Contents
1. Introduction -1-
Manual Mission Statement -1-
Acknowledgments and Personnel -1-
Project Scope and Background -1-
Collection Conditions at Onset of Project -1-
2. Collection Processing Procedures -2-
Initial Survey -2-
Identifying Collections: Provenance and Original Order -2-
Definition of Collections -2-
Identification of the Museum's Collections -3-
Some Examples of Collections -3-
3. Accessioning Collections -4-
The Accession Form -4-
Donor Forms -4-
Assigning Collection (Catalogue) Numbers -4-
4. Collection Description and Finding Aids -5-
Collection Description -5-
Finding Aids -5-
Database Entry -5-
Advantages of a Database Approach -6-
5. Preservation Concerns -6-
Northeast Document Conservation Center -6-
Stabilizing Photographs -7-
A Word of Caution -8-
6. Collection Use -8-
Promoting Collection Use -8-
Reproduction of Photographic Materials -9-
Copyright Issues -10-
Scanning -10-
Security -10-
Appendix I: Cataloging Projects -12-
Appendix II: New Acquisitions -13-
Appendix III: Sample Forms -14-
Appendix IV: Bibliography -19-
Appendix V: Organizational Resources -20-
Appendix VI: Archival Product Vendors -21-
This manual is intended to provide information and guidance for the staff of the Roger Williams Park Museum of Natural History and Planetarium in maintaining, adding to, and doing reference work with, the photograph collections in the museum archives. It is hoped that it will also be of use to other repositories which have similar collections or may be considering similar projects.
This manual, and the project from which it results, was carried out with the aid of funding from the Rhode Island Committee for the Humanities in the form of a humanities resource grant.
Many hands helped make this project happen, including Project Director Marilyn Massaro, Curator; Jennifer Hope Antes, Associate Curator; Michael Umbricht, Website Coordinator; and Joanne Wilcox, Museum Office Manager of the Roger Williams Park Museum staff and Elizabeth Balcom, Project Archivist/Consultant. Interns Wendy Farrell from Rhode Island College and Paula Stiles from the University of Rhode Island School of Library and Information Science also contributed much time and effort. Museum Director Tracey Brussat Keough brought support and enthusiasm to this project and kept its finances sound.
Thanks also to Gwenn Stearn, Rhode Island State Archivist and Coordinator of the Rhode Island Historical Records Advisory Board, to Carol Pace, Providence City Archivist, and to Allison Cywin, Director of the Graphics Department, Rhode Island Historical Society Library. Special thanks are extended to Catha Rambusch, Director of the Catalog for Landscape Records in the United States, for her long-term support and enthusiasm for this project.
This manual is produced as part of a project, aided by a RICH grant, to identify, describe, make available, and disseminate information about, the photographs in the Roger Williams Park Museum of Natural History archives. The project included the development of a database and finding aid to increase the accessibility of the images, as well as to properly store them. Materials had previously sustained largely internal (Parks Department) use. It was strongly felt that by improving organization and information retrieval capability, they would be useful to a wider audience. This background information is included both to give context to the current status of the collections and to provide guidance for those planning similar projects.
It cannot be emphasized enough that the development of a database and a collection finding aid derived from it requires extensive preliminary work. We surveyed our materials, identified collections, assigned numbers to them, counted and identified type of media and content of images, wrote descriptions of the collections, entered this material in our database, archivally stabilized collections, and stored them on shelves. In designing the database, we chose what information we wanted to store about each image or collection and decided how to standardize this information.
When the project began, the photographs had already been gathered in one location. There was some organization by collection, both created or "artificial" collections and record groups. Material in the collections came in a wide variety of formats: chiefly black and white silver prints, black and white RC (resin-coated) prints, color prints, cellulose-based negatives, color slides, glass slides, glass plate negatives, and postcards. Collections were stored in a temperature and humidity controlled environment; relatively few were archivally housed. No comprehensive catalogue of collection contents existed.
Collection Processing Procedures
Elizabeth Balcom, consulting photoarchivist (PA) conducted an initial survey of the materials in the collection. This involved gathering and noting the existence of indexes and finding aids already produced. Next all of the materials were examined. The PA noted basic parameters of the materials: type of photographs, subjects, dates, existence of finding aid, with particular attention to collections, created or original. She also noted at this time major conservation/ preservation concerns and assessed which materials should be item catalogued and which should be described at the general collection level.
A sample survey form appears in the Appendices.
Definitions of collections vary somewhat from one source to another. As we are using the term here, a collection is a group of photographs from the same source (created by the same person or institution). A collection may also result from a particular individual's or institution's function. Collections may also comprise images that are grouped together by subject or photographic medium, rendering them artificial or created collections.
In the past, some repositories (including archives) have not treated photographs as archival records. Today the trend is to treat them as such. This involves considering the archival principles of provenance and of original order. Provenance may be defined as "the office or person of origin of records" and as "the chain of custody" of records. Further, "In archival theory, the principle of provenance requires that the archives of an organization or person not be mixed or combined with the archives of another." (Pederson, Keeping Archives, p. 364). Original order may be defined as "The order in which records and archives were kept when in active use." (Pederson, Keeping Archives, p. 363) Archives are generally defined as the non-current records of an organization, although the term is also sometimes used to cover personal records, also referred to as manuscripts. (It should be noted that the terms are often loosely used, and that the term "manuscripts" is sometimes used for archives. It is important to note how terms are being defined in material you are consulting.)
In short, adhering to these two principles means not mixing records (in this case, photographs) received from one office or individual with those received from another, and not changing the way in which the material is organized when it is received. For example, a group of photographs may be received in a box into which a drawer full of photographs has been packed by the donor. The donor assures you that the photographs were all taken by her grandmother. You may keep the photographs as a collection, thus adhering to the principle of provenance. At the same time, you may decide, upon surveying the box, that the photographs are not in any sort of original order. In that case, you may decide to sort them, possibly geographically or chronologically or by general subject.
Several things are gained by this approach. First of all, information is preserved. For example, by keeping our collection of Providence 350th photographs together, we can access the whole scope of the event as it was recorded in photographs. Also, we can retrieve a body of work by a specific photographer. This kind of information is lost if collections are divided up and the photographs dispersed. Secondly, an approach to organizing collections which is well recognized by other archivists and researchers is respected. A systematic approach is thus achieved rather than one which is contrived.
In general, collections at the Museum were housed together and easily identifiable. In some cases materials were distinctively recognizable as "a collection," based on subject matter and format, but there was no supporting information (index, captions, etc.) or documentation (correspondence, donor agreements, etc.) to aid in processing. In these cases, the knowledge of long time and/or older employees and volunteers is invaluable, including staff from other departments such as security and maintenance. The assistance of a person (or persons) with institutional memory is very helpful in identifying people and places of the recent and distant past.
As we have said, a collection may be created by one person. For example, the Museum's Helen Fitts' Collection (P29) is a collection of color slides taken by Helen Fitts on her many travels. A collection may also be created by a department. Ethnology photographs in the Museum's archives collection are an example of this type of collection. Both of these collections are "natural" collections because they came into existence as the result of an activity (Helen Fitts' travels) or a function (Museum Curatorial Department collection documentation). In both cases, the provenance, or origin, of the collections was respected. The Jewel of Providence Collection (P1) was amassed for a particular purpose, or as the result of a particular function, that is, mounting an exhibit and publishing a book.
Artificial collections are those created without regard to provenance. Some of the collections in the Museum's photographic archives come under this heading. In general, they were amassed because the provenance of the materials was not known, but they did associate in terms of subject and chronology. Such collections include Landscape and Activities, 1909-1916 (P18) and Educational Resources: Non-Natural History Glass Slides (P48).
Another consideration to be noted here, is what type(s) of materials to include in a collection. Some repositories include photographs, posters, postcards, drawings, and prints together, not usually in the same collection, but as a group of collections. They are all visual images and (depending on the medium) may share storage needs, both in terms of climate and spatial parameters. The decision as to how to group materials depends on many factors, including (but not limited to) the storage space available, quantities of material in the various categories, and the sources of that material. We chose to include our postcard collections with the photograph collections in part because of the emphasis of our postcards, i.e. Roger Williams Park. Many of them were made from photographs held by the Museum, thus providing a logical link between the collections. We also felt that research use of the collections would be facilitated by keeping these collections together.
Material already in the collection should be surveyed, as noted above. For these existing materials, collection description can next be undertaken: see section 4a.
For every new collection, an accession form should be completed. Whenever possible, you should fill out accession forms for collections already in your repository, though often you will not have enough information. The accession form includes the donor (usually either an individual, an outside organization, or a department or officer of the repository's parent organization), a contact phone number and address for the donor, a space to indicate whether a gift or donor form has been received, a brief description of the material (including physical condition) and the date the material was received. Any ancillary materials received with the photographs (e.g. historical documentation) should also be noted on the form. These bits of recorded information on an accession form become the basis for future cataloguing such as entry into a computerized data base.
A sample Accession Form appears in the Appendices.
The donor form includes some of the information needed for the accession form, but its main purpose is to clearly spell out, for both donor and institution, the agreement being entered into by both parties. For an excellent description of this process and form, see the brochure "A Guide to Deeds of Gift," published by the Society of American Archivists (1998), and available from that organization (see Appendices for address).
A sample donor form appears in Appendix III.
In general in archival practice, collections are simply numbered in the order they are accessioned in a repository and shelved in numerical number order. We assigned collection numbers as we worked on materials already in the museum. To a museum professional, assigning a collection number is similar to assigning a catalogue number. A major difference is that archival material is usually assigned a number by collection rather than by individual item, as is the case with museum objects. While some archival materials may be described at the item level, they are usually considered to be a subunit of a collection and are numbered accordingly.
Collection numbers should appear on all enclosures such as folders, sleeves, or envelopes in which images are housed and, on boxes containing these. They should also appear on storage unit labels. Numbering on containers should be done in pencil where possible or by using film/print marking pens available from conservation product suppliers. (See appendix.)
Collection Description and Finding
Aids
Once collections are identified and data gathered from available records, the next step is to describe the collections. Description involves gathering information about the collections and transferring it into a format (a finding aid) which is appropriate for your institution. We chose a computerized database as our main finding aid, then generated a condensed finding aid of selected fields from the database. This abbreviated version serves as a user guide to the collections.
The description of the materials should include the elements listed on our data entry form for our database. Even if you are not creating a database, the same pieces of information are needed for the finding aid, no matter what form it will take. Your collections need descriptive titles and information as to dates, number of images and medium used, how they are arranged (sometimes chronologically), subjects covered, how they were acquired by the repository (donated, created by a particular department or to document an activity, etc.), the photographer, and important subjects and individuals shown.
For more information on description, see the volume Arranging and Describing Archives and Manuscripts, part of the Archival Fundamentals Series published by the Society of American Archivists. This series is listed in the Bibliography Appendix.
Finding aids are a result of processing, in one sense the goal of processing, and vital to promoting use and information retrieval. A finding aid may be defined as "The descriptive media, published and unpublished, created by an archival repository, to establish physical or administrative and intellectual control over records and other holdings." (Keeping Archives, Ann Pederson, p. 361). Finding aids include databases, library catalogues, inventories, item lists, indices, and collection guides. For this project, we created a database and produced a guide to the collections based on their records in the database.
Database Entry
Information on the collection may either be entered directly into an electronic database or a worksheet may be filled out first. We have provided a worksheet for use if this is the method chosen. Our worksheet is a printout of the database entry form. This facilitates data input. If the computer is in the collections storage area, as ours was during the project, it may be easier and more efficient to enter material directly into the database using the on-screen input form. If a person with little knowledge of the material (or of the database) is doing the data entry, it may be preferable to have them work from a worksheet completed by (or at least reviewed by) someone more knowledgeable. A sample of our database entry form appears in Appendix III.
The traditional historical society method of separating photographs into files of "People, Places, and Things," or "People, Places, Buildings, Events, etc." often necessitated producing masses of photocopies and cross-references. After all, what do you do with the picture of the president of your organization taken by your organization's famous photographer using a revolutionary new photographic technique in front of your organization's main building giving a speech on the occasion of your organization's 100th anniversary? With a database, you can add several subject headings and/or include a searchable description, which will cover all of the important aspects of the photographs. Even without a database, however, the provenance/original order approach to organizing materials give a logical framework within which to organize your photographs.
There are several off-the-shelf software packages available for developing your own database. We used Microsoft Access because it is successfully being used for management of other collections and was easily adapted to this project. If you do decide to develop a database, it is advisable to check within your own institution and with comparable institutions to learn what software is being used and with what degree of success.
Our format was chosen because we wanted our data to be transferable to an online bibliographic database in the future. Thus we decided to use a modified version of MARC (Machine Readable Cataloguing) format to codify the data from our collections. This is the format used for records in RLIN (Research Libraries Information Network), a national online bibliographic database which many research institutions use.
If, when, and how to develop a database of your photograph collections will depend on many factors. These include institutional budget and staffing, current status of the collections, and availability of technology and resources. We used available in-house software, applied for and received grant funding (which involved matching resources), had staff with skills relevant to the project, and were able to hire a professional archivist to consult on the project. Every situation is different, but with increasing access to computers and decreasing costs, many institutions can more reasonably consider creating databases and on-line cataloguing of resources.
Our region has a wonderful resource in the Northeast Document Conservation Center (NEDCC). This non-profit organization, founded in 1973, specializes in the conservation of paper materials. (See Organizational Resources Appendix for information on contacting them) Services include consultation, workshops, disaster assistance, copying and microfilming, and conservation treatment. They are an excellent source of up-to-date information on preservation and conservation issues. They also publish an excellent series of Technical Leaflets, with titles including "Planning and Prioritizing," "The Environment," and "Photographic Materials," "Emergency Salvage of Photographs," "Storage and Handling," all relating (in whole or in part) to photographic materials. These are available upon request to NEDCC.
For those who are unfamiliar with identification of photographic media, the NEDCC can also be a valuable resource. Identification of media can be helpful in dating images and in choosing appropriate storage materials.
Photographs need to be protected from environmental hazards, including light, inappropriate levels of temperature and humidity, vacillations in temperature and humidity, acidic materials, air-borne pollutants, and mechanical damage from handling. In other words, the housing or containerizing of these materials should promote their conservation and longevity. This constitutes stabilizing collection materials.
Appropriate archival-quality storage materials are those made of inert materials which will not transfer harmful substances to the photographs. Plastic and paper are both available in archival-quality forms. Types include envelopes, folders, and sleeves designed for 3-ring binders. All have advantages and disadvantages depending on the overall storage conditions and the extent and type of use of the collection.
The type and extent of research use a collection will receive should influence the way it is stored. Mechanical damage caused by handling is a serious danger to collections and every effort should be made to reduce the possibility of its occurring.
Suppliers of archival-quality materials to house photographs appear in the Appendices.
If the staff considers that a collection will receive heavy research use, it is best to sleeve items individually in clear materials (archival-quality polyester, polypropylene, or polyethylene) so that they may be handled safely without removing them from their packaging, which can itself damage items. Minimizing handling of materials is a basic conservation tenet.
As an example, slide collections which will probably sustain little use should be housed in archival-quality slide boxes. Slide collections which may be consulted often should be housed in clear slide sleeves, which may then be stored in archival binders.
Appropriate storage units include metal shelves and metal file drawers with powder-coated, baked enamel. Wooden storage units are undesirable because of the acidic environment they produce. Some institutions, because of budget constraints, continue to use old use wooden shelving which has been sealed with polyurethane. This is a temporary solution at best. If you are in a position to purchase new storage units, consult an organization like the Northeast Document Conservation Center for up-to-date information on the latest recommendations for shelving and cabinets.
Containers such as boxes or file folders are generally stored in order by collection number. Shelves should also be labeled with these numbers; shelving units may themselves have number and letter designations. Physical location of collection materials should be part of every finding aid record.
Oversized items are generally stored together in one section, placing them out of numerical order. Actual storage location of oversized materials should be indicated on both the finding aid and on the "expected" shelf location. Both the finding aid and the storage unit where the items would otherwise have been stored should be labeled with an instruction to see the oversize section for the materials.
It is very important NOT to attempt cleaning or restoration work on materials without consulting a qualified conservator. In general, storage of materials in archival quality enclosures and housing them in an appropriate environment are the only preservation activities that non-conservators should undertake. Irreparable damage can be done to valuable materials by untrained staff. There are many books and publications which cover preservation issues, and these can provide valuable background. However, it is best to consult a conservator or conservation organization when considering conservation treatment for irreplaceable materials. Conservation methods and standards are being continuously updated, and published recommendations quickly become obsolete.
When a new collection is added to the database, relevant publications and organizations should be notified. The American Association of Museums' Official Museum Directory, published annually, is a good source for accessing relevant museums and historical societies by subject emphasis. To find publications and organizations to publicize your collections, consult a library, college or university department, or historical association. One reference will often lead to others in a field. The Internet may also be a source for relevant user audiences for your collections.
Because the Museum's photoarchives have a major emphasis on the historic landscape of Roger Williams Park, a list of target organizations interested in urban parks, landscape architecture, and preservation was compiled. The Museum was assisted in assembling this list by the Catalogue of Landscape Records in the United States, a nation-wide informational resource for these subject areas. Its address can be found in the Appendices. These organizations will continue to be apprised as the Museum's photoarchives attain any significant growth.
Reproduction of Photographic Materials
We keep collections because we value them and want them to be used. There are some considerations to be kept in mind when providing reference and research service with photograph collections. While photographs are reproducible, the originals have the value of unique items, and should generally be viewed in this light. Thus handling of the original images should be minimized. Providing a comprehensive finding aid and/or database will reduce the extent to which users have to handle material. As stated above, choosing appropriate enclosures can also help. Photocopies, microfilms, and, now scanning/digitizing of original images are all media which can help reduce handling of originals. Such reproduction of images can, however, be expensive and time-consuming, and such projects should be planned with care.
It is generally safe to photocopy most photographs. Photographs that are very fragile or are mounted on board which is curved should not be photocopied to avoid further damage.
Reproducing photographs for exhibits and researchers is another area where care is needed. If you do not have an in-house photo reproduction facility, you will need to locate a trustworthy service. Understanding of, and appreciation for, the importance of historic images and technical skill are the two main concerns. These may be found in a talented amateur volunteer, in a small business in your area, at a university or state museum, or in large, specialized commercial establishments.
A member of the institution's staff, such as a curator or collection manager, should personally hand-carry collection materials to be reproduced at a photo lab. This is the policy of the Museum of Natural History. Some people prefer to wait while the initial work is done, but this is often not practical. To find a resource in your area, check with as many sources as possible. Call local photographers, photo labs, and institutions. The first time you use a source, try to have something copied which is not an original, in order to check on both the care used in handling the items and the quality of the work done.
Your institution may already have a pricing policy for such work. If it does not, you should check with institutions in your area similar to your own. Often if someone wants a copy of a photograph for which an institution has no negative (which is usually the case, particularly for black and white materials), that person is asked to pay for the production of both the negative and the print. The institution then retains the negative, and the individual gets the copy print. This helps the institution maintain control over their collections. This is the policy adopted by the Museum of Natural History.
Some institutions charge only what it costs them to have the reproductions made. Some add a fee for handling (based on staff time) and delivery costs. Still others add a fee in addition to the costs. Many institutions which charge an added fee have a sliding scale, often charging a lesser additional fee (or no fee) for images for classroom use and for non-profit organizations, but charging a higher fee to commercial publishers. Fee scales for public institutions may be set by statute, and often preclude any extra charge. You should consult other similar institutions in your geographic area when setting pricing policies for reproduction of images.
An organization may own the physical item (the photograph) but not own the intellectual rights, or copyright, to the item. In general, you may allow researchers to view items for which you do not hold the copyright, but you may not supply reproductions of these items. Many institutions will supply copies of photographs for which they do not have proof of copyright ownership with a statement to that effect. They then indicate to the user that it is his/her responsibility to determine if the image may be published. When in doubt about copyright issues, seek legal guidance.
When acquiring new collections, it is common practice to use a form which transfers copyright to the institution. This is the policy of the Museum of Natural History; transfer of copyright is clearly stated on its standard donor form for new acquisitions. Sometimes institutions will accept new collections without copyright, but careful consideration should be given to doing so, as it may be more expensive and time-consuming to administer such collections. (Certainly, if it is the only way to save an important collection, it might be necessary).
Scanning of images, like microfilming, is useful for conservation and access as it reduces the handling of the originals. The researcher is able to see the image, ideally accompanied by information as to size, medium, and informational captioning. It should be noted that scanning is not an archival form of preservation. Also the quality of scanned images varies, both in terms of information in the scanned image and in terms of the quality of reproductions made from it.
Even though photographs are reproducible, they should still be considered as unique objects. Many scholars and researchers will want access to the original, not a copy. Also, even though images are theoretically reproducible, you may not have negatives or copy prints. Therefore a few simple but important security measures should be enforced. Materials should always be used under the supervision of staff or volunteers. Materials should never circulate, or be taken out of the institution. (Some repositories have staff sign out materials even to remove them from the archives to their offices or to exhibit areas. This is good practice, enabling collection personnel to track the whereabouts of materials.) Keep records documenting the use of collection materials and the name and addresses of collection users.
Sometimes access to materials is restricted for various reasons. For example, access to medical and personnel records is limited by law; this also pertains to photographs which may be part of these records. Other times a donor may request restrictions on access. The ethical guidelines for the archives profession, and in some cases the law, requires that rules for access should be equally applied. Necessary restrictions should apply to all researchers. Most repositories will not accept donations when the donor wishes to impose unequal restrictions on materials. In addition to the obvious ethical and possibly legal problems with doing so, administering collections with unequal restrictions is time-consuming and therefore expensive.
Public institutions are often required to make records accessible to all. Staff should be aware of the laws or administrative guidelines governing access issues in their repositories and consult a parent organization if necessary.
A Final Note
Photographs are a wonderful resource for looking at our past, for entertainment, for recording who we are and where we have been. Carefully organized, described, stored, and publicized, they can be used for generations to come, enriching our collective memory.
Summary: Procedural Outline for Conducting Comprehensive Cataloging Projects
1. Conduct initial survey of all collection materials; use sample form (Appendix III, Survey Form) as guide
2. Identify collections, both natural and artificial
3. Gather any/all documents/records associated with each identified collection
4. Where sufficient data exists, accession forms may be completed for unprocessed collections held in repository
5. Assign collection numbers
6. Transfer data for each collection onto a data entry form or directly onto electronic database or other finding aid
7. Store collections and their components in appropriate archival housing
8. Label all enclosures/containers with collection numbers
9. Store collections on shelves or other storage units labeled with collection numbers
10. Note storage location of each collection on database or other finding aid
11. Notify potential user audience about collections
12. Follow "Procedural Outline for Processing New Acquisitions" (Appendix II) upon receipt of new collections
Summary: Procedural Outline for Processing New Acquisitions
1. Complete accession form
2. Complete donor form (where applicable)
3. Assign collection number
4. Compete database entry form
a. manually and/or
b. directly onto electronic database with all data from items 1 -3 above
5. House all collection components in archival quality enclosures and containers
6. Label all enclosures, containers with collection number
7. Store collection on shelf or other storage unit labelled with collection number to facilitate retrieval
8. Note storage location of collection on database and/or other finding aid
9. Notify potential user audience of collection availability
Survey Form
Collection Title (from label if available):
Location:
Collection Date:
Number of items:
Medium:
Organization Notes:
Preservation Notes:
Forms or other associated documentation if available:
Accession Form
Collection Title:
Collection Dates:
Number of Items:
Brief Description:
Received from:
Name _________________________________________________________________
Department or Organization _______________________________________________
Address _______________________________________________________________
Phone _________________________________________________________________
e-mail: _________________________________________________________________
Donor Form Received:
Special Access Conditions:
Collection Number Assigned:
Storage Location:
Donor Agreement
Donor's Name:_________________________________________________________________
Address: ______________________________________________________________________
________________________________________________________________________
Phone:________________________________________________________________________
By signing this form I make a gift of the items listed and described below to the Museum of Natural History, Roger Williams Park, Department of Public Parks, Providence, Rhode Island. I agree to relieve all title to the objects being donated, including right to copyright.
I have read and agree to the terms stipulated on this form.
Donor's Signature: ______________________________________________________________
Date: _________________________________________________________________________
Materials donated:
Donation Accepted by: ___________________________________________________________
Museum Staff Person
Date: _________________________________________________________________________
The Donor assumes responsibility for obtaining an appraised value for the item(s) for tax purposes. The donation is irrevocable and is binding upon the heirs, legal representatives, assessors and assigns of the donor.
Database entry form page 1
Database entry form page 2
Archival Fundamentals Series. Chicago: Society of American Archivists.
Bellardo, Lewis, and Lynn Lady Bellardo. A Glossary for Archivists, Manuscript Curators, and Records Managers. Chicago: Society of American Archivists, 1992.
Ellis, Judith, ed. Keeping Archives. 2nd ed., DW Thorpe in association with the Australian Society of Archivists, 1993.
Ham, F. Gerald. Selecting and Appraising Archives and Manuscripts. Chicago: Society of American Archivists, 1993.
Hensen, Stephen, comp. Archives, Personal Papers, and Manuscripts: A Cataloguing Manual for Archival Repositories, Historical Societies, and Manuscript Libraries (2nd ed.) Chicago: Society of American Archivists, 1989.
Miller, Fredric M. Arranging and Describing Archives and Manuscripts. Chicago: Society of American Archivists, 1990.
Northeast Document Conservation Center. Technical Leaflets: Planning and Prioritizing, The Environment, Photographic Materials, Emergency Salvage of Photographs, Storage and Handling. Andover, MA.
O'Toole, James M. Understanding Archives and Manuscripts. Chicago: Society of American Archivists, 1990.
Pederson, Ann, ed. Keeping Archives. Australian Society of Archivists, 1987.
Pugh, Mary Jo. Providing Reference Services for Archives and Manuscripts. Chicago: Society of American Archivists, 1992.
Reilly, James M. Care and Identification of 19th-Century Photographic Prints. Rochester, NY: Eastman Kodak Company, 1986.
Ritzenthaler, Mary Lynn. Preserving Archives and Manuscripts. Chicago: Society of American Archivists, 1993.
Ritzenthaler, Mary Lynn, Gerald J. Munoff and Margery S. Long. Archives & Manuscripts: Administration of Photographic Collections. Chicago: Society of American Archivists, 1994.
Weideman, Christine. A Guide to Deeds of Gift. Chicago: Society of American Archivists, 1998.
Wilsted, Thomas and William Nolte. Managing Archival and Manuscript Repositories. Chicago: Society of American Archivists, 1992.
American Association of Museums
1575 Eye St., N.W. Suite 400
Washington, DC 20005
202-289-1818
FAX 202-289-6570
www.aam-us.org
The Catalog of Historic Landscape Records
in the United States
at Wave Hill
675 West 252nd Street
Bronx, NY 10471
718-549-3200
Institute of Museum and Library Services
1100 Pennsylvania Avenue N.W.
Washington, DC 20506
202-606-5226, Library Services Office
www.imls.fed.us
NEDCC
Northeast Document Conservation Center
100 Brickstone Square
Andover, MA 01810-1495
978-470-1010
FAX 978-475-6021
NEH
National Endowment for the Humanities
Division of Preservation and Access
Room 410
1100 Pennsylvania Avenue N.W.
Washington, DC 20506
202-606-8570
NEMA
New England Museum Association
Boston National Historic Park
Charlestown Navy Yard
Boston, MA 02129
617-242-2283
preservation @ neh.fed.us
NHPRC
National Historic Preservation and Records Commission
Room 111, 700 Pennsylvania Avenue N.W.
Washington, D.C. 20408
202-501-5600
www.nara.gov/nara/nhprc
Library and Information Services
State of Rhode Island
One Capitol Hill
Providence, RI 02908
401-222-1220
Providence City Archives
Carol Pace, Archivist
City Hall
Providence, RI 02903
Rhode Island Committee for the Humanities
60 Ship Street
Providence, RI 02903
SAA
Society of American Archivists
527 S. Wells St., 5th Floor
Chicago, IL 60607
312-922-0140, FAX 312-347-1452
info@archivists.org, www.archivists.org
Rhode Island Historical Records Advisory Board
c/o Rhode Island State Archives
337 Westminster Street
Providence, RI 02903
Hollinger Corporation
P. O. Box 8360
Fredericksburg, VA 22404-8360
Phone 800 -634-0491
Fax 800-947-8814
e-mail: hollingercorp.@interserf.net
They have a particularly large variety of shapes and sizes of archival boxes, as well as other materials
Light Impressions
P. O. Box 940
Rochester, NY 14603-09
Phone 800-828-6216
Fax 800-828-5539
e-mail: bsmith@20thcent.com
An excellent catalogue with clear descriptions of products and explanations of their uses.
University Products
P. O. Box 101
517 Main Street
Holyoke, MA 01041
Phone 800-628-1912
e-mail: info@universityproducts.com