucent toilet articles, buttons, toys, and dolls were among the popular household items made from this ivory look-alike. Celluloid was also used to make convincing imitations of tortoise shell and mother-of-pearl. Such objects are also on a course of deterioration. Heat and high relative humidity accelerate this process, as does light. Celluloid objects should be isolated, stored in ventilated and fireproof areas, and their condition carefully monitored. As they degrade, they emit gases that may harm adjacent objects or people. Celluloid should not be exposed to high levels of light, nor exhibited for extended periods of time. Cold storage may slow the deterioration process, but if objects are transferred to or from this environment, they must be carefully acclimatized.20

Weapons and ammunition. Assume that any firearm is loaded and any ammunition is live. Firearms should be checked and disarmed by a knowledgeable person. It is recommended that the firing mechanism be disengaged. Old powder horns may contain black powder that is still explosive; boxes of ammunition, grenades, and bombs may be very unstable and hazardous. "Cannonballs" may in fact be round shells that could still be live, making

should be inspected by local fire departments or military personnel. Disarming is preferred, but it may be necessary to destroy some items in the interest of safety. The cleaning of firearms may present other hazards, as the solvents used are flammable and emit potentially harmful vapors. Other kinds of weapons may present different hazards. Arrows or spears could have poisoned tips. Knife blades could be contaminated. All should be handled with caution.

Asbestos. Asbestos is a fire-resistant mineral fiber found in rocks. Even minute exposure to asbestos fibers presents a health hazard if inhaled. There is no safe level of exposure. Asbestos may be present in household appliances such as toasters, stoves, ovens and clothes dryers, in some ceramic glazes, and in some rocks such as serpentine. Asbestos was frequently used in construction, especially in wall, ceiling, and pipe insulation, in roofing material, shingles, siding, patching compounds, and floor tiling. Although many of these uses are now prohibited by law, asbestos is present in many buildings, especially those built or remodeled in the twentieth century before the enactment of regulations in the 1970's.21 If asbestos is present, but not fragile, it should not be disturbed. It should not be vacuumed, as this distributes tiny fibers into the air. These minuscule fibers may remain airborne for hours. The best course is to contact specialists to assist in determining a course of action.22 State or federal regulations may apply.

Toxic minerals. "At least 200 mineral species are known or suspected to be either very poisonous or cancer-causing."23 There is a wide variety of susceptibility among humans. Mineral fibers could be ingested if handled carelessly around food. Such fibers are hazardous if inhaled, some with low levels of exposure, others especially over long periods of time.24 Minerals could also be the source of radioactive emissions. Uranium minerals have been used in ceramic glazes such as some colors of the American Fiesta Ware of the 1940's and in some enamel jewelry.25

There is a variety of other potential hazards that might be found in museum collections, including lampblack and coal tar dyes (which are carcinogens), and canned tins of food (which have been known to leak or explode). The storage of large amounts of paper in a closed area can off-gas fumes that can cause ill effects on people.26 The tight construction of contemporary buildings has created a phenomenon known as closed building syndrome. The resulting internal circulation of air has in some cases led to discomfort and to chronic and acute illness of employees. Museum adminis­trators need to be aware of potential health hazards for their personnel. Appointing a health and safety officer could be one way to establish a program of identifying hazards, monitoring exposure, and developing a program to keep the workplace safe. There are legal as well as ethical reasons to establish such a program.

FURTHER ASSISTANCE There are numerous resources that can

provide assistance in managing the problems of hazards in museum collections. Tests can be conducted to detect the presence of materials such as arsenic, asbestos, or cellulose nitrate. Advice is available from several private and governmental agencies. There are supply houses that carry special equipment to reduce exposure to hazards, and there are many written sources that expand the informa­tion presented in this paper. A listing of such resources follows.

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RESOURCE AGENCIES Center for Safety in the Arts. This

organization (formerly known as the Center for Occupational Hazards) is the most comprehensive source of information concerning safety hazards. It offers numerous low-cost publications (a publica­tion list is available). The center's Art Hazards Information Center answers telephone and written inquiries about health hazards in museums and has a nine-page listing of occupational health and safety organizations, agencies, and institutions in the United States and Canada. The center also issues a newsletter, ART HAZARDS NEWS. (Copies of some issues and some of the center's publications are in the IHA circulating library.) Contact: Center for Safety in the Arts, 5 Beekman Street, Suite 1030, New York, NY 10038: (212) 227-6220.

The National Institute for the Conserva­tion of Cultural Property. This national organiza­tion has published a bibliography and a reference shelflist with thousands of bibliographic entries about conservation and maintenance of collections. Some entries deal specifically with safety issues. Many of the articles cited are available through the institute's Collection Care information Service for a small fee. Contact: NIC, 3299 K Street NW, Washington DC 20007: (202) 625-1495. Some articles are available from the IHA circulating library.

Cardinal Glennon Children's Hospital, St. Louis, MO. For Illinois residents, this is the nearest poison control center (PCC), accredited by the American Association of Poison Control Centers. Call (314) 722-5200.

National Institute for Occupational Safety and Health (NIOSH). This agency conducts research, answers inquiries, and conducts health hazard evaluations for work sites. Call toll-free, 1 -800-35NIOSH (M-F 8:00 AM - 4:30 PM EST).

NIOSH-funded Educational Resources Centers (ERC's). ERCs do research on occupa­tional safety and health. They can often provide technical assistance and information to employers. Contact: Illinois ERC, College of Medicine, University of Illinois, Box 6998, Chicago, IL 60680; (312) 996-7887.

Occupation Safety and Health Adminis­tration (OSHA). This federal agency enforces the Occupational Health and Safety Act by promulgat­ing health and safety standards, conducting inspections, and fining violators of OSHA standards. Contact: OSHA, 200 Constitution Avenue, NW, Washington DC 20210; (202) 523-8151; or Region V: United States Department of Labor - OSHA, 230 Dearborn St., Room 3244, Chicago, IL 60604; (312)353-2220.

OSHA State Consultation Services. This OSHA-funded, on-site consultation service provides free inspections of work sites at the request of employers. This is not an enforcement program or a part of OSHA. In Illinois, contact: Division of Industrial Services, (312)917-2339.

Society for the Preservation of Natural History Collections. A national organization with a biannual newsletter. For membership information, contact SPNHC Treasurer, Sue McLaren, 5800 Baum Blvd., Pittsburgh, PA 15206.

SUPPLY SOURCES Safety equipment may in itself present

hazards if used inappropriately. It's important to know when and what land of equipment to use for specific situations. Pamphlets such as those from the Center for Occupational Hazards describing the use of respirators, protective gloves, etc., should be consulted. The product engineering department of a supply house may provide additional information. All equipment should be NIOSH approved. Two such supply houses are: Lab Safety Supply Inc., PO Box 1368, Janesville, WI 53547-1368, phone 1-800-528-7405; for technical assistance call 1-800-

462-3140, or FAX (602) 438-1690.

Notes 1. Alison Gernsheim, Victorian and Edwardian Fashion: A Photographic Survey (New York: Dover Publications, 1963), 54. 2. Julia Fenn "Hazards in the Collection: Part One," The Journal of the Ontario Museum Association 17 (February 1989):31. 3. Robert Herskovitz, "Beware the Artifact: Hazards in Museum Collections," audiotape of session presented at meeting of the American Association for State and Local History, Oakland, September/ October 1986. 4. Michael McCann, Health Hazards Manual for Artists, 2nd ed. (New York: Foundation for the Community of Artists 1981). 5. Fenn, 31. 6. Angela Babin, "Research and Regulation on Mercury Paint," Art Hazards News 13, no. 9 (1990):3. 7. Karen Yager, "Health and Safety for Historic Structures Preservation," Center for Occupational Hazards Data Sheet (1986):5. 8. Fenn, 32. 9. Herskovitz. 10. Perri Peltz and Monona-Rossol, "Safe Pest Control Procedures For Museum Collections," Center for Safety in the Arts Data Sheet (1983):4. 11. Wendy Clare Jessup, "Pest Management Notes: Establishing a Pest Monitoring Program for Museums." Technical Bulletin 1, Oklahoma Field Advisory Service, a Program of the Oklahoma Museums Association and the Oklahoma Historical Society. 12. Peltz and Rossol, 4-5. 13. Herskovitz. 14. Fenn, 29. 15. Herkovitz. 16. Abbey Newsletter 13 (June 1987):53. 17. Fenn, 30. 18. Angela Babin, "Celluloid Film Hazards in Conservation," Art Hazards News 13,9 (1990)3. 19. Ibid. 20. R. Scott Williams. "Display and Storage of Museum Objects Containing Cellulose Nitrate." Canadian Conservation institute, CCI Notes, 15/3 (1988). 21. U.S. Consumer Product Safety Commission, U.S. Environmental Agency, "Asbestos in the Home," U.S. Government Printing Office (1985):2. 22. Ibid. 4 23. John H. Puffer, "Toxic Minerals," The Mineralogical Record (Jan-Feb 1980):5. 24. Ibid. 9. 25. Monona Rossol, "Radioactive Enamels Banned," The Young at Art Series, Art Hazards News 7, no. 8 (October 1984):2. 26. Herskovitz.

Suggested Readings Note: The following list of suggested

readings contains publications not cited in the notes above. An asterisk denotes that the item is part of the IHA circulating library and is available to borrowers. A more extensive list of readings (approximately ten pages long) is available from the IHA office. The IHA staff is available to assist in locating further resources dealing with specific problems.

•Bachmann, Konstanze "Construction Materials for Museum Storage." New York State Conservation Consultancy Bulletin 18 (1985).

*Bloomcamp, Lee. "Pest Control Problems and Pesticide Usage in Museums and Systematics Collections." ASC Newsletter 15 (1987):4.

*Center for Occupational Hazards. "Arsenic in Taxidermy Specimens." Art Hazards News 7, no. 5 (1984):4.

* Chemical Storage and Disposal in the Conservation Laboratory. New York: Center for Occupational Hazards, 1985.

* "Ethylene Oxide: Problems in Fumigation." Art Hazards News 5, no. 10 (March/ April 1982):3.

* Fire Prevention in the Conservation Laboratory, New York: Center for Occupational

Hazards, 1985. * A Health and Safety Program for

Conservation Laboratories. New York: Center for Occupational Hazards, 1985.

* . Solvents in Museum Conservation Laboratories. New York: Center for Occupational Hazards, 1985.

* , Ventilation for Conservation Laboratories. New York: Center for Occupational Hazards. 1985.

*Cumberland, Donald. "Paradichloroben-zene Residue." National Park Service Conserv-o-gram 3/ 9 May 1980.

*Hoy, D.L. and P.M. Catling. "Necklaces from Nature - Seed Jewelry." Davidsonia 12 (1981):3.

*Jenkins, Catherine L. "Textile Dyes are Potential Hazards." Journal of Environmental Health 40, no. 5 (1978):279-84.

•Keller, Gary F. "How Explosive Are Your Collections?" History News 36, no. 8 (August 1981):41.

McCann, Michael. Artist Beware: The Hazards and Precautions in Working with Art and Craft Materials. New York: Watson-Guptil, 1979.

* . Respirator Use in Conservation Laboratories, New York: Center for Occupational Hazards, 1986.

•McGarry, John H. III, et al. "Things That Go Bang." Audio tape American Association of Museums 81st Annual Meeting June 8-12, New York City.

•McGiffin, R. F. (1985). "A Current Status Report on Fumigation in Museums and Historical Agencies." American Association for State and Local History Technical Report 4:1-15.

* . Health and Safety in the Museum Workplace. Museum News 64 no. 2 (1985):36-43.

Muir, D. M. Lovell, and C. P. Peace. "Health Hazards in Natural History Museum Work." Museum Journal 80:205-6.

*Nagin, Deborah and Michael McCann. Thymol and O-phenyl Phenol: Safe Work Practices. New York: Center for Occupational Hazards, 1982.

*Peltz, Perri, and Monona Rossol. "Safe Pest Control Procedures for Museum Collections." Center for Safety in the Arts Data Sheet (1983):l-8.

•Puffer, John H. "Toxic Minerals." The Mineralogical Record (Jan.-Feb. 1980):5-11.

•Raphael, Toby, and John Hunter. "Use of Paradichlorobenzene in Museum Collections." National Park Service Conserve-0-Gram,3/12, October 1985.

Ripley, Warren. Artillery and Ammunition of the Civil War. New York: Promontory Press, 1970.

Rossol, Morona and Alice Netburn. Hazards of Dyes and Pigments for Museum Personnel. New York: Center for Occupational Hazards, 1986.

Ryckman, R. E. "Vapona for the Control of Museum Pests," Journal of Medical Entomology 6, no. 1 (1969):98.

*Smith, Garrick E., et al. "Visitor and Employee Safety in Museums." Parts 1 and 2. Audio tape. American Association of Museums. 79th Annual Meeting. June 10-14, 1984, Washing­ton, D.C.

*Williams, R. Scott. "The Diphenylamine Spot Test for Cellulose Nitrate in Museum Objects." CCI Notes 17/2. Ottawa: Canadian Conservation Institute, March 1988.

* . "Display and Storage of Museum Objects Containing Cellulose Nitrate." CCI Notes 15/3. Ottawa: Canadian Conservation Institute, April 1988.

Acknowledgments The following colleagues have provided

information about several of the topics covered in this technical insert: Thomas A. Reitz, Curator of Collections, Doon Heritage Crossroads, Kirchner, Ontario, Canada; Linda Norbut Suits, Assistant Curator of Decorative Arts, Illinois State Museum, Springfield; Timothy Talbott, Historical Interpreta­tion Coordinator, Early American Museum, Mahomet, Illinois; Barbara Zucher, Consultant, Carbondale, Illinois.

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