British Museum blog

Saving money: protecting the past from the future


Duygu Camurcuoglu, Money Gallery project conservator, British Museum

As project conservator for the re-display of the Money Gallery, it is my job to keep an eye on the ceramics, glass and metal objects going on show in June. While the re-display continues and the final work has started on the design of the gallery, myself and seven other conservators who are specialised in different materials (ceramics, glass, stone, organics, paper and prints), are responsible for checking through more than 1,000 objects to ensure they are in good condition to go on permanent display, so our visitors get the best out of these fascinating artefacts.

I joined the project in late January 2012 and since then I have looked at nearly 1,000 coins and objects mainly made from metal. There are 19 cases in total containing mixed materials and my responsibility is to check all the objects in these cases and direct specialist conservators to their related items.

Examining coins in the lab

Examining coins in the lab

Luckily most objects require only light cleaning or simple stabilisation work, but fragile objects needing more detailed work such as paper and prints are given more time to complete their treatments.

One of the most interesting parts of this project is to be in contact with other curatorial departments and see all money related objects from different parts of the world and from different eras. Even though the number of objects to be checked is very high, we maintain a good communication with the departments to complete the work on time while considering the requirements from specific curators. In the mean time, we give advice to the design team on the environmental conditions inside cases such as relative humidity and light levels as well as on the use of conservation grade case materials such as boards, tapes, fabrics and mounts, which must be used for the long-term display of the artefacts.

High relative humidity and light levels can cause problems on objects such as those made from metals, wood, paper and textile, while dry conditions can also be very damaging particularly on organic objects; the effects can be warping, shrinking or drying. Higher light levels can cause textile, paper and painted surfaces to fade away.

The most challenging situations take place when different materials are desired to be displayed in the same cases. For instance, an iron dagger with a velvet-covered scabbard from the collection of the Department of Asia, was assessed and we decided that the light levels should be minimum and the object should only stay on display for a year due to the vulnerability of velvet under display conditions. Relative humidity levels must be mid-range for textiles (40-55%), while iron requires the lowest levels as possible. In a situation like this, curators and conservators need to be in agreement, with support from the design team, that the display requirements for certain objects can be met.

Our work, of course, is not complete without monitoring the cases throughout the display, checking how the most susceptible objects react with changes in the case environment. Apart from the risk of very dry and damp conditions, fluctuations of relative humidity can create undesirable conditions for the objects and need to be addressed immediately.

Conservators, preventive conservation scientists and museum assistants work closely to make sure all the objects are safe and plan to deal with unexpected situations during the course of display. Small monitoring units for temperature and humidity will be placed in the cases in order to check the conditions regularly.

The conservation work on all the objects needs to be completed by the end of April, so time is tight! There will be many silver and gold coins put on display, mounted on new grey background fabric – and visitors will be able to really see their detail thanks to the way, particularly the silver coins, have been cleaned.

Most of the objects are now ready to be placed in cases and the conservation team will be on hand throughout to work with the museum assistants and curators, advising them on the safest display options while still giving visitors the best view of these objects.

The Money Gallery project is supported by Citi and opens in June 2012.

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Filed under: At the Museum, Collection, Money Gallery

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  1. hal says:

    thank you all workers in your museum very much !!!

    Like

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For our final #MuseumInstaSwap post we’re highlighting the 'Make Do and Mend' campaign of the Second World War, as told by our partner @ImperialWarMuseums in their #FashionontheRation exhibition.

The campaign was launched to encourage people to make their existing supplies of clothes last longer. Posters and leaflets were circulated with advice on subjects including how to prevent moth damage to woollens, how to make shoes last longer or how to care for different fabrics. As the war went on, buying new was severely restricted by coupon limits and no longer an option for many people. The ability to repair, renovate and make one's own clothes became increasingly important. Although shoppers would have to hand over coupons for dressmaking fabric as well as readymade clothes, making clothes was often cheaper and saved coupons. ‘Make Do and Mend’ classes took place around the country, teaching skills such as pattern cutting. Dress makers and home sewers often had to be experimental in their choice of fabrics. Despite disliking much of the official rhetoric to Make Do and Mend, many people demonstrated great creativity and adaptability in dealing with rationing. Individual style flourished. Shortages necessitated imaginative use of materials, recycling and renovating of old clothes and innovative use of home-made accessories, which could alter or smarten up an outfit. Many women used furnishing fabrics for dressmaking until these too were rationed. Blackout material, which did not need points, was also sometimes used. Parachute silk was highly prized for underwear, nightclothes and wedding dresses.

We've really enjoyed working with and learning from our friends at @imperialwarmuseums this week. You can catch up on all our posts and discover many more stories from London’s museums with #MuseumInstaSwap. © IWM (Art.IWM PST 4773 For #MuseumInstaSwap we’re discovering the street style of the Second World War in the #FashionontheRation exhibition at @ImperialWarMuseums. In this archive photo a female member of the Air Raid Precautions staff applies her lipstick between emergency calls.

In wartime Britain it was unfashionable to be seen wearing clothes that were obviously showy, yet women were frequently implored not to let 'standards' slip too far. There was genuine concern that a lack of interest in personal appearance could be a sign of low morale, which could have a detrimental impact on the war effort. The government's concern for the morale of women was a major factor in the decision to continue the manufacture of cosmetics, though in much reduced quantities. Make-up was never rationed, but was subject to a luxury tax and was very expensive. Many cosmetics firms switched some of their production to items needed for the war effort. Coty, for example, were known for their face powder and perfumes but also made army foot powder and anti-gas ointment. Make-up and hair styles took on an increased importance and many women went to great lengths to still feel well-dressed and stylish even if their clothes were last season's, their stockings darned and accessories home-made. As with clothing, women found creative ways around shortages, with beetroot juice used for a splash of lip colour and boot polish passing for mascara.

Discover more stories from London’s museums with #MuseumInstaSwap © IWM (D 176) In the @ImperialWarMuseums exhibition ‘Fashion on the Ration: 1940s street style’ we can see how men and women found new ways to dress while clothing was rationed. Displays of original clothes from the era, from military uniforms to utility underwear, reveal what life was really like on the home front in wartime Britain.

Despite the limitations imposed by rationing, clothing retailers sought to retain and even expand their customer base during the Second World War. Britain's high street adapted in response to wartime conditions, and this was reflected in their retail ranges. The government intervened in the mass manufacture of high street fashions with the arrival of the Utility clothing scheme in 1942. Shoppers carefully spent their precious clothing coupons and money on new clothes to make sure their purchases would be suitable across spring, summer and autumn and winter. Despite the restrictions, the war and civilian austerity did not put an end to creative design, commercial opportunism or fashionable trends on the British home front.

#FashionontheRation exhibition runs @imperialwarmuseums until 31 August.

Discover more stories from London’s museums with #MuseumInstaSwap. For our final day of #MuseumInstaSwap we’re learning about the Second World War @ImperialWarMuseums, and discovering the impact of the war on ordinary people. 
Clothes were rationed in Britain from 1 June 1941. This limited the amount of new garments people could buy until 1949, four years after the war's end. The British government needed to reduce production and consumption of civilian clothes to safeguard raw materials and release workers and factory space for war production. As with food rationing, which had been in place since 1940, one of the reasons for introducing civilian clothes rationing was to ensure fairness. Rationing sought to ensure a more equal distribution of clothing and improve the availability of garments in the shops.

As this poster shows, the rationing scheme worked by allocating each type of clothing item a 'points' value which varied according to how much material and labour went into its manufacture. Eleven coupons were needed for a dress, two needed for a pair of stockings, and eight coupons required for a man's shirt or a pair of trousers. Women's shoes meant relinquishing five coupons, and men's footwear cost seven coupons. When buying new clothes, the shopper had to hand over coupons with a 'points' value as well as money. Every adult was initially given an allocation of 66 points to last one year, but this allocation shrank as the war progressed. © IWM (Art.IWM PST 8293) This week on @instagram we’ve joined up with other London museums to highlight our shared stories. Our partner is @imperialwarmuseums, whose incredible collection brings people’s experiences of modern war and conflict to life. Follow #MuseumInstaSwap to discover some of the intriguing historical connections we have found, as well as insights into everyday life during wartime. As part of our #MuseumInstaSwap with @ImperialWarMuseums, we’ve been given special access to the Churchill War Rooms – located deep below the streets of Westminster.
This is Prime Minister Winston Churchill’s bedroom, which includes his private desk, briefcase and papers, his bed and chamber pot and even an original cigar! The bedroom is located close to the Map Room, keeping Churchill as close as possible to the epicentre of Cabinet War Rooms.
Following the surrender of the Japanese Forces the doors to the War Rooms were locked on 16 August 1945 and the complex was left undisturbed until Parliament ensured its preservation as a historic site in 1948. Knowledge of the site and access to it remained highly restricted until the late 1970s when @ImperialWarMuseums began the task of preserving the site and its contents, making them accessible to as wide an audience as possible and opening them to the public in 1984.
Discover more stories from London’s museums with #MuseumInstaSwap
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