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CULTURAL HERITAGE PROTECTION HANDBOOK 3DOCUMENTATION

OF ARTEFACTS’ COLLECTIONS

Printed in 2007 by the :United Nations Educational, Scientific and Cultural Organization

7, place de Fontenoy, 75732 Paris 07 SP, France© UNESCO 2007(CLT/CH/MUS-06/19)

Reproduction is authorized, providing that appropriate mention is made of the source, and acopy sent to the UNESCO (Paris), address below. This document should be cited as :© UNESCO, 2007. Cultural Heritage Protection Handbook N°3. Documentation of Artefacts’Collections, UNESCO, Paris.

Editor : Anna Paolini

Editorial assitants : Malda Jabbour , Lise Macdonald

Text by : Matthew Stiff

Drawings by : Beatrice Beccaro Migliorati

CLT-2007/WS/05

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INTRODUCTION

This booklet is intended for all who collect and are fond ofitems of social, artistic and/or historical significance, as well asthose in charge of public or private collections of such items.

This booklet focuses on principles of documentation. Certainmeasures are directed towards institutions with equipment and personnel not within the means of private individuals. However,these recommendations embody levels of best practice which oneshould endeavor to reach as far as possible.

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Proper documentation will allow a museum to : • know what it has in its possession• know if anything is missing• know where objects are located• prove ownership of objects• create and maintain information about

collections

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Documentation is the process of recordinginformation about the collections for whicha museum or cultural institution is responsible.

WHY DOCUMENTATION IS IMPORTANT

Standardising the structure of records andthe terminology helps to ensure :

• reliability of information• ease of sharing• consistency of records• improved access

Objects should be documented consistentlyusing recognised standards. These havebeen developed by national and internationalorganisations, including ICOM and UNESCO,and will help you.

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DOCUMENTATION STANDARDS

It is a good idea to have an accurate anddetailed description of your object in case itis lost or stolen.

It will also help you to recognise it and distinguish it from other similar objects iffound.

Object IDThe following guidelines are based on aninternationally-recognised standard calledObject ID.

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DESCRIBING AND CATALOGUING OBJECTS


MaterialWhat materials is the object made from? Is it :

• stone?• ceramic?• bronze?• wood etc.?

Object TypeYou will need to record the type of objectyou are describing. For example, is it a :

• sculpture?• vase?• painting?• manuscript?• item of jewellery (necklace, brooch etc.)?

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DimensionsWhat are the measurements and units of mea-surement of the object? Include as appropriate :

• height• width• depth• diameter

You may also want to include the weight of theobject.

TechniqueWhat techniques were used in the productionof this object? Was it :

• carved?• cast?• painted?• printed etc.?

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Distinguishing FeaturesAre there other features about your object thatcould help to identify it? These could include :

• damages• repairs• modifications• manufacturing defects

Inscriptions and MarkingsDoes the object have any clearly identifiablemarks or inscriptions? These could include :

• maker’s mark or stamp• printed or inscribed text• signatures• assay marks• identification numbers (e.g. a museum

accession number)

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SubjectIf your object is an artwork, what does itdepict or represent? Examples could include :

• the pyramids at Giza• mother and child• landscape with mountains etc.

Title Does your object have a title? This is oftentrue of artworks and may help in the identification of your object if lost or stolen.

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MakerWho was the object made by? This could be :

• an individual (painter, sculptor, furnituremaker etc.)• a company• a cultural group (particularly useful fordescribing ancient artefacts)

Date or PeriodWhen does the object date from? When was it made?

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Short DescriptionWrite a short description of the object including any other information that will helpto identify the object. This could include :

• colour• shape• where the object was made (if known)


Additional PointsIf your object consists of more than one part(e.g. a set of furniture), you may need todescribe each part separately. You may also want to photograph yourobject and record information about its storage requirements.

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Size and ColourIt is a good idea to include a scale in your photograph to show how large the object is. Aruler will do. If possible, include a colour chart. This willallow colours to be properly determined. Blackand white photographs can use a grey scale toallow the correct tones to be determined.

Photographing your object will help in identification if it is lost or stolen.

Photographs can also reduce the need tohandle fragile objects, preventing unnecessarydamage.

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PHOTOGRAPHING OBJECTS


Lighting ObjectsTry to use the right kind of lighting for theobject you are photographing. It is worthgetting advice from an experienced photographer.

Identity NumbersIf the object has a unique number by whichit can be identified (e.g. a museum accessionnumber) it is a good idea to include this inthe photograph.

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Photographing Two-dimensional ObjectsObjects such as paintings, prints, drawings andtextiles are best photographed head on. Wherepossible, remove pictures from walls, layingthem flat and photographing from above.If necessary, photograph the reverse side ofthe object to show any distinctive markings orfeatures.

Choosing the Right BackgroundObjects are best photographed against aplain white backdrop. This is particularlyhelpful in ensuring the correct colourbalance is achieved.

Darker backgrounds should be used if it isnecessary to provide contrast.

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Photographing Three-dimensional ObjectsTry to convey the overall shape of the object.To do this, photograph it from above, showingthe top, front and one side. You can takemore photographs to show any parts of theobject not visible.

Photographing Carved or Cast surfaces andReliefsAlthough these are best photographed headon, like paintings or prints, it is also a goodidea to take other pictures from angles torecord the depth of the object.

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Ownership and Intellectual Property RightsLaw on rights management will vary fromcountry to country and cover more than justownership. Although you may own a paintingor sculpture, you do not necessarily own theintellectual property rights to it.

Photographing Damage and DistinguishingFeaturesAs with written descriptions, it is a goodidea to photograph any distinguishing blemishes or features that will help to identifythe object.

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MANAGING INTELLECTUAL PROPERTY RIGHTS

MANAGING INTELLECTUAL PROPERTY RIGHTS

Waiving RightsIn most cases, photographs taken by anemployee of a museum will belong to themuseum. However, if you use a freelance photographer you will not necessarily own therights to the images. If necessary, get the photographer to sign a form waiving theirrights.

Establishing RightsIt is important to establish who owns thereproduction rights to an object or image incase you want to reproduce it in the future.This should be carefully documented.

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Keeping your Information in OrderComputer databases take up less space thanpaper-based recording systems, allowingbackup copies to be made. They also makeit easy for information to be stored in anordered and structured manner and allowfor fast searching and retrieval of records.

Increasingly museums and private collectorsrecord information about their objects usingcomputerised databases.

There are many companies supplying collections-management software as well assome simple shareware applications availablefor free.

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COMPUTERISED DATABASES


Sharing InformationDigital information is easy to share, allowingphotographs and descriptions of items to besent to researchers, the police or internationalbodies such as UNESCO.

Linking InformationMuseum collection management systems allowinformation to be linked to digital images of theobject. Most databases also make it easy to storeinformation about supporting paper-based documentation.

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OBJECTS ENTERING THE MUSEUM

When an object enters a museum, information about it should be recorded ona form.

This will capture important informationabout the object, as well as acting as areceipt for the depositor.

Multiple Uses for InformationInformation held in databases can be reusedin many different ways, including creatingcatalogues, exhibition texts or on-line exhibitions.

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Object Entry NumbersThe number from the Entry Form can beused to uniquely identify the object. If more than one object is recorded on thesame form then sub-numbers can be used(e.g. 00301.1 & 00301.2 etc.).

Object Entry Forms Ideally these should be pre-numbered andprinted on carbonless copy paper.The top sheet is retained by the museumand stored in the object-entry file.One copy should be provided to the depositor.The second copy should be kept with theobject.

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Establishing Ownership RightsIt is a good idea to check whether or not thedepositor wants the object to be returned. Ifnot, you may want to ask the owner to transfertitle of the object to the museum (see“Acquisition”). If you then don’t want to keepthe object you will be free to dispose of it appropriately without further consultation (see“Object Disposal”).

Owner and DepositorYou will need to record the name and addressof the owner of the object, as well as that ofthe depositor as these will not necessarily bethe same. Ask the depositor to sign and date the EntryForm. A representative of the museum shouldalso sign to confirm that the details recordedare correct.

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Capturing Important InformationTry to capture as much information as possible when the object enters a museum. If you are bringing an object into a museumfor donation or as a loan, remember to bringany relevant details or documents with you.

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Reason for EntryRecord the reasons why the object has beenbrought into the museum. These mayinclude :

• offer for donation• purchase• loan• identification

ACQUIRING AND ACCESSIONING OBJECTS


Other DetailsOther details may include :

• a brief description of the object • insurance valuation• price (if purchased or offered for sale)• copyright holder (see “Rights

Management”)• agreed return date

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Museums need to be able to establish title tothe objects they own. This means recordingany transfer of ownership.

Accessioning is the process by which anobject becomes a formal part of themuseum’s collection.


Reason for AcquisitionNot all objects are acquired by museums foraddition to the permanent collection.Instead, they can be used for handling orteaching collections. The reason for acquisition should be recorded on theObject Entry Form (see “Object Entry”).

Transfer of Title FormsAlthough transfer of title can be recorded onan Object Entry Form (see “Object Entry”) itis often better for ownership to be establi-shed using a separate form. This shouldinclude the current and new owner anddetails of any payments made.

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Loan AgreementsWhen your museum borrows an object, tryto establish a proper loan agreement, signedby both the museum and lender. Loansshould ideally be for set periods of time,although these can be extended or renewed.Long-term or open-ended loans are bestavoided wherever possible.

Accession RegisterAccessioned objects should be recorded in the museum’sAccession Register. This is an unalterable written recordof the museum’s collection and exists in addition to thecatalogue or computerised database. Includes :

• initial storage location• entry number• accession number• date accessioned• person or organisation received from• brief description

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BORROWING OBJECTS

BORROWING OBJECTS

Filing Loans RecordsAs well as keeping loan agreements in theobject’s history file, copies can also be stored in a “Loans In File” in return dateorder. This will allow loans to be monitoredand renewed more easily.

Recording LoansThe museum’s database or catalogue shouldrecord :

• the name of the lender• duration of loan• Eexpected return date• standards of care • responsibility for conservation• insurance arrangements • transport arrangements

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LOCATION AND MOVEMENT OF OBJECTS

Recording Storage LocationsTry to assign each object a normal storagelocation. You will then know where it shouldbe returned to if it is taken to a new, temporary location.

Museums need to be able to account forobjects in their care. Controlling the locationand movement of objects will ensure thatthey can easily be found and losses quicklyspotted.

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LOCATION AND MOVEMENT OF OBJECTS

Proxy CardsWhen an object is temporarily moved it is often agood idea to leave a card in its usual location.This should include :

• identity number• object name• date removed• new location• name of remover• expected return date

Updating the CatalogueIt is a good idea to record object movementson the museum’s catalogue or database.This should include changes to normal locations as well as temporary movements.

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Recording Condition AssessmentsThe condition of the object can be recorded onthe museum’s catalogue or database.Remember to update your records if any alterations to the objects storage conditionsare required. It is a good idea to record the name of the personcarrying out the check, along with the date.

Checking the ObjectObjects need to be checked regularly toensure that they are not deteriorating. It isalso a good idea to check them before leaving the museum on loan or for conservation (see “Object Exit”). This willallow any damage to be easily detected.

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OBJECT CONDITION CHECKING

Recording Loans to OthersThe museum’s database or catalogue shouldrecord :

• the name of the borrower• duration of loan• expected return date• standards of care • responsibility for conservation• insurance arrangements • transport arrangements

Loan AgreementsObjects lent by museums should be the subject of proper loan agreements signed bythe museum and borrower. Loans shouldideally be for set periods of time, althoughthese can be extended or renewed. Long-term or open-ended loans are bestavoided wherever possible.

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LENDING OBJECTS

Dealing with Unwanted ObjectsOccasionally a museum will want to disposeof an object. This is usually because it no longer fits in with the museum’s collectingpolicy or because it would be better to transfer it to another museum. The actualexit of the object should be recorded on anExit Form (see “Object Exit”).

Filing Loans RecordsAs well as keeping loan agreements in theobject’s history file, copies can also be stored in a “Loans Out File” in return dateorder. This will allow loans to be monitoredand renewed more easily.

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LENDING OBJECTS

DISPOSING OF OBJECTS

DISPOSING OF OBJECTS

Museums need to be able to account for all objectsleaving their care. This should be recorded on anExit Form, as well as on the computerised database if it exists. If an object is returned to its owner (e.g. if it is aloan or unwanted gift) then an Exit Form is notusually required as its return can be logged on the original Object Entry Form.

DeaccessioningObjects forming part of the museum’s permanent collection and that the museumworld like to dispose of will need to be deaccessioned. Remember to record this inthe accession register and the databasealong with the reason for disposal.

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OBJECTS LEAVING THE MUSEUM


Remover and RecipientIt is a good idea to record the name andaddress of the remover of the object as well asthat of the recipient, as these will not necessarilybe the same. Ask the remover to sign and date the ExitForm. A representative of the museum shouldalso sign to confirm that the details recordedare correct.

Exit FormsIdeally these should be pre-numbered and printedon carbonless copy paper. The top sheet is retained by the museum and stored in an Object Exit File. A copy should beprovided to the recipient. If the object has beenloaned out, a second copy can be stored in returndate order in a Loans Out File until the object’sreturn.

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Object InformationThe Exit Form should include key informationabout the object including :

• a brief description of the object• identifying number• insurance valuation• conditions governing removal• agreed return date

Reason for RemovalRemember to record the reasons why theobject is leaving the museum. These mayinclude :

• transferral *• loan out *• destruction *

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Return of ObjectsIt is a good idea for the original Exit Form tobe signed by a museum representative torecord when an object is subsequently returned to the museum (for example if ithas been loaned out or sent for conservation).

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