PROCEDURES, WARNINGS, AND TIPS FOR END PROCESSOR

For examples of solutions to various housing and labeling, and other issues, see also:

General topics
(HD Format Restrictions)
Housing Solutions
Preservation / Conservation
Recycling and disposal
Sample Book (and rules) for non-standard labels and tabs
Single item manuscript end processing for the end processor
Supplies guidelines

(please also search "ctrl F" or scroll this page for additional topics)

• II. End Processor's Guidelines and Housing Solutions#Types of manuscripts 

  • audiovisual

  • digital and born-digital

  • photographic

  • printed material

  • realia

• Manuscript Formats

  • bound items

  • framed items

  • II. End Processor's Guidelines and Housing Solutions#matted items

  • rolled items

  • II. End Processor's Guidelines and Housing Solutions#spiral notebooks

• Manuscript Media 

  • metals

  • II. End Processor's Guidelines and Housing Solutions#paint

  • II. End Processor's Guidelines and Housing Solutions#plaster

  • powder-based

  • textiles

    
    

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General topics

ARCHIVAL ENVELOPES AS ENCLOSURES FOR MANUSCRIPTS
In general, we do not use archival envelopes of our own for permanent storage because pulling things in and out of an envelope can damage them. We prefer a 4-flap folder where the innermost flap completely covers the item, and extends to the edges of the inside of the folder. When we do use them for temporary enclosures (CMI, phase) for volumes that await boxing, we trim the top flap off so it doesn't catch on adjacent items.

DRINKING THERMOS FOR WATER
Though the library provides a kind of thermos that doesn't spill, there is still a danger of a small amount of water escaping after use, or condensation and making it's way to the bottom. So it is best to store drinking thermoses on a piece of blotter, and away from areas where collection material is spread out.  Storing it on the floor when not in use, behind a table leg, for example, is a good idea, providing one remembers to put it back when done. See also: VI. End Processing for Students, LHTs Temps, Part-time, and New Staff

FELT-TIP MARKERS (warning)
Felt-tipped pens can do a lot of damage quickly if the cap is left off and it rolls next to some manuscript material. The ink in the markers also migrates to adjacent material over time. Store them away from collection material.

FOLDED MATERIAL
Sheets within a collection are normally not unfolded. If an item has bent corners (dog ears) or other random creases, we generally do not unfold these, as they can break off. Also if we did this as a general rule, we would be spending a lot of extra time on something that is actually a preservation task, and potentially creating worse preservation issues by detaching pieces. If a curator wants a large poster flattened, we can use some simple weighting techniques during end processing, as long as the item isn't fragile or has other preservation concerns. If unsure, consult with preservation staff who can provide advice or humidification via the Weissman Center. See this slide show about the Santo Domingo poster project for some examples of flattening large rolled or folded items safely inside boxes using bricks and sheets of coroplast.
We do not make any new folds in manuscript material. That is we cannot fold something that isn't already folded in order to make it fit in a folder.

INTERLEAVING AND INNER PAPER FOLDERS
Use an inner paper folder when an item is in danger of shedding fragments, has a post-it, or is fragile or badly ripped. The folder will keep fragments together and will provide a backing for the ripped item to be handled safely. Use an inner folder also if an unstable item, such as a clipping or a sheet with stains from pressure sensitive tape, is offsetting to adjacent items. If there are a lot of such items in a folder, using single sheets of interleaving might make the contents less thick and easier to manage. An inner folder protects both the front and the back of a sheet. If, for example there is some pressure sensitive tape only on one side of a manuscript, a single sheet of interleaving may suffice. If a clipping is the last thing in a folder, one does not need to put any interleaving behind it because it is not offsetting onto anything but the folder itself.
If there is fragile media in a collection, such as photographs or drawing/pastel/painting, the item can be put into a completely separate folder if appropriate. The end-processor can change the number of folders for an item if necessary, annotating the finding aid for the cataloger to make changes at the end.
Mylar inner folders are sometimes used when paper is torn, as an alternative to repairing the item. They are expensive and add bulk, so are used sparingly. Do not use a mylar folder on pastels or other media that might be sensitive to static electricity. Consult the Preservation Librarian on current usage.
See also: GUIDELINES FOR TYPES OF MANUSCRIPTS, FORMATS & MEDIA / BOUND PRINTED MATERIAL.

LOCKED VOLUMES
If necessary, preservation staff can get someone to open a locked volume when a key does not exist, but care must be taken that it doesn't get locked again by mistake. Sometimes they simply remove hardware, Sometimes they just unlock the volume. One can often cut a very small piece of mat board to fit inside the locking mechanism. If a volume has a key but is not locked, it is best to store the key in it's own small inner enclosure, well-labeled, warning people not to lock it or use the key, and physically preventing them from using it. Such warning labels on the outside of the container are also advised. Early manuscripts often have clasps that keep them shut. If these don't shut properly, send the book to Houghton's preservation staff who may construct "mittens" to put over the metal parts, so they don't damage the volume while it is stored in its outer container. In these instances, generally a warning label isn't needed because it will be obvious what to do, or not do. We also generally don't feel the need to use unbuffered containers because of the metal locks or clasps.

MATERIAL DISCARDED FROM COLLECTION
Catalogers removed material not part of a collection before proceeding to end process the collection. Sometimes the curator is consulted, unless there are specific notes in the Manuscript Accession Spreadsheet. See also: Recycling and disposal : Waste Disposal.

MICROFILM LABELS
In the past, items that were microfilmed got small labels beneath the regular label that said: "Do not photograph Microfilm on file".  We no longer replace these stickers if they have fallen off, or if they get a new folder for some other reason.

MULTIPLE FOLDERS FOR ONE ITEM
The more folders an item is broken down into, the safer the handling. However, materials and space are expensive and scarce nowadays, so we don't break things down as much as we used to. The cataloger provides the number of folders for an item in the finding aid.

MYLAR FOLDERS
While end-processing, watch for any clear enclosures/folder/sleeves within a collection that are not archival. Such sleeves should match the brands we currently use, or be discarded. The manuscript end-processor should determine whether a sleeve is really needed, whether to isolate the item in a separate enclosure, whether to put other items in sleeves also, or to put the sleeved item also inside a paper folder so that it does not put surrounding paper items at risk via static electricity. We don't put mylar folders next to surrounding manuscripts because they can stick and then rip. Do not put any art media such as chalk or pastel next to mylar as it can get pulled off from the static. Photographs that don't fit into a photosleeve can be safely housed in a mylar folder. Mylar inner folders must always be the same size as the outer folder or enclosure. Consult Preservation Librarian about current use of folders. There may be a current preference for avoiding use with torn or fragmented/fragile material because of concerns about static disturbance, possibly since readers might open the folders, not realizing they are meant to stay closed. Our archival mylar folders are cut to the size of the 3-flap folders, and are not normally used with interleaving paper as an inner backing, as this would encourage people to open the folder to see what was on the verso of the manuscript, whereupon static could cause the item to rip. See also : Recycling and disposal : Waste Disposal

OLD BARCODES
Old barcodes from Widener transfers, etc. are usually lined through the code only with a fine-point black felt-tipped marker. This is best kept in a drawer, or special container on a shelf or other area where it will not come in close proximity with manuscript materials or be easily borrowed nd set down by someone passing through your workstation when you are not there. You should check with the cataloger before crossing out the barcode. They will have to make a note in their records and delete old records in Aleph, sometimes in conjunction with the printed books section.
When necessary, barcodes directly adhered to items can often be removed easily by preservation staff with a heat tool. Sometimes it is worth inquiring whether the curator or cataloger thinks the barcode should be removed.

OLD CALL NUMBERS
Years ago, it was library's practice to pencil in the call number on the item itself (often a single item, but these sometimes get added to collections later). The end-processor should look for that it and verify any of these old "recat. from" numbers, notifying the cataloger if there was any mistake in copying it into the records. Then the old number is carefully penciled through, if that has not already been done. A ruler is not necessary, but if one feels the need, probably a very thin, small, flexible plastic ruler would be best. But use judgement, i.e. don't use a ruler if you are going to need to place it on top of gold leaf or pastel or some other medium that might be damaged. We don't normally erase or re-write the new call number on the piece as we use printed labels instead nowadays. In the case of a single sheet that has no cover, the label on the outside of its folder is its identification. If the penciled call number is current, do not cross it out, however.

OVERSIZE AND ODD MATERIAL (pf, realia, etc.)
The manuscript end-processor should investigate materials that are too large to fit into the standard-size box. These are usually stored in larger "pf" boxes at the end of the collection. But sometimes items a cataloger has flagged as "pf" will actually fit in a smaller box, which is less of a labeling and storage challenge. Odd material such as all different kinds of objects are usually also stored at the end of a collection. Sometimes a small object will have to be pulled out of a regular size box and stored separately at the end, often with other objects from that collection. See also: GUIDELINES FOR TYPES OF MANUSCRIPTS, FORMATS & MEDIA.

PAPER CLIPS (metal)
Paper clips are almost always removed from manuscript material because they can make creases, marks, rust stains, and tears. They are removed by placing the manuscript leaves flat on the table, then holding down the longer end of the paper clip (which will be covered by the manuscript leaves) with your finger, and carefully pulling up the shorter end of the paper clip and bending it up until you can easily take it off without danger of tearing the paper.

PAPER CLIPS (plastic)
Plastic paper clips, cannot be bent like metal ones, but the same principle of lifting the two sides, rather than pulling them off applies. They must be removed because they cause tears. Do not use plastic paper clips to attach notes to any manuscript material. In fact, plastic paper clips are best thrown out or otherwise taken out of the library, unless instructed, as they are a danger to the collections.
 
PENS FOR MARKING FOLDERS
If there is ever a need to use pen to correct an acid-free manuscript folder, the Weissman Center (Alan Puglia) suggests using black (no other color but black) Sakura brand, Pigma Micron pens. We have 2 such pens for the supervisor's use. Like felt-tip markers, these pens can pose a danger and should be stored separately from collection material when not in use.

PRESSURE SENSITIVE TAPE
"Scotch tape" or "masking tape" is referred to as "pressure sensitive tape", meaning it adheres because pressure is applied to make it stick. If an item has tape on it, you may want to put them into an inner folder (of folder stock) if the adhesive is oozing out. Or if the adhesive seems dry and stable, you could interleave it on both sides with the correct size of permalife instead. For excessive tape, or badly oozing tape, make a note and tell the supervisor. We sometimes put them into a mylar inner folder to contain the adhesive and keep it and/or stains from the tape from migrating to other items. Do not try to remove tape. Keep in touch with Weissman Center for current protocols.
If you find tape whose adhesive has dried and it has "popped off" by itself, you should examine it carefully to see whether it has any text on it at all, any pencil, pen, or typing or marks. If it does, we should keep it, ask the supervisor what to do. If it doesn't, ask whether it's alright to throw it away. In some very rare instances, with items (like Yourcenar), which have lots of editing that uses scotch tape and small pieces of paper, conservators might find such a thing useful in order to restore the original order. But in most instance, we just throw away a piece of scotch tape with no text.

RE-HOUSING (TEMPORARY) FOR SPECIAL PROJECTS
In preparation for large digitization projects like Colonial North America, an entire collection may need to go to preservation. To assist Weissman Preservation Center (WPC) staff, the slide show:  Temporary housing for preservation projects demonstrates how a collection can be reboxed for travel and to accommodate necessary re-housing and re-labeling that will take place by end-processing staff when work is completed

WATER-BASED ADHESIVES
Use squirt bottle of water and paper towel to clean sticky fingers while working.
Clean bone or teflon folder, bowls, brushes with warm soapy water, and dry with paper towels.
Bowls and brushes are rinsed periodically with alcohol.
Do not set a water jar directly on a table.
Store the squirt jar of water vertically inside the plastic bin when not in use.

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GUIDELINES FOR TYPES OF MANUSCRIPTS, FORMATS & MEDIA

Certain kinds of materials should remain on-site. In the Conservation Overlap section is a list of Harvard Depository (HD) FORMAT RESTRICTIONS

Types of manuscripts (audiovisual, digital, photographic, printed material, realia)                                                     

AUDIOVISUAL MATERIALS

*NOTE: currently Preservation staff call these materials Time-Based Media to distinguish them from paper documents, books, photographs, manuscripts, artwork.

AUDIOCASSETTES : see Magnetic tapes

MAGNETIC TAPES : audio reels and audio and video (VHS) cassette tapes
Audiotapes, etc. are subject to condensation when moved to store offsite. Weissman has guidelines for audiovisual materials of all kinds. They recommend always making a preservation copy before sending off to HD. Until recently, we have kept this material onsite because all magnetic tapes are in a constant state of "decomposition". Protocols are now being established by experts at Weissman Preservation Center regarding sending material offsite, and the orientation of tapes in storage.  (When a single audiocassettte reel occurs among a collection, it can sometimes be housed in a simple 3-flap sleeve adhered to a stiff board and stored upright among papers, using standard acid-free materials.) They should be housed so they don't move around in the box. Various kinds of magnetic tapes include DAT (Digital audiotape); micro cassette--from hand-held recording devices; reel-to-reel tape; standard audio and video cassettes.

Consult current preservation specialists at Weissman, Elizabeth Walters or Melanie Meents, as needed. They recommend that magnetic tapes should be stored on either the short end or the long end of their spines (upright), but never flat, unless they are wound on "cores". If on cores they should be stored flat. Melanie and Elizabeth also recommend (zoom June 14, 2024) keeping the tapes in their original enclosure whenever possible, even if the enclosure is paper. If a tape does not have an external case or enclosure, use plastic VHS containers.

They also say that storing at HD is a good idea. And, that it’s also good to provide an extra layer of protection by packing individually housed media into Paige boxes. Open spaces can be filled with a crushed paper, or other archival cushion to ensure that the media remain vertically oriented in storage. Small-format cassettes (anything the size of an audiocassette or smaller), can be placed in a few smaller boxes before loading them into a Paige box if possible Consult the end processor about current supplies such as lantern slide boxes. Open-reel tape should ideally have a loose tape end anchored to the reel flange to help keep the tape pack from loosening during transport/in storage. If there is time for us to do this, ask the end processor about getting hold-down tape (from Splicit)---the ¼” version can be used for just about any width of tape.

MAGNETIC TAPES : audiocassettes
in general, especially if there are many, can be housed upright in a box so the exposed tape edge faces upward. Replace jewel-box type plastic covers with archival ones only if chipped, or if more protection is needed. Loose chips or fragments can fall into the tape and damage it.
See HOUSING SOLUTIONS : Vidal audiocassette presentation. We no longer send magnetic tapes to HD. They are stored onsite.  For an end processing example, see MS Am 3362 (Gore Vidal audiotapes).

MAGNETIC TAPES : videocassettes
Betacam or Video Home System (VHS); consult the Preservation Librarian. These should be stored upright and labelled along the edge for easy viewing. Videocassettes, in general, can be stored upright with the exposed tape edge facing up. Note whether there is a tab on that edge that needs to be removed to prevent taping over, and ask Preservation Librarian how to remove it. See also II. End Processor's Guidelines and Housing Solutions#movie film -  Consult Preservation about SOUND-ON film (i.e. "Super 8" movie film), as it is sometimes magnetic and should NOT go to HD .

MAGNETIC TAPES: reel-to-reel
Weissman Preservation Center recommends:

reels of magnetic tape should indeed be stored vertically in an individual enclosure. The only exception to this rule is that tape wound on cores should always be stored flat (horizontally), as there is no reel to support the tape pack. Also, the loose end of the tape really should be anchored to the edge of one reel flange. The best tape for this is hold-down tape, but in a pinch you could use a small piece of painter’s tape or other paper tape (making sure that the adhesive side does not come in contact with the side of the tape pack---just the very end of that outer loose end of tape that you are anchoring. I like this hold-down tape from Splicit in the ¼” size.

Regarding individual enclosures for tape reels, they like this one for ¼” open-reel tape: https://stilcasing.com/products/audio-tape-box/ in part because it latches securely closed.

If you are using a convention clamshell cardboard box, try to make sure that the opening is not facing down---it’s easier for the box to fall open when removing it from the shelf or a Paige box, etc. If you are using a loose-lid box (even less ideal), consider tying the box closed with cloth book tape. If you do this, make sure that the knot is on the top or side spine of the box so that it doesn’t put pressure on the flat side of the box (and the reel inside) if multiple boxes are packed or shelved side by side.

Magnetic tape on reels can definitely be sent to HD. However, if you are planning on long-term storage there, it’s especially important that each reel be housed in its own enclosure, and also that you anchor those loose tape ends to make sure that the tape pack doesn’t loosen and sag over time. Also, I’d recommend that you pack the reels into a Paige box, etc., making sure to use crunched-up paper or other spacers to ensure that the individual reel boxes remain vertical in storage.

PHONOGRAPH RECORDS
Phonograph records are stored upright and not sent to HD because of their fragility. They should be packed firmly with interleaving sheets of coroplast or archival board so that they stay upright and won't warp. There are boxes made especially for phonograph records. Each record should have an acid-free protective sleeve if there is no other sleeve protecting it. The catalogers will determine whether the original sleeves will be kept, and the Preservation Librarian can assist in determining whether the original sleeves can be housed next to the records. Consult Preservation Librarian about other specific storage methods for metal, vinyl, or wax records, and about new ways to house phonograph records in future.

Bound albums containing phonograph records sometimes fit better in an extra-tall document box rather than a phonograph album box. If one record is too large to fit even in the taller box, see the housing solution slide presentation for an oversize phonograph record album. This presentation was made before we stopped sending record albums to HD. We could come up with a better housing solution now, using a taller record album box.

There are now custom oversize prefabs for larger individual records. And, we keep several sizes and styles of box on hand. These boxes are also generally useful for other media, such as reel-to-reel tapes.

To choose the desired box, type:  HOU record

VIDEOCASSETTES: see Magnetic tapes

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DIGITAL AND BORN DIGITAL

PHOTOGRAPHS AND PHOTOGRAPHIC TYPES OF MANUSCRIPTS

Many early photographic techniques require special handling. Consult Conservation, who may suggest alerting the Photo Conservator at Weissman Preservation Center for assistance and advice. These are marked below, that will always need assistance, but also ask Conservation if there is any uncertainty about any particular photograph or technique.

PHOTOGRAPHS  *Consult Houghton Conservation with any questions. Weissman Center photo conservator can assist or advise.

Photographs are especially sensitive to fingerprints. To avoid the reader having to touch the surface, photographs are housed in archival photosleeves made of polypropylene  which are approved by Houghton's Preservation Department (see also: How to use Photosleeves.). Photographs that don't fit in these sleeves are stored sometimes in phototex paper, white archival folder stock, mylar folders (rarely), or alone in a single folder. Photographs that are too big for a sleeve, but that have white borders can sometimes be left as they are since fingerprints would only touch the border, and not the image itself. When handling photographic material directly, it is best, when possible, to wear the right size of nitrile glove, which will prevent fingerprints.
It is usually more efficient to have manuscript end-processing staff handle photographs, because photos rarely match the sizes of the enclosures, and lots of decisions have to be made such as whether the material that surrounds the polypropylene photosleeve is too fragile or thin and might either stick to it (by static) or be damaged by it. In such cases we might want to start a new box or folder at that point to avoid having to interleave or to allow a fragile item to be the first item on the pile in the next, rather than at the bottom of the first box. Also, if a box or folder becomes too full, we might decide to start a new one, which might affect whether they are stored in photosleeves or phototex paper, etc. The cataloger will not be able to foresee all these things, and neither will the end-processors until the time of actual end-processing. Having the manuscript end-processing staff handle photographs avoids having to re-do work and waste supplies.
Sometimes the photographs are interspersed within a thick folder of papers. As with most things we do, there are often several different potential solutions to a problem, and it is impossible to foresee exactly which one will work, or whether a new one will occur to us. 
Sometimes a decision is made to interleave with phototex paper instead of using photosleeves, based on the types of surrounding materials; or whether the photographs are a more-or-less uniform size and might fit better into a small 4-flap enclosure. The photo Conservator at Weissman has approved the use of our archival white 2-flap folders with photographs when standard supplies don't work. Interleaving isn't required between the photo surface and the folder. [This would be in the case where a photo is too large to fit into a photo-sleeve]. The phototex paper is very thin and better suited for flat storage of photographs.

According the the WPC photo conservator, if there are lots of same-sized photographs stored together, it is ok not to interleave them, as long as they are in an enclosure that is close to the same size so that they don't slide around a lot. And, as long as there are no other preservation issues that might transfer from one photo to another. Often a photograph on thick backing will need to have the individual sleeves cut down and folded under the edge so that they don't fall out. If the backing has a border of an inch or more, and supplies are low, and it is the only thing in the folder, it is ok to leave it without a sleeve or any sort of inner folder. The border will protect it from fingerprints. Because there are many such complicated considerations, it is best not to make decisions about housing photographs before the time of end-processing.

Standard-sized photographs in any manuscript collection here thus far are the exception. So, there are about 5 or 6 different standard-sized polypropylene photosleeves that we purchase, then cut the edges and fold them under the photographs to keep them from falling out. Only a photograph that fits exactly in the sleeve is in not too much danger of falling out. All others which are slightly smaller even, will start to slip out with the movement of the box off the shelf, etc. Also, there has to be at least 3/4 " flap to fold under or the flap will not hold either. So usually the Manuscript Assistant puts the photos into the sleeves, and the temp. or student does the clipping and folding.

We try to use sleeves with the most number of pockets per sheet as possible. Storing four photographs in one flat sheet uses space more efficiently than storing four photographs in two sheets; especially if there are hundreds of photographs in a collection. Anyone using photosleeves should first view How to use Photosleeves. See also : Preliminary Processing - Photo album (Nabakov)

PHOTOGRAPHS : chemical instablility
The main thing to watch for in any kind of photograph or negative is instability--meaning that an item is off-setting onto other items, or has adhesive or other sticky substances, or labels that could stick or off-set onto other items. If an item is cloudy, the image is otherwise obscured or seems like it might have mold on it, consult the Houghton Preservation librarian.

PHOTOGRAPHS : color
It's recommended that blueprints, cyanotypes (old blue photos), albumen prints (a photograph printed on paper that is coated with an emulsion of egg whites) and early color photographs be protected and stored in unbuffered material. HOWEVER, since that is time-consuming and confusing to students/staff, it is ok to store all photos in the same kind of materials, no matter when the photographs were produced, as long as they are stable (not fading or stained-looking), with nothing adhering to their surface.

PHOTOGRAPHS : identification
If there is uncertainty whether an image is a photograph or a half-tone, a lupe (8x) or illuminated microscope (30x) can be placed on top of a small sheet of mylar over the surface of the image. Photographs will not have regularly placed "dots" indicating a non-photographic process.

PHOTOGRAPHS : Polaroid
Use the same polypropylene photosleeves that are used for the majority of our photographs.

PHOTOGRAPHS : postcards
We don't put postcards in photosleeves unless they are actual photographs and not reproductions. If you can't tell, ask. We have a 30X illuminating microscope/8X magnifier that will reveal the many tiny dots of a half-tone, which indicates it is not a true photograph. Hold the tip of the magnifier slightly away from the surface of the postcard, or use mylar to protect as a barrier.
If there are many photographs that are postcards, ask the curator whether or not the postcards merit being put into photosleeves, because perhaps that image has been reproduced so often elsewhere that the photograph itself is unimportant. If so, it won't be necessary to spend so much time and use up expensive supplies on them.

Black and white, or color photographs go into the right size photosleeves, which are made of polypropylene, stored in boxes on the shelves in our workroom. Ask for a demonstration of how to use them, as it is not intuitive. Photos can also be safely stored in archival Mylar folders/sleeves.
When, a sheet of photosleeves is only partially filled, (for example, a sheet that will hold 4 photos is used to store an item that only contains 3 photographs), we use scissors to cut away the empty photosleeve. We save the unused portion of the photosleeve sheet in a black box in folders according to size. The reasoning is that if a reader sees an empty sleeve, they may waste everyone's time asking us to confirm whether something is "missing".
It is usually best to distribute all such fragments into these folders when done with a project as it becomes wasteful having them pile up without organizing them. And, it is less likely that someone will take the time to look through to find what they need. Keeping them in folders also prevents dust accumulation between projects. Storing them that way makes them much easier to find.
Photographs are usually stored flat, but sometimes we store them upright if they are mostly thick and in good condition, or if they are in photosleeves.

PHOTOGRAPHS : matted
Photographs that are matted are normally left as they are, unless the mat is very acidic and not relevant to the piece. Or it the mat is irrelevant and the photograph is not attached to it. Many factors, including the importance or condition of the collections come into play when making decisions about housing photographs. When a photograph is mounted on a stiff board, with a sheet of tissue tipped onto the top and covering the image, the tissue can often be removed with permission of the curator. The photograph can then be transferred to a polypropylene sleeve, which is the desired form of storage. Houghton Conservation can help if a mat is severely stuck down, but needs to be removed.

PHOTOGRAPHS : upright storage
We put photographs into photosleeves only if the processing level is 2 or above, or if there is some special concern. They can be stored upright if in good condition, or flat according to the needs of the rest of the collection. If they are moderately curled, putting them in many folders in a flat box may help keep them from curling more. If badly curled and in need of flattening, consult Preservation staff. If badly curled, single or in a block, storing flat with no weight is best.  If a photograph is a bit taller than the front of portion of an upright folder and doesn't fit in a photosleeve, we make an inner folder out of mylar, just slightly smaller than the outer folder. The inner folder can be the same height as the folder it is in. We try to make such folders uniform in size within a box, rather than have a lot of custom-sized inner folders of all different heights, even if it means that the photograph will sometimes be shorter than the inner folder.

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PHOTOGRAPHIC TYPES OF MANUSCRIPTS

AMBROTYPES  *see: daguerreotypes

DAGUERREOTYPES *Consult Houghton Conservation (Weissman Center wants to examine all new material or problems)
Daguerreotypes can be stored upright only if: (a) the original box is in good condition, i.e. hinges in good working order, cover not loose and (b) it is in an enclosure that has been custom padded-out for protection. Otherwise, they can be stored flat, also in a padded-out box, and it does not matter whether they are stored with the image facing up or down, even though salts or degradation products from the glass from falling on top of the image can cause damage if they are facing up. In most cases, however, it is preferable to have the image face up, so the reader can see it without having to open it and then close, flip over, and open again.

Daguerreotypes and ambrotypes should be shelved in the Houghton building when possible because the climate at HD is too cold and Pusey/Lamont has too much fluctuation in RH.

GLASS PLATE NEGATIVE
Must be stored upright. See also Lantern Slides.

GLASS LANTERN SLIDES
Consult Houghton Conservation (Weissman Center will want to provide specialized housing)
These are put into archival 4-flap folders, from preservation vendor. They come in various sizes. They should be stored upright. The Preservation Officer is looking into purchasing the right type of boxes, so should be consulted before proceeding.

MICROFILM
Old metal canisters, or paper reels can go into microfilm boxes/cartons. If going to HD, use tissue or some other method so that they won't roll around in the box. Microfilm CAN be sent to HD if it does not have a vinegar smell. See also "MOVIE FILM".

MOVIE FILM (16mm. etc.)
Movie film reels should be stored upright (according to the Preservation Librarian, though the Harvard Film Archive stores them flat). There is s new conservator/department that can be consulted about film, which they describe as "time-based media". If film is in good condition, stable, not warped, doesn't smell, is polyester-based, it can be sent to Harvard Depository, but if it is old or unstable-seeming in any way, ask Preservation for advice, as protocol can change. HD no longer keeps reels of film in "cold storage".  Films are either acetate, nitrocellulose, or polyester, it is usually best to consult the Preservation Librarian in general about film reels. Consult Preservation about SOUND-ON film  (i.e. "Super 8" movie film), as it is sometimes magnetic and should NOT go to HD

If the film has a strong smell that could be "Vinegar Syndrome" it may need to be tested for level of deterioration, and segregated or treated in a special way. Test strips (A-D) are used for this purpose. We have these strips on hand. Leave one in the box with the film for 24 hrs. then gauge the color of the strip against the chart or pencil that accompanies the strips. Our strips are kept in a plastic bag, hanging from the wire rack in front of the end processor's station. See the manuscript section's supply database for ordering information.

Some older microfilms are also subject to vinegar syndrome.

Interpreting A-D Strip Results (see website for color code)

NEGATIVES
In the past it was thought that since negatives are different than photographs chemically, they should be stored in a different sleeve made of polyethylene rather than polypropylene. However, the new photo conservator tells us that if we simply use Phototex paper (available from Archivart) rather than polyethylene to interleave or folder negatives, we can avoid doing damage to those few types of negatives that don't store well in polyethylene. Thus, we can avoid having to test each batch of negatives to see whether they are the ones that are the exception to the rule. We keep a pf size ream of this paper in stock.

SLIDES see HOUSING SOLUTIONS

TINTYPES *Consult Houghton Conservation if problems or questions, and to keep up with new procedures
Tintypes can be stored upright in a prefab, in an inner folder, with a phototex barrier. If too many to fit in a prefab, store in a card file box in individual folders upright on the long side. Pad out the box so they stay upright. However they must have enough slight pressure to make sure they don't wobble in transit. Whatever the stiff outer enclosure, it should be padded out, or double pre-fabbed, to keep it from getting bent or crushed. Tintypes can go to HD. 4-flap folders for glass slides, with an inner backing of acid-free matboard cut to size of the folder usually work well as inner folders.

X-RAYS
X-rays are treated like negatives. It is best to store negatives in paper that does not have a watermark. Thus far, the only paper we have is phototex. If we need to use stiffer paper on a rare occasion, we use white acid-free folder stock. Since phototex is such a thin tissue, we often make a 3-flap folder which is the same length as the longest dimension of the enclosure.

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PRINTED MATERIAL

Note: a long-standing rule in libraries is to not store bound (printed or otherwise) volumes on their front board edges. We are obligated to make sure all staff and patrons are aware of that. Use SPINE MUST FACE DOWN labels whenever bound volumes are stored upright in this manner (normally inside a box).

BOUND MANUSCRIPTS : with inserts
Sometimes a printed book is heavily annotated or with many inserts, and cataloged as a manuscript. Likewise, diaries, scrapbooks, etc. with any sort of inserts always need to be in an enclosure so the inserts don't fall out. Try to estimate the thickness of paper that would be added to the volume if you were to interleave every page. This might be so much paper that it would compromise the structure of the binding. But if it is just a few pages and doesn’t seem like it would harm the binding, you could interleave. If the binding is already somewhat compromised, you may choose not to interleave. Removing inserts to be stored in a prefab along with a volume in a single box is an option. Consult with supervisor or curator first. Inserts can include clippings, paper notes, plant specimens, hair, etc. See also: BOUND PRINTED MATERIAL with inserts, The solutions are the same.

BOUND PRINTED MATERIAL : stored upright
Sometimes annotated books are found in a manuscript collection. If these are too tall to stand normally inside a carton or document box, or if the bottom of the text block is flush or slightly longer than the bottom edges of the boards, let the volumes rest on their spines within the folder. If they are stored with the spines up, it will put pressure on the boards and they will eventually detach. If the book is in good condition, and has no inserts, it can be housed upright by itself as an MS or GEN. BE SURE to use stickers on the outside (and inside if possible) of each box that say SPINES MUST FACE DOWN. If the volumes are in folders, it's a good idea to also put a sticker on each folder, unless the collection is unusually large and it would take too much time.

BOUND PRINTED MATERIAL : stored flat
Sometimes there are many books in a collection of mainly papers. They can be stored flat in separate piles within a box with a divider to keep them from abrading each other. Often a tab that is the full width of the volume and the width of the box, and of a slightly stiff material, is made to keep them from moving around too much in the box. They can be treated in the same way as bound manuscripts. Books within a collection that is mainly papers and letters are not plated. Sometimes a small label is put into the back of the volume, however, as would be the case with a bound manuscript within a collection.

BOUND PRINTED MATERIAL : with inserts or clippings
As with bound volumes that are not printed, such as diaries, inserts like plant specimens, acid notes or clippings can go into a special thin, non-watermarked interleaving paper or transparent paper from the Weissman Center, or sometimes into a mylar folder, and usually kept in their original locations. Cut the thin paper folders precisely to the size of the text block. Such items, if housed separately, should always be boxed so inserts don't fall out. If there are a lot of inserts, you might decide not to interleave so as not to compromise the structure of the binding.

BOUND PRINTED MATERIAL : pamphlets
Staples that are part of the binding are not removed from pamphlets. But they can be folded flat, at the staple, in order to reduce the thickness of a folder if necessary. They can be stored either upright or flat.

BOUND PRINTED MATERIAL : periodicals
If they are large and to be stored upright, make sure they are very secure inside the box so they do not curl. We do not put labels or donor plates into magazines. Care should be taken in the placement of the folder if the periodical is to be stored flat. If it would cause contiguous items to warp, then they can be stored on the top of the pile inside the box with a "keep on top" label on the folder.

CLIPPINGS
For levels 2 and 3 processing clippings might need to be unfolded and interleaved, especially if they are already turning brown and offsetting onto adjacent material.  Use the slightly trimmed (shorter) larger sheets of permalife  (8.5x14") that the end processor can provide. Or if an inner folder is required, use the next size larger permalife (11x17"), folded in half, to separate clippings from other material. Note that Permadur paper is an older equivalent to permalife, and is ok to use/use up. Both these papers have a watermark, however, which is suspected of possibly offsetting onto early manuscripts. So for those the end processor may use a paper with no watermark, selected by the Weissman Center.

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REALIA

DEATH/LIFE MASKS : originals or casts of face and other parts of body
Whether plaster or metal, these are all to be stored in the VAULT together, usually in a "hat" box, padded with volara or acid-free tissue, and with tissue as a "base" for the hollow area. Consult Conservation for difficult pieces. Metal should be stored in unbuffered boxes if possible. If not possible, surrounded with tissue.   See also:  plaster.

FLAG 
(Housing Solution for a flag).

HANDCUFFS, SWORDS and WEAPONRY

MATCHES  See also MANUSCRIPT MEDIA, powder-based

METAL ARTIFACTS

MIRRORS
Can be housed in unbuffered tissue: the same kind used for textiles. WPC says that buffered tissue would have calcium in it that could be abrasive to mirror. The Harvard Theatre Collection has some mirrors with elaborate metal frames. If intricate or problematic, it would be best to consult Preservation for advice on what materials to use for housing.

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Manuscript Formats (bound, framed, matted, rolled, spiral notebooks, etc.)

BOUND MANUSCRIPTS

FRAMES AND DEFRAMING

MATTED ITEMS
Matted items can go into folders along with the rest of a collection as long as they are roughly the same size as most of the other items within the box, and do not present any other apparent dangers to surrrounding material. If a large part of a collection is matted, or if the matted item is likely to be exhibited some day, we might go so far as to put a sheet of transparent paper interleaving behind the mat, and put an additional label with a water-based adhesive on the verso of the mat, or inside the mat below the hinged item, so there is no problem identifying it during the sometimes harried process of installing an exhibit, when folders can get separated from items.
If a mat is acid or in bad condition, the curator or cataloger may approve discarding it. This is most often the case, as mats present storage problems within a box. Old hinges can be carefully cut off above the edge of the sheet with a scalpel or sharp olfa cutter. The curator or cataloger may want text photocopied for the curatorial files before discarding old mats. This is a task the end processor normally carries out.

PHOTOGRAPHS: matted  (see PHOTOGRAPHS)

PALM LEAVES : string

ROLLED ITEMS

SPIRAL NOTEBOOKS (metal or plastic)
Many spiral notebooks will fit in the largest size of prefab. This will protect the materials that lay both underneath and on top of it from being dented by the metal or plastic. The largest pre-fabs are slightly shorter then the ms. boxes, but not too short to be used inside the box as if it were another ms. folder. However the width must be trimmed about 1/8 of an inch in order to be able to close the box. It might be best to use a metal ruler and olfa cutter to save wear on the paper cutter on the work table. Try to cut as close to the inner folder as you safely can. If you are using clam-shell boxes you won't have to trim the pre-fabs--but you will if you are using some of the older boxes, as most are slightly smaller inside.
The green paper cutter is not strong enough or large enough for cutting thick board like this. Always trim the pre-fab empty of contents, or you could end up cutting off the edge of a manuscript.
If stored upright, spine should be facing down, and be sure to accurately crease the bottom of the folder it is in. If this seems to present problems to rest of material, make a stiffer folder for it, or consider whether it could be stored with the spine up instead. If stored flat, you may have have it on top of the pile with a label "keep on top", unless it does not seem like it will damage other material or be damaged. One could pad out the area of the protruding spiral with board, but it is very time-consuming and materials are costly to do this routinely for large collections.

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Manuscript Media (metals, paint, powder-based, plaster, textiles, etc.)

METALS : artifacts
Such as handcuffs, swords, etc. (see: bMS Am 2373) have been housed in unbuffered 6-pack microfilm boxes from metal edge. A cushion or ring base can be formed out of the UT30500R Acid-free unbuffered tissue from Gaylord's. Buffered boxes can also be used as long as it is lined with acid-free unbuffered tissue. Consult Preservation if any unusual concerns about condition, etc. Metal objects are best stored in unbuffered boxes, but we don't keep a stock of these, so alternately, they can be wrapped in unbuffered materials to make corrosion less active, like tissue. Sometimes a ziplock bag might be acceptable, though bags in general are less desirable than folders/boxes that don't require pulling the item in and out. For objects, it is sometimes alright to do so. Here is an informative website to browse.

METALS : copper on wood blocks (see also HOUSING SOLUTIONS)
Copper plates, mounted on wood, used in book illustration, should be stored in boxes small enough that weight is not a problem. They should be on their sides, rather than laying flat, so that the surface is less likely to be damaged from pressure. They should have either full individual folders or 2 pt. board or mat board interleaving, rather than corrugated board, as corrugated might make an uneven impression on them. And they should be stored as firmly pushed together as possible so they don't move much, though not so tightly that they are exerting pressure on each other and on the box.
As far as buffered, non-buffered, Weissman Preservation Center (WPC) does not specify one or the other, just to use the usual materials we have on hand, i.e. the mat board and the 2 pt. board that is used for most everything else. Check with preservation staff if concerns about other metals. Copper plates mounted on wood should not go to HD because wood is on the HD restrictions list.


PAINT (flat storage)
Small oil paintings on canvas should be put flat in a pre-fab  or inner pre-fab so that they won't be exposed to pressure or accidental bending that might cause the paint to flake off. Canvas stretched on a wooden frame must stay onsite, partially because wood contracts and expands, which would also affect the paint. Wood and oil paint are some of the materials we do not send to the Harvard Depository. They should be boxed and stored flat onsite. Water-based paints (acrylics, watercolor, poster-paints, etc.) should be separated from other materials by interleaving at the very least. There is no need to use special folders or prefabs unless the paint has a thickness to it that looks as if it might be damaged by pressure or bending. For oil paintings on stretched canvas that are framed, consult preservation staff about whether to store flat or upright/hung.

PLASTER
Plaster death/life masks, plaster casts of other body parts, sculptures, etc. can be put into a box that has about 1/4" thick ethafoam or volara bottom and beyond that, a "ring" made of unbuffered acid-free tissue tied with linen tape (mentioned also under "metal") can be put on the bottom as a base to keep items steady. Lately, preservation staff have been devising a customizable box for delicate objects. So if the item is in any way delicate, consult with them first.

POWDER-BASED MEDIA :  flat storage
Artwork or important/fragile manuscripts that use charcoal, chalk, pastel, other powdery media should be put in a specially cut mat and then housed in a pre-fab (if they fit) so that nothing touches the surface. It is best if they are stored at the top of a box so there isn't excessive weight on them. Use a pre-printed "KEEP ON TOP" label. Do not use mylar or mylar-like material next to such items as static may pull some of the powder off the surface. Check with Houghton's preservation office before putting any kind of protective paper inside the mat as well.

POWDER-BASED MEDIA : realia
Matches are sometimes part of a collection. Matches can often be removed from their boxes, or removed from a packet by taking out a the staple and then discarding them, saving any text that would be on the outer packaging. The possibly flammable tips are powdery and may flake off onto other items in the collection though. Another solution is to cut off and discard the tip portions. Preservation staff have consulted with experts and advise that flammability would not be a concern, as the powder would likely be inactive.

TEXTILES
Crumpled unbuffered acid-free tissue, rolled into snakes, can be put inside clothing next to folds, since that is where damage usually first occurs. Leave items as unfolded as possible. You will need larger boxes than usual for costumes, etc. The box doesn't have to be unbuffered, as long as there is unbuffered tissue between the item and the box. Use the large roll of tissue we keep in the manuscript end-processing work room. Procedures may change if the Library were to hire a textile conservator.

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