HomeMy WebLinkAboutBy-law No. 2006-082 THE CORPORATION OF THE MUNICIPALITY OF BAYHAM
BY-LAW NUMBER 2006-082
Being a By-law to Establish a Collections & Records Management Policy
for"Museums Bayham" including
The Edison Museum of Vienna and
The Port Burwell Marine Museum& Historic Lighthouse
WHEREAS the Council of the Municipality of Bayham recognizes the need for clear and concise policies
concerning museum collections and records development and management;
AND WHEREAS the Council of the Corporation of the Municipality of Bayham is desirous that a
policy be established for collection and records management and development on behalf of Museums
Bayham;
AND WHEREAS the Council is desirous that such provision be approved by By-law;
THEREFORE BE IT RESOLVED THAT the Council of the Corporation of the Municipality of
Bayham enacts as follows:
1. THAT the Council of The Corporation of the Municipality of Bayham hereby establishes a
policy to be known as the "Museums Bayham Collections & Records Policy" as set out in
Schedule"A"attached hereto and forming part of this by-law.
2. THAT the museum collection and records of the Edison Museum of Vienna and the Port
Burwell Marine Museum shall be maintained in accordance with the said Policy being hereby
adopted.
3. THAT By-law 2005-039 adopting a Collections Management Policy for the Edison Museum of
Vienna be hereby repealed
4. THAT this By-law shall come into full force and effect on the date of its passage.
READ A FIRST, SECOND AND THIRD TIME AND FINALLY PASSED THIS 7TH DAY OF
SEPTEMBER 2006
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Museums Bayham
EDISON MUSEUM OF VIENNA
PORT BURWELL MARINE MUSEUM &
HISTORIC LIGHTHOUSE
Collections & Records
Management Policy
Museums Bayham
Collections &
Management lit'.
Table of Contents
1. Statement of Purpose and Mission Statement
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3. Definitions
4. Part I - Collection Development
5. Part II - Collection Management
6. Documentation & Record Keeping
7. Acquisitions
8. Loans
9. De-Accessions
10. Values & Insurance
11. Review of Policy
12. FORMS & APPENDICES:
Temporary Receipt / Consideration Form
Temporary Receipt Tag
Gift Form / Bill of Sale (permanent)
Accession Registry
Cataloguing Worksheet / Curator's Worksheet
Condition Report
Appraisal Form
Receipts for Income Tax Purposes
Master Catalogue Card (also know as Permanent Collection Card)
Donor / Source Card
Classification Card
Location Card
Loan Agreement - Incoming Loan Agreement
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Loan Registry - Incoming Artifacts
Loan Agreement - Outgoing Loan Agreement
Loan Registry - Outgoing Artifacts
Loan Agreement - Conservation Agreement
Conservation Registry - Artifacts Out for Repair/Maintenance
De-accession Form
Appendix A - Canadian Museums Association's Ethical Guidelines 1999.
Appendix B - Classifying Objects in the Museum's Collection.
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1 . Statements of Purpose
Mission Statements
STATEMENT OF PURPOSE
Museums Bayham exists to educate the citizens of Bayham and the community
beyond about the history of the Bayham area. This includes Port Burwell and its
lighthouse in relation to the local and marine heritage of the Great Lakes, and also
Vienna's Canadian connection to the Thomas Alva Edison family heritage, fostering
an appreciation for the relationship of Bayham's past to its present and future
development.
To this end, Museums Bayham collects, records, preserves, researches, shares,
promotes and presents exhibits and interprets documents and artifacts related to
the history of Bayham.
Museums Bayham has been established to collect, preserve, promote, research
and share the history of Bayham; and Thomas Alva Edison, his inventions and
family.
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EDISON MUSEUM OF VIENNA
STATEMENT OF PURPOSE
The Edison Museum has been established to promote recognition of the extent and
impact of Thomas Alva Edison, the inventor, on the I ocal area, and world wide, by
his many inventions and family artifacts on display, and promote and preserve the
historical artifacts and records of the Bayham area and its inhabitants.
The Museum will collect, exhibit and interpret artifacts that tell the story of the
Bayham area, its hamlets and villages, in accordance with documented research
and records.
This Statement of Purpose may not be altered without the approval of the Council
of the Municipality of Bayham upon recommendation of the Museums Bayham
Board.
The Statement of Purpose is in the Policy to provide guidelines for the collection:
• the reason for the museum's existence;
▪ the time period of which objects will be collected and what they will be
related to;
• justification for accepting or declining artifacts from potential donors;
• the public intended to be reached.
EDISON MUSEUM OF VIENNA
MISSION STATEMENT
The Edison Museum of Vienna is committed to collecting, preserving,
researching and sharing the history of Bayham
&
Thomas Alva Edison, his inventions, his family
and promoting
the Canadian Edison Connection.
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PORT BURWELL MARINE MUSEUM & HISTORIC LIGHTHOUSE
STATEMENT OF PURPOSE
The Marine Museum and Lighthouse have been established to serve the
inhabitants of Port Burwell and the Bayham area, with a strong appeal to tourists
visiting the region. The museum collection will focus on marine documentation and
artifacts that illustrate the relationships between marine life on the Great Lakes
together with domestic and commercial life of the Village as a port on Lake Erie.
The Museum will collect, exhibit and interpret artifacts that tell the story of marine
life on the Great Lakes & the Village of Port Burwell, in accordance with
documented research and records.
This Statement of Purpose may not be altered without the approval of the Council
of the Municipality of Bayham upon recommendation of the Museums Bayham
Board.
The Statement of Purpose is in the Policy to provide guidelines for the collection:
• the reason for the museum's existence;
• the time period of which objects will be collected and what they will be
related to;
• justification for accepting or declining artifacts from potential donors;
• the public intended to be reached.
PORT BURWELL MARINE MUSEUM & HISTORIC LIGHTHOUSE
MISSION STATEMENT
The Port Burwell Marine Museum & Historic Lighthouse is committed to
collecting, preserving, researching and sharing the history of
marine life on the Great Lakes
the history of Port Burwell and its Historic Lighthouse.
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MUSEUMS BAYHAM
OBJECTIVES
The objective of the facility is to promote use by the public in recognizing the
extent and impact of Bayham's rich and diverse history; and to promote and
preserve the historical artifacts and records of the Bayham area and its
inhabitants.
The Board shall be established to be responsible for the maintenance, service,
programming, and operation of the museum sites, as outlined in the statements of
purpose, being subject to budgetary requirements and limits, as approved by the
Council of the Municipality of Bayham, following the procedures and policies of the
Municipality of Bayham, as applicable.
The Board shall work towards compliance with the Ontario Government standards
for community museums.
The Board will recognize its obligation to ethical behaviour and avoidance of
conflict of interest, as a body and as individuals, as well as its obligation to meet
municipal, provincial, and federal legislative requirements in its decisions and
activities.
. Ministry of Culture Standards :
Incorporating the Ministry's Collection Standard into the policy provides standard
guidelines for the Board members, which are consistent throughout the museum
community.
These guidelines are short and precise for volunteers to understand and help them
focus on their overall responsibilities for the collection.
The standard also demonstrates that those entrusted with the care of the
collection are to do so within acceptable ethical guidelines.
Adoption and implementation of all of the required Ministry Standards qualifies
museums for funding support through submission of operating grant applications.
Attached hereto and marked Appendix "A" are the code of ethic guidelines
referred to by the Canadian Museums Association for Museum Board
members/trustees, as posted on its web site www.museums.ca.
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. Definitions .
ACCESSION - A single object/artifact or group of objects/artifacts acquired by the
museum at one time from a single source.
ACCESSION DATE - The Date the artifact was acquired by the museum.
ACCESSION NUMBER - A three part identifying number.
ARTIFACT NAME - The name of the artifact. (Example: axe) Be specific if
possible. (Example: goose wing axe).
BOARD - The Museums Bayham Board (members appointed by Bayham Council).
CATALOGUED BY - The name of the person cataloguing the artifact.
CLASSIFICATION - A group or type of artifact(s) that share the same common
attributes (Example: Furniture - includes tables, chairs, and benches).
CONSERVATION - Note of any previous conservation treatments
DE-ACCESSION - To release a single object/artifact or group of objects/artifacts
from the museum's collection.
DETAILED DESCRIPTION - A general description including the objects size,
shape, colour, condition, material, date/period range, markings, previous
identifying numbers, signs of use, etc. Start general and work to specific.
DIMENSIONS - Length, width, height, circumference, diameter of an artifact.
NOMENCLATURE Is a structured & controlled list of terms organized in a
classification system to provide the basis for indexing & cataloging collections. It
addresses problems that museums with varied collections face in managing their
collection data. It allows museums to share meaningful data with one another.
PROVENANCE - History of the item.
SITES - The locations of both the Edison Museum of Vienna and the Port Burwell
Marine Museum and the Port Burwell Historic Lighthouse.
SOURCE - Name of the person(s) or institution that donated the artifact.
VALUE - The appraised value of the artifact.
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4 . PART I : Collection velopm nt .
Collections development provides a framework for expanding and enhancing the
existing permanent collection through the acquisition of additional artifacts
pertinent to the collection.
The term "collection" as used in this Collections & Records Management Policy is
understood to mean the acquisition of historically significant artifacts that
contribute to any understanding of past human behaviour, customs, activities,
episodes, institutions and personalities.
The decision to accept collection item(s) will depend on:
o its relevance to Museums Bayham's Statement of Purpose, which is
further specified for each individual site; and the sites' other artifacts
and records in the collection;
o the function of the collection;
o its condition;
o its exhibit and research potential, and
o the museum's ability to maintain the object in a safe and secure
environment.
RESPONSIBILITIES
• The decision to accept collection items will be made by the Board.
Board members or Staff may accept items on a temporary basis and forward
to the Board for a decision to accept or reject.
• Staff, Board members and committee volunteers will follow acceptable
ethical guidelines for museum workers and museums based on the Canadian
Museums Association's Ethical Guidelines 1999 as set out in Appendix "A".
• Personal collecting by staff and/or Board members of artifacts and
documents that are similar to or related to the type of collections acquired
by the Museums Bayham is considered to be a conflict of interest; staff and
committee members are to offer the museum the first opportunity to acquire
item(s); and no staff or member will compete with the Museums Bayham in
any collection activity of a personal nature.
• The artifacts collected must be historically significant to the Museums,
and/or the Municipality of Bayham.
io
• Objects collected should be well documented, such documentation to include
the circumstance surrounding the object's discovery and acquisition; the
original owner and manufacturer; the object's original use; a chronological
history of the object; and any other pertinent facts.
• The Museums may collect artifacts that have incomplete documentation as
long as they contribute to a clearer understanding of significant former
customs, activities, people or episodes.
• The Museums will not collect duplicates unless they serve a useful purpose,
such as extension program displays, traveling educational kits, etc. Any
duplicate must have a specific function within the Museum's program. Any
duplicate that does not have a specific function should not be collected.
• Donations are deemed to be unconditional gifts.
GOALS OF THE EDISON MUSEUM OF VIENNA SITE:
• The collection will reflect the history of Thomas Alva Edison, his inventions,
his family and life story. The Museum will collect, preserve, research,
exhibit and interpret artifacts that tell the story of Thomas Alva Edison, his
inventions, and his connection to Vienna and the Bayham area.
• The Museum will collect, exhibit and interpret, in a domestic setting,
furnishings donated by the late Nora Edison Coombe, as well as artifacts that
have been used by, or are relevant to the Edison family from 1700 to the
present.
• The collection will reflect the history of famous Canadians connected to the
Municipality of Bayham.
▪ The collection will reflect the history of the Municipality of Bayham The
Museum will collect, preserve, research, exhibit and interpret artifacts that
tell the story of the Bayham area, its hamlets and villages, in accordance
with documented research and records.
GOALS OF THE PORT BURWELL MARINE MUSEUM
& HISTORIC LIGHTHOUSE:
• The collection will reflect the history of the inhabitants of Port Burwell and
the Bayham area. The Museum will collect, preserve, research, exhibit and
interpret artifacts that focus on marine documentation and artifacts that
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illustrate the relationships between marine life on the Great Lakes together
with domestic and commercial life of the Village as a port on Lake Erie.
■ The Museum will collect, exhibit and interpret artifacts that tell the story of
marine life on the Great Lakes & the Village of Port Burwell, in accordance
with documented research and records.
MUSEUMS BAYHAM OBJECTIVES
■ The collection item(s) must reflect the considerations outlined in the
Statements of Purpose for each site.
■ The collection item(s) must be useful to the Museum's purpose to interpret,
research and exhibit.
■ Duplicates will be acquired only if they have a useful purpose.
■ The Board will respect and adhere to legislative requirements.
ti The Board will not accept collection item(s), for which it does not have
sufficient resources to collect, preserve, research, interpret and exhibit (ex.
time, expertise, funds or storage space).
■ The condition of an acquisition must be such that it allows the Museum to
fulfill its purpose to preserve.
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. PART II : Collection Management :
Collections management provides a framework for maintaining the collection
through proper record keeping, procedures for accessioning and de-accessioning,
loan arrangements, conservation, access, insurance and appraisals.
The policy provides ethical behaviour guidelines for Board members and staff.
RESPONSIBILITIES
■ Management of the collection of artifacts, documents and records of the
collection is the responsibility of the Board.
• The Board must approve all acquisitions.
■ Purchases are subject to budget guidelines approved by Council of the
Municipality of Bayham.
■ In the absence of a curator, the responsibilities and duties of the accession
registrar are assigned to the Board Chairman and / or Staff Resource.
• The Board may form an "Acquisition subCommittee" to make decisions on
prospective additions to the collection. The Acquisition subCommittee's
decision should be made in consort with the curator, and then passed on to
the Board for its final approval.
• A Board member and staff may accept items and provide temporary
receipts, then shall refer the items to the Acquisitions subCommittee or in
the absence of an Acquisitions subCommittee, to the Board for consideration
and decision. The report of the Acquisitions subCommittee shall be
presented to the Board for final approval.
▪ The Board will recommend the de-accessioning of specific artifacts to Council
who will grant or deny the recommendation.
• Access by the public to the collection will be governed by an approved
Research Policy.
• Board members and staff share the responsibility for the overall security of
the collection.
■ Conservation will be followed as outlined in the Conservation Policy.
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• The Board will review the Collections & Records Management Policy on a
regular basis.
OBJECTIVES
• The Museums Bayham will assume ownership of all collection items whether
donated or purchased.
• The Museums Bayham is owned by the Municipality of Bayham.
• The Municipality of Bayham will provide adequate resources, staff, time and
funding for the proper documentation, record keeping and care of the
collection.
• Upon acceptance of an item(s) by resolution of the Museum Board, a gift
form will be completed and signed transferring ownership to the Museum.
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. Documentation & Record pin .
Accurate record keeping enhances the Museum's reputation, encourages donors to
continue to donate and visitors to rely on the authenticity and accuracy of
information on the objects in the collection.
An accession register will be maintained to provide identification numbers, donor
information and descriptions. Catalogue records will be maintained manually
and/or electronically and a copy of the documentation of both collections shall be
retained off-site (at the Municipal Offices) for insurance purposes.
The policy review may be performed at any time when a properly documented
current inventory of all artifacts is maintained.
Accurate documentation must be undertaken and maintained in order to validate:
• In the absence of a curator, the responsibilities and duties of the accession
registrar are assigned to the Board Chairman and / or Staff Resource.
• The identity of the item through the registration number affixed
corresponding with the documentation (so that information on the item can
be accurately reflected in any signage when placed on display);
■ The donor of the object (so that proper recognition can be given when on
display) and a description of it;
■ The ownership of the object (for insurance purposes and to provide authority
for the Board to do whatever with the item);
■ The history of the object (provides the connection that the object has been
collected within the museum's statement of purpose and its relevance);
■ The condition and care requirements of the object (ensures proper care and
maintenance of the object is conducted, provides information vital to budget
preparation should conservation or repairs be required; this can also provide
justification for de-accession or replacement of the item);
• The location of the object (so the item can be easily found for exhibit or
other purposes such as when a donor attends and wants to know where
such and such is);
• A conservation record will be maintained.
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RESPONSIBILITIES
The responsibility for documentation and record keeping lies with a designated
Board / Committee or staff member.
OBJECTIVES
Through an orderly and easily understood system the objectives for the
documentation and record keeping of the permanent collection are to:
■ Establish duties and guidelines for all personnel involved in record keeping;
- Establish a method and guidelines for recording every object (whether
temporary or permanent) that enters or leaves the collection;
■ Establish an information record concerning every object in the collection;
• Register and physically identify every object in the collection.
PROCESS
- An accession register providing identification numbers, donor information
and descriptions will be maintained.
■ Catalogue records will be manually maintained and converted to
electronically as time and funds permit.
■ The collection will be labeled appropriately following the Revised
Nomenclature for Museum Cataloging Editions, being the revised and
expanded version of Robert G. Chenhall's System for Classifying Man-Made
Objects or other appropriate standardized system.
■ The donor will provide information and documentation regarding the original
owner or make, original use and chronological history, as is available.
■ Donors will receive a receipt for income tax purposes (upon provision/receipt
of a professional appraisal / or upon appraisal arranged by the Board) once
annually for signed acquisitions to the collection. Donors are expected to
pay appraisal costs.
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7 . . � lH ition . ,
Upon arrival of an artifact and potential acceptance into the Museum collection the
following process would be undertaken by a curator and/or a Board member
and/or staff.
The decision to acquire an object lies with the Board.
OBJECTIVES
• To acquire artifacts on an on-going basis which are in the keeping with the
Statement of Purpose to enhance and expand the collection.
• To acquire only legitimate artifacts which can be properly documented and
cared for, stored and/or exhibited.
Acquisitions may be accomplished through:
- Purchases;
- Gifts of artifacts;
- Bequests of artifacts (a copy of the relevant portion of a will provides
proof of ownership).
TEMPORARY ACCEPTANCE
(a) Temporary Receipt & Temporary Tag
❖ A Temporary Receipt is a document prepared by the Museum Representative
to acknowledge the temporary receipt of the artifact or object. It assigns
temporary custody of the artifact by the owner to the museum.
❖ A Temporary Receipt for the artifact is completed in triplicate and includes a
description of the item, the name, address and telephone number of the
potential donor, and states whether it is a gift, purchase or loan.
❖ The Museum Representative and the donor sign all copies of the Temporary
Receipt. One copy is given to the donor, a copy remains with the artifact,
and a third copy is forwarded to the Board.
❖ A Temporary Tag (example: acid free manila shipping tag) is attached to the
artifact with soft string or kept with the artifact. Use a pencil to write on the
tag.
❖ If the artifact is not accepted into the collection, return it to the donor, take
back the Temporary Receipt from the donor, and send a letter of thanks to
the donor.
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❖ Both copies of the Temporary Receipt and the Temporary Tag are affixed to
the Museum's copy of the thank you letter.
REGISTRATION
(b) Gift Form or Bill of Sale (permanent)
❖ A Gift Form is a document signed by the donor and the Museum
representative that transfers and establishes unconditional legal title and
ownership of the artifact or object to the Museum.
❖ If the Board agrees to accept the artifact, fill out the Gift Form and ensure
that it is signed by the donor and the Museum Representative.
❖ Send a letter to the donor to acknowledge the gift.
❖ If the Board agrees to accept the artifact, and the donor is unable to attend
in person to sign the Gift Form, a letter confirming the decision and a Gift
Form in duplicate, must be prepared and sent to the donor for completion
and endorsement then to be returned to the Board. Upon receipt of the
completed Gift Form, a thank you letter would be sent to the donor.
❖ Through the execution of the Gift Form the donor gives and transfers unto
the Museum full and unencumbered title to the artifact, object, or record;
and assigns to the Museum the copyright for all items in the donation
previously held y the Donor.
•:• Through the execution of the Gift Form the donor understands and agrees
that the Museum is free to process the artifact, object, or record as it sees fit
and this may include partial culling, amending or alternating of the donation.
:• Through the execution of the Gift Form the Donor understands that the
Museum shall have full discretion as to the use, display, reproduction and
disposition of the artifact, object or record.
❖ A Bill of Sale is a receipt for an artifact purchased by the Museum for its
collection. It establishes the Museum's legal ownership of the object.
❖ Ownership of the artifact, object or record is assigned unto the Museum, its
successors, administrators and assigns absolutely.
Bequests:
A bequest is a gift specified in a person's Last Will and Testament. No gift
form is used. The Museum must acquire the relevant section of the will for
its own records as proof of ownership.
(c) Accession Registry & Number
❖ Upon execution of the completed Gift Form the artifact is assigned a
registration number and recorded in the accession register.
❖ The Accession Register is a book used to record each accession (or
acquisition) when it enters the collection. It serves as a permanent,
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complete, and accurate record of all the basic information about each artifact
in the collection.
❖ Mark the Accession Number on the artifact. This is a reversible process
appropriate to the material makeup of the artifact.
❖ The Accession Number is the number assigned to an accession when the
accession is recorded in the Register. It indicates the chronological entry of
each item into the collection.
❖ The Accession Number distinguishes each object/artifact from all other
objects in the collection.
(d) Accession File Folder
❖ Establish an Accession File.
❖ The Accession File is a file of documents such as letters, Temporary
Receipts, Bills of Saie, copy of will, appraisals, Cataloguing Work
Sheets/Curator's Work Sheets, condition reports, relating to each
Accession/acquisition.
❖ The Accession File is used to keep all documentation pertaining to a single
accession in one location.
(e) Letter of Acknowledgement to Donor
❖ A personal letter from the Museum should be sent to the donor. The letter
should:
o thank the donor for the gift;
o briefly comment on the importance of the gift in relation to the
collection, or note any special plans that the Museum has for the
artifact (for example, display in a new acquisitions case);
o note the accession number of the artifacts donated.
❖ A copy of this letter should be kept on file with the other documents
pertaining to this accession.
(f) Appraisal
+ An Appraisal may be conducted if/as agreed and a receipt for income tax
purposes issued if/as appropriate. Should the appraisal be paid for by the
Board, it may be delayed until a number of items could be done for the
current year.
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CATALOGUING
The Museum's basic cataloguing system should consist of four (4) types of
classification systems, each stored in a separate file:
1. The Master Catalogue File (in duplicate)
(also known as Permanent Collection Card File).
2. The Donor/Source Card/File.
3. The Classification Card/File.
4. The Location Card/File.
In preparing any of these classification systems, care should be taken to be
consistent in the terms used to describe each object. The Museum shall utilize the
revised and expanded version of Robert G. Chenhall's System for Classifying Man-
Made Objects.
(g) Cataloguing Work Sheet aka Curator's Work Sheet
❖ Fill out a Curator's Work Sheet on the artifact, in duplicate.
❖ Place one copy in the artifact's Accession File; and one copy in Work Sheet
Binder.
❖ A Cataloguing or Curator's Work Sheet is a form used by the curator to
record information about an artifact upon detailed examination of the
artifact. This Work Sheet is used as a guide when preparing the master
catalogue card and other card files.
❖ By utilizing a Cataloguing or Curator's Work Sheet, the history of the artifact
is obtained and fully documented.
❖ The following questions should be answered:
❖ what is it;
❖ where was it used;
❖ by whom and when;
❖ how was it acquired by the donor;
❖ does the person have legal ownership;
❖ has the item been appraised;
❖ if a receipt for income tax purposes is required, will the donor pay for an
appraisal by a reputable person;
❖ does it enhance the collection;
❖ can it be cared for properly.
❖ Any research on the item can later be added to this Work Sheet, including
verification of the time period and history of the artifact if it is uncertain.
❖ There should be no delay in obtaining this information, even when there is a
possibility that the item may not be accepted. You have immediate access
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to the donor so this is the most ideal time to document information! Do not
let this opportunity slip away through delay or neglect; you will regret it!
❖ The history, background, condition, any research information and the artifact
would be presented to the Board.
(h) Condition Report
❖ The artifact must be assessed and documented for physical condition. (This
should be done shortly after receipt of the item. If there is any
disagreement concerning condition or damage to a declined item, the initial
condition has been documented).
❖ A Condition Report is a form used to describe the physical condition of an
artifact.
:• A Condition Report records the condition of an artifact when it enters the
collection, goes to exhibit, goes out on loan, and is sent back after being on
loan.
❖ The Condition Report provides evidence of damage for insurance purposes.
❖ The Condition Report enables the Museum to monitor the safety of the
artifact and conditions in the Museum.
❖ Any necessary cleaning, conservation or repairs should be noted.
❖ The history, background, condition report, any research information and the
artifact would be presented to the Board for consideration.
❖ The Condition Report is filed in the Accession file for the artifact referenced.
(i) Master Catalogue Card/Registry:
(also known as Permanent Collection Card:
❖ The accession number becomes the Catalogue Number and denotes the year
of the accession, the numerical order of the donor (during this accession
year) who donated this item, and the number of the item from this donor
(during this accession year), if more than one item was received from this
donor.
• Ex.: 2003.002.003 = 2003 - year item donated
• 002 - the second donor of the year 2003
• 003 - the third item donated by the second donor in 2003
• If the item has more than one part, an additional number
denotes the part number.
• Ex.: 2003.002.003.2
❖ The accession number is placed on the artifact using the appropriate method
and material.
❖ Fill out the Master Catalogue Card using the Cataloging or Curator's Work
Sheet as a guide.
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❖ The Master Catalogue Card is a separate card/file, for each object in the
collection, which records the description, maker, place of origin, age,
condition, and other details of each object / artifact.
❖ The Master Catalogue Card conveniently records all the basic information
about each artifact in one place.
❖ The Master Catalogue Card can be used to develop other card files.
:• A Cataloguing Card containing the assigned number and pertinent
information is prepared for each. This information and a picture of the
artifact are fully documented, manually; (two forms: one for the Museum
site and one for the Municipal Office) and the Master Catalogue Card
Registry (electronically recorded) updated.
:• Any cleaning, conservation or repairs to be undertaken are to be noted and
the item placed on display or in storage as appropriate.
❖ The Master Catalogue Card is made in duplicate, one Card/File to remain at
the Museum, the second Card/File to be filed off-site at the Bayham
Municipal Office.
❖ It will be necessary to ensure that the Municipal Office file is kept up-to-date
as same pertains to new artifacts as this information will be vital in the event
of an emergency situation.
(j) Donor / Source Card
••.• Fill out a Donor / Source Card.
❖ The Donor / Source Card is a classification of the collection according to the
name of the donor or source.
❖ There should be one card for each source with a list of the accession
numbers of all artifacts donated by that source on the card.
❖ The cards are filed in alphabetical order according to the name of the donor
or source.
❖ The following information should be included on each card: the name,
complete address, and telephone number of the donor / source; any special
information regarding the donor / source; a list of artifacts donated by
accession number.
(k) Classification / Subject Card
❖ Fill out a Classification / Subject Card.
❖ The Classification Card is a separate card for each object / artifact that
categorizes the collection according to type of artifact and specific name of
object / artifact.
•3 See APPENDIX "B" for Classifying Objects in the Museums Collection.
❖ The Classification Card is used so that all similar types of objects and
artifacts are filed together for convenient study and comparison.
❖ There is a Classification Card for each artifact.
❖ Cards are filed in alphabetical order according to class. Each class is divided
into sub-classes and is filed in alphabetical order. Identical sub-class items
can be filed according to accession number.
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❖ A cover card, filed at the beginning of each new category, defines each class
and sub-class.
❖ An index listing all the classification categories used in the file is kept in the
front of the file box.
d• Each card includes: accession number, class, sub-class, object name, date,
name of donor / source, comments and description.
(I) Location Card
❖ Fill out a Location Card for each object / artifact.
❖ The Location Card for each object / artifact documents its current location
and must be up dated each time it is re-located.
23
RESPONSIBILITIES
• The decision to lend or borrow an object lies with the Board or to a
designated committee or staff member.
• Board members shall not remove an object from the Museum without the
knowledge and consent of the Board.
• Objects may be sent out or received on loan for exhibition and study,
• In cases of the borrowing or lending of substantial objects, Council approval
may be required.
• For both out-going and in-coming loans, proper loan records for the objects
will be maintained, and Condition Reports will be prepared before and after
each loan is undertaken.
• Loan requests should be received in writing.
• The borrower must be a reputable institution, and the person who negotiates
the loan with the Museum must have authority to represent the institution.
• The borrower is responsible for transporting the artifacts both ways,
although the Museum will specify the method of transportation.
• A Condition Report is made on each artifact immediately before it goes out
on loan and after it is returned.
• All conditions of the loan should be settled before the agreement is signed.
• A receipt should be issued whenever the artifacts are delivered or returned.
• Permanent loans are not permitted.
• When objects are sent out of the Museum for conservation treatment a
special Conservation Agreement Form, rather than a Loan Form, is prepared.
Loan Numbers:
The museum can keep track of outgoing loan transactions by assigning a
loan number to each loan agreement. The number indicates each transaction in
24
numerical order and the year in which the transaction was initiated. For example:
2005 - 001/LOG; 2005 - 002/LIC; 2005 - 003/LIC; 2005 -004LOG.
(LOG - loan out-going; LIC - loan in-coming)
OBJECTIVES
Out-going Loan Agreement
Objects from the permanent collection may be loaned to other cultural institutions
only for special exhibitions, at the discretion of the Board, for a set period of time
and under conditions which ensure adequate environmental and security controls.
■ The purpose of out-going loans is to expand the viewing of the object by the
public to other sites, encouraging interest by the visitors to attend the
lending site to view the more extensive collection.
▪ Items may be loaned to maintain a more suitable environment during the
off-season or during a time of renovation or construction.
The Out-going Loan Agreement form should:
• be filled out in duplicate with one copy for each institution;
• complete a Conditions Report and have conditions printed on this
report which are brought to the attention of, and agreed to, by the
borrower and the lender;
• ensure insurance coverage;
• forms shall be signed by the person who will actually be responsible
for the loan.
In-coming Loan Agreement
Objects may be borrowed from other cultural institutions or personal collections
for specific periods of time for specific exhibitions and will receive care and
treatment given the Museum's own permanent collection.
• Incoming loans may be used to enhance or create a temporary exhibit in
order to draw public interest.
■ Items may be accepted on loan to provide a more suitable environment for
other cultural facilities during a time of renovation or construction.
25
• Temporary Tags with the loan number must be placed with the borrowed
artifact. The letters "LIC" must form part of the loan number to designate it
clearly as a loan.
■ A record of these loans shall be kept in a Loan's Register, which is divided
into columns noting: loan number, source of loan, artifact name, date
received, and date returned.
The In-coming Loan Agreement form should:
• be filled out in duplicate with one copy for each institution;
• complete a Conditions Report and have conditions printed on this
report which are brought to the attention of, and agreed to, by the
borrower and the lender;
• ensure insurance coverage;
• forms shall be signed by the person who will actually be responsible
for the loan.
Conservation Agreement: Re Artifacts out for Repair & Maintenance
Objects from the permanent collection may be loaned out for the purpose of
conserving, repairing and maintaining, at the discretion of the Board, for a set
period of time and under conditions which ensure adequate environmental and
security controls.
26
Loan Agreements:
A. The Object, Ownership & Value
The description of the item and the estimated, appraised or insured value
should be fully documented. The Agreement is accepted on the understanding
that the Lender is the lawful owner of the object and is competent and authorized
to lend the object under the terms and conditions of the Agreement.
Confirmation at the outset of the value and legal ownership will assist in
limiting the liability of the borrower in the event of any mishap or dispute
concerning the item. The established value provides information, which can be
forwarded to the borrower's insurance company so that adequate coverage can be
maintained. Should there be any doubt as to the legal ownership do not accept
the item.
B. Duration of the Loan
The time period of the loan, beginning and ending dates, early termination
or extension of the loan opportunities should be determined. Who and how will
the item be returned?
If the beginning and/or ending dates are not clear this could cause
embarrassment and/or an unpleasant situation should both sites plan (advertise)
to display the item at the same time. A Museum should never borrow or lend an
item for a period greater than one year.
Opportunity for early termination or extension of the loan must be clear.
Situations arise and opportunities happen, are there written provisions to avoid
any dispute?
C. Purpose & Use of the Loan
The purpose and use of the loan item should be clear. The Lender and the
Borrower should understand the expectations to be derived from the loan.
Does the Lender understand what the reason for the loan request is? Does
the Lender agree to allow the Borrower to exhibit, store or use the object for
educational purposes in the same manner as similar objects in its collection,
without the guarantee that it will be put on exhibition? May the Museum
photograph or reproduce the item in any media for record, educational or publicity
purposes under the same regulations and guidelines that pertain to those in the
27
Museum's permanent collection? If not what are the requirements? Is the Lender
aware and does he/she agree to the proposed use(s).
If the above concerns cannot be agreed upon, the loan should not take place
until agreement is reached.
D. Care of the Object
The Museum will not be responsible for the care and safekeeping of the
artifact entrusted to it beyond the precautions in effect for the preservation of its
own property. The Museum will not clean, repair, restore or otherwise alter
objects without the written permission of the Lender.
The Lender may not want the item cleaned or altered by repairs.
Restoration, if approved by the Lender in writing, should be undertaken by
qualified professionals only. Does approval include who will pay the cost, will they
be shared? The Borrower must ensure that the utmost of care will be taken with
the item.
Upon expiration of the loan period, it should be clear who is responsible for
the item's safe return; will the Lender pick up or will the Borrower return? If the
Lender is to pick the item up, what provisions apply if he/she does not? If the
Borrower has the item returned, who is responsible for the costs?
The conditions of loan need to be determined and understood to prevent any
misunderstanding by either party regarding the return of the item.
28
. D - c ssss" icni .
De-access applies only to items formally gifted to the Museums and over which the
Museums have full and complete tile.
RESPONSIBILITIES
The final decision to de-accession an object and the method thereof lies with
the Council upon recommendation by the Museums Bayham Board or designated
committee. Priority will be given to ensure that the de-accessioned object remains
in the public domain. Documentation for a de-accessed object will include date,
method of disposal and reason for disposal.
OBJECTIVES
• to maintain the collection at a standard that will benefit both the artifact and
the public;
• to remove objects from the collection when they are no longer suitable or
useful to the permanent collection or the educational programming; (i.e.
duplicates, do not meet the current mandate);
• to remove objects from the collection that may be causing harm or pose a
threat to other museum artifacts (i.e. giving off harmful gases, infesting with
vermine);
• to remove objects from the collection when they can no longer be preserved,
conserved or cared for properly (i.e. lack of funds, space or unsuitable or
unstable environment);
• to permanently dispose of all de-accessioned objects in a manner subject to
acceptable museum standards;
• to use funds derived from de-accessioned objects to directly benefit the
collection, either by improvements in collection care or by new acquisitions;
• the donor of the de-accessioned item(s) will be acknowledged in the
purchase of the new artifact(s).
29
METHODS
Objects may be de-accessioned by the following methods:
(a) Transfer to the education or research collection (this method of de-
accession does not require Council approval).
(b) Donation or trade to another cultural institution (to keep in public domain);
(c) Sale to a dealer.
(d) Sale by public auction.
(e) Repatriation to rightful destination (examples human remains, or illegal
ownership).
(f) Appropriate permanent physical disposal (total destruction due to germine
infestation is one example).
30
10 . Values Insurance :
Insurance Coverage
Objects accepted on loan will be insured under the Museum's fine arts policy,
unless the Lender elects to maintain his/her own insurance (in which case the
Museum would be named as an additional insured). Determination of whose
insurance will cover the item while in transit to and from the site, and confirmation
of same from the insurer must be made. The object will be insured for the
amount indicated on the Loan form against all risks of physical damage from any
external cause while n possession of the Borrower during the period of the loan.
Object values should be reviewed by a qualified professional on a regular
basis so that up to date values are available for insurance purposes and in the
event of loss.
RESPONSIBILITIES
The responsibility to maintain current values on the collection lies with the
Council upon recommendation of the Board.
OBJECTIVES
■ To provide and maintain a current appraised value for the collection to
ensure adequate insurance coverage.
31
Review Policy :
As the Museum and its public change, the collection management /
development policies should be reviewed to ensure they are meeting the needs of
the people they are intended to serve.
Some of these questions may need to be answered:
❖ Is the collection outgrowing its facility?
❖ Is there a need to build an addition or to rent storage space?
❖ Is the collection focused enough?
•:- Is the manual or electronic record keeping system sufficient?
❖ Are there other facilities in the vicinity with the same or similar type of
collections?
•:- Is there a segment of the community whose needs are not being met?
❖ How can greater interest and participation be encouraged?
As a collection expands and fills the existing facility, it may be necessary,
should expansion not be an option, to narrow the focus of the collection to
highlight a particular unique part of it. It may be determined that certain parts of
the collection be de-accessioned, as appropriate, to permit increased floor space
devoted to a revised mandate.
Budget restraints may become more restrictive, making it necessary to
remove objects requiring greater care, repairs or conservation expertise from the
collection.
New board members or volunteer participation bring new ideas. Review of
the policy may determine new and better ways of meeting the Museum's mandate.
RESPONSIBILITIES
The responsibility to review the collection policy on a regular basis lies with
the Board. Appropriate changes are recommended by the Board to Council for
approval.
OBJECTIVES
• To maintain an up to date policy that meets the needs of the collection.
32
Having forms drafted with "fill in the blanks" for the various aspects
regarding the collection, ensures that staff and volunteers understand the process
and obtain all the necessary information required when dealing with everything
from donations to de-accessions.
Keeping the information clear and uniform makes it easier, especially when
another person does the follow-up. Keeping it simple helps ensures that the paper
work gets done!
A Step-by- Step Guide for Accepting/Declining Artifacts:
Upon arrival of an artifact and potential acceptance into the museum collection the
following process shall be undertaken by staff and/or curator, and/or a board
member.
(a) A Temporary Receipt (in duplicate) for the artifact shall be completed
including a description of the item, the name, address and telephone number of
the potential donor. The Museum Representative and the donor would sign the
receipt and each keep a copy.
(b) A Temporary Receipt Tao of acid-free material, identified on both sides in
pencil shall be affixed to the item, accordingly to accepted and approved museum
standards.
(c) Using a Cataloguing Worksheet, the history of the artifact shall be obtained
and fully documented. This information is helpful when the Board is considering
the acceptance of the artifact.
There should be no delay in obtaining this information, even when there is a
possibility that the item may not be accepted. You have the potential donor in
your grasp, this is the most ideal time to document information! Do not let this
opportunity slip away through delay or neglect; you will regret it!
(d) Any research on the item can later be added to this Cataloguing (Curator's)
worksheet, including verification of the time period and history of the artifact if it
is uncertain.
33
(e) The process to accept or decline the gift, as appropriate, should be explained
thoroughly to the potential donor, at the time the temporary receipt issued.
(f) Using a Condition Report the artifact shall be assessed and documented for
physical condition. This should be done shortly after receipt of the item. If there
is any disagreement concerning condition or damage to a declined item, the initial
condition has been documented. If possible have the potential donor initial the
Condition Report.
Any necessary cleaning, conservation or repairs should also be noted.
The history, background, condition report, any research information and the
artifact would be presented to the Board for consideration.
(g) A report shall be prepared for the Board's consideration of the artifact. A
written report is preferred.
(h) Declined Item: If unaccepted, the potential donor shall be contacted, the
item returned to the donor, and the temporary receipt in the donor's possession
returned to the Museum.
(i) A thank you letter shall be sent to the potential donor following the return of
the artifact. The reason for declining the offer shall be explained and the person
shall be encouraged to continue to provide support to the museum.
(j) Accepted item: If the Board agrees to accept the artifact, a letter confirming
the decision and a sift form in duplicate, shall be prepared and sent to the donor
for completion and endorsement to be returned to the Board. Upon receipt of the
completed gift form, a thank you letter shall be sent.
(k) If needed, an appraisal shall be conducted if/as agreed and a receipt for
income tax purposes issued if/as appropriate. If the appraisal is to be paid for by
the Board, it may be delayed until a number of items could be done for the current
year, and funding is available.
(I) Upon return of one copy of the completed and signed gift form the artifact
shall be assigned a registration number and recorded in the accession registry.
This number becomes the catalogue number and denotes the year of the
accession, the numerical order of the donor (during this accession year) who
donated this item, and the number of the item from this donor (during this
accession year), if more than one item was received from this donor.
Ex.: 2003.002.003 = 2003 - year item donated
002 - the second donor of the year 2003
34
003 - the third item donated by the second donor in 2003
If the item has more than one part, an additional number denotes the part
number. Example: 2003.002.003.2
(k) A cataloguing card containing the assigned number and pertinent
information on the item shall be completed. The artifact shall have the catalogue
number (appropriate method and material) placed on it, the information and a
picture of it fully documented, in duplicate (one for Museum and one form to go to
Municipal Office).
(I) The Master Catalogue Card Registry shall be electronically up-dated.
(m) Any cleaning, conservation or repairs to be undertaken shall be noted and
the item placed on display or in storage as appropriate.
(n) Prepare the necessary Donor/Source Card, Classification/Subject Card, and
Location Card.
(o) A thank you letter is to be sent to the donor. The person should be
encouraged to continue to provide support to the museum and shall be provided
information regarding current exhibits and events.
This Collections & Records Management Policy may not be altered without
the consent of the Museums Bayham Board and the approval of Municipal Council.
DATED at Straffordville Ontario, this RI* day of July 2006.
ature o Chairpec
10
APPROVED BY BAYHAM COUNCIL
BY-LAW #2006- of , on , 2006.
35
SAMPLE FORMS
Various forms are used to document all aspects of the items in the collection in a
consistent format.
10.1 Temporary Receipt
10.2 Temporary Receipt Tag
10.3 Gift Form (or Bill of Sale for purchased items)
10.4 Accession Registry
10.5 Cataloguing Worksheet (also known as Curator's Work Sheet)
10.6 Condition Report
10.7 Appraisal Form
10.8 Sample Receipt for Income Tax Purposes
10.9 Master Catalogue Card (also know as Permanent Collection Card)
10.10 Donor / Source Card
10.11 Classification Card
10.12 Location Card
10.13 Incoming Loan Agreement
10.14 Loan Registry - Incoming Artifacts
10.15 Outgoing Loan Agreement
10.16 Loan Registry - Outgoing Artifacts
10.17 Conservation Agreement
10.18 Conservation Registry - Artifacts Out for Repair & Maintenance
10.19 De-Accession Form
APPENDIX ATTACHMENTS
Appendix "A": Canadian Museums Association's Code of Ethics.
Appendix "B": A summary for Classifying Objects in the Museums
Collection. The Revised and Expanded Version of Robert
G. Chenhall's Nomenclature for Museum Cataloging and
classification of man-made objects.
36
MUSEUMS BAYHAM
c/o of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NOJ 1Y0
EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
TEMPORARY RECEIPT
(To be made in triplicate)
Depositor Date
Address:
Telephone Number:
***************************************
Object(s)
Information given on this form is subject to verification by the museum.
Purpose: Gift Loan Purchase Identification
Photography: Other: Specify: _
(Signature of Museum Representative
Objects received for identification only will be given the same care the museum devotes to its own
property,but no responsibility can be assumed in case of loss or damage by fire, theft or otherwise.
Objects must be collected within one week of notification; the museum regrets that it cannot hold
material beyond that time. KEEP THIS RECEIPT: It must be presented to reclaim the objects listed
above.
Form 10.1
37
MUSEUMS BAYHAM
c/o of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NOJ 1Y0
EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
TEMPORARY RECEIPT TAG
(to be attached to Artifact/Object)
Form 10.2
Accession OBJECT: _
Number:
Donor/Source:
Address:
Date:
Telephone#i:
Gift: Purchase: Loan: Other:
DIMENSIONS:
PROVENCE:
MUSEUMS BAYHAM
DESCRIPTION FOR INCLUSION IN THE MASTER CATALOGUE:
REFERENCES:
Back of Card
MUSEUMS BAYHAM
do of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NOJ 1Y0
EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
GIFT FORM
I do hereby give and bequeath to the Municipality of Bayham's Museums Bayham the artifacts/objects listed
herein,and in so doing I understand that as their legal owner I hereby relinquish all rights in, and ownership of,
such objects and convey all such rights and ownership to the Museum. I,the Donor,hereby give and transfer
unto the Museum full and unencumbered title to the objects and assign to the Museum the copyright for all items
in the donation. Ownership of the objects is assigned unto the Museum, its successors,administrators and assigns
absolutely.
Further, I,the Donor,understand and agree that the artifacts/objects may be displayed, loaned,retained or
disposed of in such manner as the Museum may deem to be in its best interests, and this may include partial
culling, amending, and/or altering of the donation.
DESCRIPTION ACCESSION NO.
I, the Donor,have read,understood and agreed to the foregoing, acknowledging same by undersigning
and dating this Gift Form.
Signed at:
(Signature of Donor)
this day of
(Print Name of Donor)
(Signature of Witness) (Donor's Address)
(Print Name of Witness)
Form 10.3
39
GIFT Form#103 ..... continued PAGE 2 of 2
ACKNOWLEDGEMENT
The Museums Bayham
• Edison Museum of Vienna— 14 Snow Street Vienna Ontario
• Port Burwell Marine Museum—20 Pitt Street Port Burwell Ontario
gratefully acknowledges receipt of the objects listed above,being the gift of
(Name of Donor)
Signed at: this day of
By:
(Signature of Museum Representative)
(Print Name of Museum Representative)
Form 10.3
40
MUSEUMS BAYHAM
c/o of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NOJ 1Y0
EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
ACCESSION REGISTRY
Accession Artifact/Object Source Name &
Number: Name: Description: Address: Date:
"Fur r1 4
MUSEUMS BAYHAM
c/o of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NOl 1Y0
EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
CATALOGUING WORK SHEET
also known as CURATOR'S WORK SHEET
Accession Number: ARTIFACT:
Classification: _ Method of Acquisition:
Source/Donor:
Accession Date: Catalogue Date:
Catalogued By: rint
(P ' & Signature)
Dimensions:
Material(s):
Description:
ARCHIVAL:books; albums; genealogical; government; local history; maps; newspapers; photos;
ARTIFACT: china/porcelain; furniture; machinery; silverware; textiles tools; toys; other
(Condition Report to be Completed)
Maker:
Form#10.5
42
Cataloguing Work Sheet/Curator's Work Sheet Form#10.5... continued PAGE 2 of 2
Signature &Marks:
History and/or Historical Significance:
References:
Conservation Treatment:
Restrictions and/or Comments:
Location:
Form#10.5
43
CATALOGUING WORK SHEET also known as CURATOR'S WORK SHEET
Accession Number-the three part identifying number,which is marked on the artifact and recorded on the
catalogue card. (example 977.2.10)
Artifact—the name of the artifact(i.e.Axe). Be specific only if there is no uncertainty as to the correct name(i.e.
Goose wing axe). If there is any uncertainty, it should be indicated(i.e.Axe,probably goose wing).
Class-a group or type of artifacts, which share the same common attributes(i.e. CLOCKS-which would
include wrist watches,table clocks,Grandfather clocks, etc).
Source-name, address,telephone number of the person or institution owning the artifact at the time it was
acquired by the Museum.
Method of Acquisition-the means by which the museum acquired the artifact(i.e.Purchase, donation,loan).
Accession Date-the date the article was accessioned by the museum.
Catalogue Date-the date the artifact was catalogued.
Cataloguer-the name of the person and their position, who catalogued the artifact, and their signature.
Dimensions-height,width or diameter, and length in metric and English measure.
Materials-the principal materials of which the article is constructed,be specific if possible,but note
uncertainties(i.e. Wood,possibly pine).
Description-be concise, coherent, and inclusive. The appropriate terminology should be used when possible,
uncertainty must be indicated. The description should move from the general to the particular-form overall
shape,colour,material, and finish to details of particular parts. Each part should be dealt with in turn starting
from top(or bottom) and working down(up). Signs of use and repair must be noted.
Condition-a general comment on condition(i.e. In working condition, or leg missing)must be noted. Do no
use such subjective words as good, fair,or poor condition.
Maker-name and/or address of the person who made the object or the company that manufactured it.
Signature or Marks-any serial numbers,patent numbers,maker's mark or maker's signature which is located
on the artifact. Note where the mark is located(i.e. Serial number#87260479 located on underside of the base).
History and/or Historical Significance-record any history associated with the artifact, where it was used,who
used it, etc. Note the ethnic or regional origin of the article(i.e. Mohawk,Pennsylvania German). Attached an
additional pager if need be.
References-sources upon which information on catalogue card is based(i.e.books, archival materials,
interviews).
Conservation Treatment-any work done on the article in the Museum.
Restrictions and/or Comments-restrictions would pertain to exhibit restrictions(i.e.Diary not to be made
available to public for a number of years at request of donor.
Location in the Museum—record this information in pencil. Form#10.5
44
CATALOGUING WORK SHEET also known as CURATOR'S WORK SHEET
OBJECT IDENTIFICATION CHECK LIST
1. Take Photographs—photographs are of vital importance in identifying and recovering stolen objects.
In addition to overall views,take close ups of inscriptions,markings, and any damage or repairs. If
possible, include a scale or object of known size in the image,and accession number.
2. Type of Object—What kind of object is it(i.e.painting, sculpture, clock, mask)?
3. Materials &Techniques—What materials is the object made of(i.e.Brass, wood, oil on canvas)? How
was it made(i.e. Carved,cast, etched)?
4. Measurements—What is the size and/or weight of the object? Specify which unit of measurement is
being used(i.e.Cm, inches) and to which dimension the measurement refers(i.e.Height,width, depth).
5. Inscriptions &Markings —Are there any identifying markings,numbers, or inscriptions on the object
(i.e. A signature, dedication,title,maker's marks,purity marks,property marks)?
6. Distinguishing Features—Does the object have any physical characteristics that could help to identify it
(i.e.Damage,repairs, or manufacturing defects)?
7. Title—Does the object have a title by which it is known and might be identified(i.e.THE SCREAM)?
8. Subject—What is pictured or represented(i.e. Landscape,battle, woman holding child)?
9. Date or Period—When was the object made(i.e. 1893, early 17k"century,Late Bronze Age)?
10. Maker—Do you know who made the object? This may be the name of a known individual(i.e. Thomas
Tompion), a company(i.e.Tiffany), or a cultural group(i.e. Hopi)?
11. Write a Short Description—This can also include any additional information, which helps to identify
the object(i.e. Colour and shape of the object, where it was made).
12. Keep it Secure---Having documented the object,keep this information in a secure place.
Form#10.5
45
MUSEUMS BAYHAM
clo of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NOJ 1Y0
EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
CONDITION REPORT
Accession Number:
Object Name:
Short Description:
Materials:
Special Treatment:
Technical Information:
Form#10.6
46
CONDITION REPORT Form#10.6. continued PAGE 2 of 2
Condition: (photograph and/or sketch)
Date:
Completed by:
To accompany the
Curator's Work Sheet
aka Cataloguing Work Sheet
Form#10.6
47
Form#10.7
MUSEUMS BAYHAM
c/o of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NOJ 1Y0
EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
APPRAISAL FORM
Name of Appraiser:
Address of Appraiser:
Telephone # of Appraiser:
Date of Appraisal:
Evaluation of Artifacts on behalf of the Museums Bayham
clo The Municipality of Bayham
9344 Plank Road, PO Box 160
Straffordville Ontario NOJ 1Y0
Attention: Mrs. Lynda Millard, Clerk
Re:
Donor Name&Address:
Items Fair Market Value
TOTAL FAIR MARKET VALUE:
Name of Appraiser: _
Signature of Appraiser:
7
Form#10:x',
48
Municipality of Bavham Letterhead
Official Receipt for Income Tax Purposes
Donation To: Canadian Municipality Deductible for Income Tax Purposes -
Section #118.1 (1) (d) of the Income Tax Act.
Receipt Number: Date of Receipt :
Name of Donor •
Address
Date of Donation .
The Sum of Dollars($000.00)
Explanation:
Treasurer
Municipality of Bayham
Form#10.9
MUSEUMS BAYHAM
do of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NOJ 1Y0
EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
MASTER CATALOGUE CARD
also known as PERMANENT COLLECTION CARD
ARTIFACT: CATALOGUE#:
CLASSIFICATION: SIZE:
IDENTIFICATION MARKS: SERIAL#:
DESCRIPTION:
DONOR/SOURCE: DATE:
APPRAISED BY: 1 DATE:
VALUE: EST.VALUE: YR INSURED:
CIRCA: STORAGE AREA:
DATE PHOTOGRAPHED: NEGATIVE NUMBER
50
THY MUSEUMS BNYHAlki
MASTER CATALOGUE CARD Form#10.9. continued PAGE 2 of 2
51
Form#10.10
MUSEUMS BAYHAM
do of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NOJ 1Y0
EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
DONOR/SOURCE CARD
DONOR/SOURCE•
Address: _
Telephone Number:
Comments:
Accession# ARTIFACT NAME:
THE MUSEUMS BAYHAM
52
Form#10.11
MUSEUMS BAYHAM
c/o of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NOJ 1Y0
EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
CLASSIFICATION CARD
ACCESSION NUMBER::
CLASS:
Sub-Class:
Object:
Date:
Name of Donor/Source:
Comments:
THE MUSEUMS BAYHAM
53
Form#10.12
MUSEUMS BAYHAM
c/o of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NOJ 1Y0
EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
LOCATION CARD
ACCESSION NUMBER::
ARTIFACT:
Location: Date:
THE MUSEUMS BAYHAM
54
Form#10.13
MUSEUMS BAYHAM
c/o of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NOJ 1Y0
EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario I 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
IN-COMING LOAN AGREEMENT
Agreement made in Duplicate this day of , 2005
THE MUSEUMS BAYHAM
14 Snow Street,Vienna, Ontario
and
Name:
Lender
Address:
Telephone#
The Lender hereby agrees to lend to the museum the following object(s) in return for the promise to comply
with the terms and conditions as set out in the Agreement.
Object(s) Value
The Museum and Lender hereby agree to the following terms and conditions:
DURATION OF LOAN: The Lender agrees to lend the named object(s) for a period of
commencing on the day of , 2006 and ending/or negotiated on the
day of , 2006.
PURPOSE OF LOAN:
Page 1 of 3
55
PURPOSE OF LOAN, continued:
REMOVAL OF OBJECT(S): The Lender agrees to remove within 60 days of the termination of the loan
period, all object(s) on loan, after which time the Museum may dispose of such object(s) as it sees fit, and
shall not be liable or accountable to the lender in respect to such object(s) or their proceeds.
CARE OF OBJECT(S): The Museum is not responsible for the safekeeping of property entrusted to it
under this Agreement beyond the exercise of such precautions as are now in force, or may hereafter be put
into force, for the safekeeping and preservation of its own property. The Museum will not clean, repair,
restore, or otherwise alter objects without the written permission of the Lender.
INSURANCE: Objects accepted on loan will be insured under the Municipality's museum fine arts policy,
subject to the usual exclusions of All Risks policies,unless the Lender elects to maintain his/her own
insurance. The objects will be insured for the amounts indicated on this document, against"all risks"of
physical damage from any external cause while in the possession of the Museum during the period of the
loan. If the Lender elects to maintain his/her own insurance,he/she agrees to name the Municipality as an
"Additional Insured" or to arrange for a waiver of subrogation during the period of this loan.
USE OF OBJECTS: The Museum may exhibit, store, or use the object(s) for educational purposes in the
same manner as similar objects in its collection,but exhibition of the object(s) is not guaranteed.
PUBLICITY AND PHOTOGRAPHY: The Museum may photograph or otherwise reproduce in any
media the object(s) for record, educational, or publicity purposes under the same regulations as pertain to
objects in the Museum's permanent collection.
JOINT LOANS: In case of joint loans the first person named above shall for all purposes be deemed the
Lender.
PROVISIONS BINDING UPON LENDER: The provisions hereof shall be binding upon the Lender, the
Lender's heirs, legal representatives, successors and assigns.
RETURN OF OBJECT(S) TO LENDER: The object(s)will be returned only upon the signed
acknowledgment of their receipt by the Lender or the Lender's duly appointed authorized agent or legal
representative.
NOTICE OF LENDER: Any notice required under this Agreement shall be deemed sufficient if mailed to
the Lender at the address above.
Form#10.13 Page 2 of 3
56
TITLE TO OBJECT(S): The Agreement is accepted on the understanding that the Lender is the lawful
owner of the above-named objects and is fully competent to lend such object(s)under the terms and
conditions of the Agreement.
The MUSEUMS BAYHAM Representative hereby acknowledges receipt of the object(s).
Signature of Lender Signature of Museum Representative
UPON RETURN:
The Lender hereby acknowledges receipt of returned object(s) at the end of the above noted term.
Signature of Lender: Date:
If the above named object(s)are on loan to the Museums Bayham,owned by the Municipality of Bayham,at
the time of my demise, I hereby state that I wish them to become the property of the Museums Bayham.
Signature of Lender Signature of Witness
Form#10.13 Page 3 of 3
57
MUSEUMS BAYHAM
c/o of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NOJ 1Y0
EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
IN-COMING LOAN REGISTRY
Loan I Source of Loan: I Artifact Name: Date Date
#: Received: Returned:
s
Form#10.14
58
Form#10.15
MUSEUMS BAYHAM
do of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NW' 1Y0
EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
OUT-GOING LOAN AGREEMENT
Agreement made in Duplicate this day of
By: Museums Bayham
(Lender)
To:
(Recipient/Borrower)
Address
Telephone#
The Lender hereby agrees to lend to the recipient museum the following object(s)in return for the
promise by the Recipient Museum to comply with the terms and conditions as set out in the Agreement
herein.
Object(s) Value
The Recipient and Lender hereby agree to the following terms and conditions:
DURATION OF LOAN of the above named object(s) shall be for a period of
weeks/months commencing on the day of , and ending on the
day of
Form#10.15 Page 1 of 3
59
PURPOSE OF LOAN:
RETURN OF OBJECT(S): The Recipient agrees to return within Ten(10)days of the termination of
the loan period, all object(s) on loan.
CARE OF OBJECT(S): The Recipient is responsible for the safekeeping of property entrusted to it
under this Agreement and taking such precautions as are now in force, or may hereafter be put into
force, for the safekeeping and preservation of its own property. The Recipient will not clean, repair,
restore, or otherwise alter objects without the written permission of the Lender. The Recipient will
exercise the same care in respect to loans as it does for the safekeeping of its own property.
INSURANCE: Objects accepted on loan will be insured wall-to-wall under the Recipient's museum
fine arts policy, subject to the usual exclusions of All Risks policies. The objects will be insured for the
amounts indicated on this document, against"all risks" of physical damage from any external cause
while in the possession of the Recipient during the period of the loan.
USE OF OBJECTS: The Recipient may exhibit or use the object(s) for educational purposes in the
same manner as similar objects in its collection.
PUBLICITY AND PHOTOGRAPHY: The Recipient may photograph or otherwise reproduce in any
media the object(s) for record, educational, or publicity purposes under the same regulations as pertain
to objects in the Recipient's own permanent collection.
PROVISIONS BINDING UPON RECIPIENT: The provisions hereof shall be binding upon the
Recipient,the Recipient's heirs, legal representatives, successors and assigns.
RETURN OF OBJECT(S) TO LENDER: The object(s)will be returned and signed acknowledgment
of their receipt by the Lender or the Lender's duly appointed authorized agent or legal representative
will be given.
TITLE TO OBJECT(S): The Agreement is accepted on the understanding that the Lender is the
lawful owner of the above-named objects and is fully competent to lend such object(s)under the terms
and conditions of the Agreement.
Form#10.15 Page 2 of 3
60
Obiect(s) Value
I verify that I am authorized to endorse this agreement on behalf of the recipient organization and
hereby acknowledge receipt of the object(s) identified above.
Insurance coverage is provided by
under Policy#
DATED this day of , 2006.
Print Name of Recipient
Signature of Recipient Signature of Lender
***************************************
COMPLETE UPON RETURN OF THE OBJECT:
The Lender hereby acknowledges receipt of returned object(s) this day of
Signature of Lender:
Print Name:
Form#10.15 Page 3 of 3
61
MUSEUMS BAYHAM
c/o of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NOJ IYO
- EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
OUT-GOING LOAN REGISTRY
Loan Source of Loan: Artifact Name: Date Date
#: Loaned: Returned:
Form#10.16
62
MUSEUMS BAYHAM
do of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NOJ 1Y0
EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
CONSERVATION AGREEMENT
Artifacts out for Repair& Maintenance
Agreement made in Duplicate this day of
By: The Museums Bayham
(Museum)
To:
(Recipient)
Address
Telephone#
The Museum hereby agrees to lend to the recipient the following object for repair and maintenance, in
return for the promise by the Recipient to comply with the terms and conditions as set out in the
Agreement herein.
Object Description Value
Form#10.17 Page 1 of 3
63
The Recipient and Museum hereby agree to the following terms and conditions:
DURATION OF LOAN of the above named object(s) shall be for a period of
weeks/months commencing on the day of _, and ending on the
day of
PURPOSE OF LOAN IS FOR REPAIRS & MAINTENANCE OF ARTIFACT, more specifically
noted as follows:
ESTIMATED COST: $
RETURN OF OBJECT: The Recipient agrees to return within Ten(10)days of the termination of the
loan period, all object on loan.
CARE OF OBJECT: The Recipient is responsible for the safekeeping of property entrusted to it under
this Agreement and taking such precautions as are now in force, or may hereafter be put into force, for
the safekeeping and preservation of its own property.
The Recipient will clean, repair, and restore the object as agreed to in writing and will not otherwise
alter object without the written permission of the Lender. The Recipient will exercise the same care in
respect to loans as it does for the safekeeping of its own property.
INSURANCE: Object accepted on loan will be insured wall-to-wall under the Recipient's policy,
subject to the usual exclusions of All Risks policies. The object will be insured for the amounts
indicated on this document, against"all risks"of physical damage from any external cause while in the
possession of the Recipient during the period of the loan.
USE OF OBJECT: The Recipient may exhibit or use the object for educational purposes in the same
manner as similar objects in its collection.
PROVISIONS BINDING UPON RECIPIENT: The provisions hereof shall be binding upon the
Recipient, the Recipient's heirs, legal representatives, successors and assigns.
RETURN OF OBJECT TO MUSEUM: The object will be returned and signed acknowledgment of
their receipt by the Museum or the Museum's duly appointed authorized agent or legal representative
will be given.
Form#10.17 Page 2 of 3
64
TITLE TO OBJECT: The Agreement is accepted on the understanding that the Museum is the lawful
owner of the above-named object and is fully competent to lend such object under the terms and
conditions of the Agreement.
Object(s) Value
I verify that I am authorized to endorse this agreement on behalf of the recipient organization and
hereby acknowledge receipt of the object(s)identified above.
Insurance coverage is provided by
under Policy#
DATED this day of 2006.
Print Name of Recipient
Signature of Recipient Signature of Museum
COMPLETE UPON RETURN OF THE OBJECT:
The Museum hereby acknowledges receipt of returned object(s) this day of
Signature of Museum:
Print Name:
Form#10.17 Page 3 of 3
65
MUSEUMS BAYHAM
do of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NOJ 1Y0
EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
CONSERVATION REGISTRY
Loan Name of Conservator I Artifact Name: Date Left Date
#: & Address Museum Returned
& Telephone Number: for to
Repair: Museum:
Form#10.18
66
MUSEUMS BAYHAM
do of the Municipality of Bayham
Box 160, 9344 Plank Road Straffordville, Ontario NOJ 1 YO
EDISON MUSEUM OF VIENNA PORT BURWELL MARINE MUSEUM
14 Snow Street Vienna Ontario 20 Pitt Street Port Burwell Ontario
Telephone: 519-874-4999 Telephone: 519-874-4807
DE-ACCESSIONED ITEMS from PERMANENT COLLECTION
The Museums Bayham and the Municipality of Bayham hereby gives, donates and releases
to the recipient:
(Name)
(Address) (Phone#)
the object(s) listed herein.
DESCRIPTION OF ARTIFACTS RELEASED
•
Accession Number DescripIion
Form#10.19 Page 1 of 2
;
In so doing the Museums Bayham and the Municipality relinquishes any rights of ownership or
possession of the item(s) and the recipient acknowledges receipt of the item(s) and accepts the item(s)in
the condition as is without warranty or representation.
Reasons for De-accession
❑ To remove objects from the collection when they are no longer suitable or useful to the
permanent collection or the educational programming
(i.e. duplicates, do not meet the current mandate);
u To remove objects from the collection that may be causing harm to other museum artifacts (i.e.
giving off harmful gases, infesting with vermin)
u To remove objects from the collection when they can no longer be preserved, conserved or cared
for properly(i.e. lack of funds or space, unsuitable or unstable environment)
Method of Proposed De-accession ranked in Order of Reference 1,2,3,4
❑ Transfer to the hands-on education or research collection (does not require Council approval)
❑ Donation or trade to another cultural institution(to keep in public domain)
❑ Sale to a dealer
o Sale by public auction
❑ Repatriation to rightful destination(human remains or illegal ownership)
o Appropriate permanent physical disposal (total destruction)
Signed at this day of , 2006.
Name of Recipient in full:
Address:
Telephone:
Signature on behalf of the Recipient
Signature on behalf of the Museums Bayham/Municipality of Bayham
Form#10.19 Page 2 of 3
68
APPENDIX"A"
Canadian Museums Association's Ethical Guidelines 1999
Preface
While the Canadian Museums Association supports the guiding principles of the ICOM Code of Professional
Ethics 1986, and particularly its emphasis on serving society, there is need for a Canadian statement, which
addresses contemporary conditions and national issues in the museum community.
Almost 20 years ago, the CMA Ethical Behaviour of Museum Professionals 1979 was adopted by the
Association; since then there have been a number of significant changes to Canadian society and in museum
theory and practice. In 1996, the CMA Board called for an updated document.The resulting CMA Ethical
Guidelines 1999 owes a significant debt to many other museum association ethics statements of Canadian and
foreign origin, those of related organizations, and to the Ethics Document Advisory Committee.
After wide consultation with the CMA membership and the museum community, the final version contains some
material, which is not strictly"ethical". Occasionally an example, a reason, or a simple statement of fact is
provided by way of clarification. Also, there is a little repetition—where an important, overarching issue has
appeared early in the Guidelines and is noted or rephrased again in a later section.This is a deliberate attempt to
improve readability and to assist users who may refer, initially, to only a portion of the document. Some sections,
(i.e. Disposals and Conflict of Interest), might seem disproportionately lengthy; however, it became apparent
during the consultation period that these issues were of sufficient concern to be treated in detail. These
Guidelines should be reviewed regularly, and possibly, the emphasis on different sections may change over time.
It is the intention of the CMA Board of Directors to consider dealing with alleged violations of the CMA Ethical
Guidelines. This will be a separate step, and at present, is estimated to take approximately two years to put into
effect.
Sonja Tanner-Kaplash, Consultant
Victoria, March 1999
Advisory Committee
Nicole Cloutier Marven Moore Chris Severance
Adriana Davies Ute Okshevsky Tom Smart
Marie Dickens Gillian Pearson Barbara Teetero
Tip Evans Francine Perinet Dianna Thompson
Jane Fullerton Katherine Petipas Elaine Tolmatch
Robin Inglis Irvine Scalplock Steve Turnbull
Sandra Massey
69
A. Introduction
A. 1 The Museum Community
For the purposes of this document, the diverse Canadian museum community includes individual
museum workers responsible for any aspect of museum operation, management or governance,
and by extension, museums as institutions, which consist of individuals acting in a corporate
manner.
Some groups, such as trustees and chief executive officers, have special or additional
responsibilities, and these are noted in specific sections.
A. 2 Purpose
Both museums and museum workers have duties, responsibilities and opportunities; and from
time to time, they encounter ethical dilemmas and conflicts, which must be resolved in a balanced
manner, considering both the needs of the institution and the broader public interest.
Clearly, it is not possible to anticipate every situation that may arise, therefore, the CMA Ethical
Guidelines are intended to:
promote a climate of integrity by affirming the values of the museum community;
assist individuals who must make, and act upon, decisions of an ethical nature;
provide the public with some insight as to what they might expect from museums and
individuals associated with them.
The CMA Ethical Guidelines are not intended to replace individual museum policies or statements
of ethics; this document cannot provide the level of detail or complexity, which is properly an
institutional responsibility; it is intended as a framework upon which institutional documents may
be based, and individuals can determine their personal ethical obligations.
B. Definitions
B. 1 Ethics
Ethics are based upon the underlying values of honesty,fairness, respect, excellence and
accountability, which the larger community applies to the rational evaluation of moral issues.The
application of these values has changed considerably over time, and museum ethics must reflect
an ongoing dialogue between the museum community and the society it serves.
Museum ethics represent more than the avoidance of contractual or legal liability or the
particulars of a code of conduct; they are the framework of personal and institutional obligations
and standards which govern the conduct of all members of the museum community at all times.
In a wider context, museums recognize the ethical implications of global issues, which confront
society at large, such as peace, security, freedom, and the urgent need to preserve our
environment.
70
B. 2 Museum
A non-profit, permanent establishment, exempt from federal and provincial income taxes, open to
the public at regular hours and administered in the public interest for the purpose of collecting and
preserving, studying, interpreting, assembling and exhibiting to the public for its instruction and
enjoyment, objects and specimens of cultural value, including artistic, scientific(whether animate
or inanimate) historical and technological material. (CMA Bylaws, 1995.)
B. 3 Governing Body
The governing body of a museum may be an elected or appointed Board of Trustees or Directors,
or a Management or Advisory Board or Committee of municipal officials.
Whatever its formation, it is the legal entity that is accountable to the public and to the museum
community for the policy, financing and administration of the museum. For the balance of this
document, the term trustee is used to describe a member of this group.
B. 4 Museum Collections
Museum collections consist of natural or cultural (i.e. manmade)objects and intellectual property
directly owned by the museum, as a public trust, and registered as part of its permanent
collection, to be used for the exclusive purposes of preservation, research and presentation to the
public.
Museums may also hold or steward collections on behalf of other parties, and have a
stewardship interest in other such properties not directly owned by the museum. These might
include heritage sites and cultural landscapes, material that has been acquired with public funds
or is communally or publicly owned, and the living traditions, such as ceremonies, of communities
served by the museum.
Museum collections are not resources which are directly available to meet the financial
obligations of the institution by conversion into currency or as security to raise monetary loans;
however, they may be used to generate income for the museum in other ways, through admission
fees and so on.
Throughout these Guidelines, the terms "object(s)"and "material"are used in a generic sense
to mean museum collections of all types.
B. 5 Museum Workers
Museum workers are individuals responsible for any aspect of museum operation, management
or governance, paid or volunteer, full-time, part-time, occasional or contract, as well as those in
related support or service organizations and privately or self-employed persons practising one of
the related museological fields.
B. 6 Documentation
Documentation consists of records in any form, (written, electronic, graphic, audio etc.)which
relate to museum collections in any way.These will include primary, (often original) registration
records of legal title, source, provenance, condition, physical description, standards of care
required by the community of origin, etc. as well as secondary records relating to changes,
events, and research concerning museum collections.
B. 7 Research
Research is creative work, undertaken on a systematic basis, to increase knowledge; it is
characterized by originality and is primarily investigative. It may be carried out by museum
workers alone or in co-operation with community groups.
The data obtained through basic, applied or summative research into some aspect of the
museum collections or into the operation of the museum itself are essential for the dissemination
of knowledge at a professional and popular level.
71
B. 8 Presentations
Presentations are any material or intellectual product which the museum offers to the public in
any form, or uses to communicate with the public, (i.e. public programming such as displays,
exhibitions, demonstrations, publications, lectures, tours, etc. as well as labels, signage,
electronic media, and retail products based on the collections). Presentations include joint
ventures and sponsored events.
C. Public Trust Role
C. 1 Responsibilities of Trusteeship
Museums have two fundamental public trust responsibilities: stewardship and public service. The
trust of stewardship requires museums to acquire, document and preserve collections in
accordance with institutional policies, to be accountable for them, and to pass them on to future
generations of the public in good condition.
The trust of public service requires museums to create and advance not only knowledge, but
more importantly, understanding, by making the collections and accurate information about them,
physically and intellectually available to all the communities served by the museum. To this end,
museums seek to be public focal points for learning, discussion and development, and to ensure
equality of opportunity for access.
C.2 Legal Considerations
To merit the confidence which the public trust engenders, museums must not only uphold all
applicable international Conventions,federal and provincial legislation, treaty obligations, legally
binding trusts or conditions relevant to collections, facilities or their corporate status, but must
also avoid even the remotest suspicion of compliance in any illegal activity.
Most particularly, museums must guard against any direct or indirect participation in the illicit
traffic in cultural and natural objects; this may include natural or cultural objects that are:
stolen
illegally imported or exported from another state, including those that are occupied or
war-stricken;
illegally or unscientifically excavated or collected in the field.
is unethical for museums to acquire by any means, evaluate or accept on loan, such material,
unless it is specifically required by a responsible government authority for the safety of the
objects.
When there is reason to suspect illegal activities, museums must notify the appropriate
authorities without delay, and co-operate in the return of items obtained in contravention of
applicable international Conventions.
It is unethical for museums to knowingly advance incorrect or inappropriate documentation
concerning value, provenance, source etc.for the purposes of securing tax benefits for donors.
C. 3 Respect for Traditional Customs
Museums should respect the worldview of other cultures or communities, including oral history
and traditional knowledge concerning culturally significant objects and human osteological
material.
Information about these culturally sensitive objects may not be readily available, and it is the
responsibility of museums to actively seek it out, and to consult with knowledgeable members of
the appropriate communities before using the material in any way.
a -
72
D. Museum Governance
D. I Responsibilities of the Governing Authority
Due to their position, the elected or appointed trustees who constitute the governing body of a
museum, have trusteeship responsibilities in law that exceed those of staff. Every museum
requires a written mandate,which may take the form of a constitution with by-laws, a municipal
charter, etc. This public statement establishes its legal, non-profit status, its purpose, and
objectives.The constitution also specifies the role and composition of the governing body, which
should represent fairly the interests of the communities it seeks to serve.
Elected or appointed trustees should have a genuine interest in the museum, and a proper
understanding of their public trust responsibilities,which include:
• obtaining the support and financial resources necessary to achieve the museum's aims
and mandate;
• ensuring the prudent use of resources to maintain and enhance all aspects of the
museum's collections and services;
▪ providing a clear public statement of museum policies and mandate;
• acting in a corporate manner in the best interests of the museum, rather than seeking
individual benefits;
• being aware of social or economic factors which affect the communities served by the
museum;
• ensuring that ethical guidelines, particularly those concerning conflict of interest
situations, are observed by the governing authority, the chief executive officer and all
museum workers.
Trustees who enter a competition for, or apply for, a paid or unpaid staff position in the museum
must resign from the governing body and all of its committees significantly prior to making
application.
D. 2 Responsibilities of the Chief Executive Officer
The chief executive officer(or director)of the museum is the only member of staff who is directly
answerable to the governing authority.
The director's role is to provide professional competency and effective strategic leadership for
the museum; and includes responsibility for the appointment of other staff, their training,
promotion and if necessary, dismissal.
73
E. Collections Policies
One of the most fundamental stewardship responsibilities of museums is the development of
collections policies;these should relate directly to the mandate of the institution.
Their purpose is to guide decisions concerning the selection, acquisition, care, use,
documentation and disposal of museum collections, taking into consideration long-term
implications, as well as immediate, logistical issues. Such policies should identify the range of
institutional collecting activities and the museum's priorities, in terms of the use(s) it intends to
make of future acquisitions.
Collections policies should be clearly written,widely distributed and provide for the
development of complementary procedures; they must be approved by the governing authority
and reviewed regularly.
Museums should be particularly conscious that material acquired in an illicit, unethical or
exploitive manner may be offered for donation, loan, or identification.They should therefore
develop appropriate procedures to avoid such situations.
E. 1 Documentation
The documentation of collections is a significant means by which museums demonstrate their
public service activities. Polices should provide not only for the creation and maintenance of
primary documentation about the collections, but also for the development of secondary levels of
documentation concerning all presentation/public programming uses that are made of the
collections.
Documentation should be kept current, standardized, and systematized for easy retrieval and
use by a wide range of users; it should be maintained in a secure and stable environment.While
some documentation may be subject to restrictions, museums should ensure that information
about the collections is easily accessible to the public.
No object should be deliberately identified or valued in a misleading manner for any purpose,
and where possible, museums should validate their documentation with knowledgeable members
of relevant communities.
Decisions leading to acquisitions, loans and disposals must be fully documented and this
history, including photographs, maintained on a permanent basis.This also applies to disposals,
which occur due to accidental loss; intentional destructions should be documented by two
witnesses.
Information about acquisitions, loans and disposals should be made public in the museum's
annual report, or other regular publication.
When acquisition(s)are purchased with funds from disposal(s), the donor(s)of the original
gift(s)should be recognized and given credit where possible.
E. 2 Acquisitions
Acquisitions for museum collections should be made with a view to permanency, and not for the
purpose of eventual disposal.
When considering an acquisition, museums must ensure that legal title can be conveyed in
written form and establish that the authenticity, source and provenance of the object is fully
documented and ethically acceptable. When objects are acquired from other organizations, (such
as religious congregations etc.) museums should confirm that the disposal is in accordance with
the policies of that organization.
Museums have a special responsibility when dealing with donors who may be unaware of the
importance, value, title of proposed gifts, and when preparing applications for certification by the
Canadian Cultural Property Export Review Board.
If material is acquired directly from an artist, (or donor if applicable) museums must ensure that
royalty, reproduction, exhibition and moral rights, as well as installation plans, are negotiated and
documented.
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Museums should avoid the acquisition of material:
which is inconsistent with its collecting mandate;
which cannot be stored or exhibited according to institutional
policies, especially objects that will not be catalogued or
conserved within a reasonable period of time;
to which special conditions apply, particularly if these cannot be
,. met in a timely manner, and will impose unwieldy restrictions in
future;
for trading purposes, with the exception of duplicate or near
duplicate scientific specimens gathered on museum-sponsored
field trips;
with local or special connotations, that falls within the collecting
mandate of another museum,which specializes in that subject
or geographic area.
E. 3 Loans
Loans policies should clearly define the conditions under which museums make outgoing loans,
or accept incoming loans. These include special exhibitions, temporary deposits, loans of regalia
and other objects for ceremonial purposes, inter vivos"loan backs"associated with residual gifts,
the application of loan administration fees or exhibition fees, and so on.
Museums must provide the level of care for borrowed material that is specified by the lending
institution, and fulfill any other requirements. Loans from private individuals are a special
responsibility because members of the public generally look to the borrowing institution for
guidance and expertise.
Museums should ensure that appropriate valuations of loan material for insurance purposes
are provided to borrowers, and received from lenders.
The practice of"permanent loans" should be avoided; this term is unlikely to have any legal
status and the transaction is better described as a "renewable or long-term loan".
E. 4 Disposals
There are circumstances when disposals can strengthen and refine the quality of a museum
collection; but generally there is a strong presumption against the disposal of accessioned
collections to which the museum has acquired legal title, particularly objects which have been
certified by the Canadian Cultural Property Export Review Board.
It is preferable that material disposed from museum collections remain in the public domain;
objects of national, provincial or regional importance should remain in Canada and within an
appropriate locale.
If financial assistance for an acquisition has been received from a public or private source
outside the museum, the disposal of that material requires the consent of all parties to the original
transaction.
The disposal of replaceable or renewable material used in working, teaching or natural history
museums or programs requires special consideration; the overall concern should be for the long-
term survival of appropriate examples of the object.
Occasionally, museums may reasonably plan to destroy or alter objects or parts thereof for
research or other purposes; however, the museum's overriding responsibility is for the wise use
of the collection material, with the greatest long-term benefit.
Disposals of non-accessioned or non-registered objects owned by museums are not subject to
these requirements. However, museums should recognize the public perceptions concerning
material accepted by them, and when museums accept a bequest with the intention of disposal,
they should so inform the executors of the will at the time of the bequest.
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E.4.1 Criteria for Disposals
Museums must develop disposal policies that clearly relate to their acquisition policies and to
their collecting mandate; these will set out the rationale for any disposals, and define the methods
that will be used.
Disposals should not stem from arbitrary changes in taste, or individual preferences and
generally, are proposed by museum workers assigned curatorial responsibilities.
The museum must ensure that:
it is legally free to act;
it has clear title to the objects proposed for disposal and/or in the
case of undocumented material, that it has made a serious, diligent
and documented effort to locate owners;
there are no restrictions associated with the material when it was
acquired;
,.., the transaction is fully approved by the governing authority;
objects for which a request for return, restitution or repatriation
could reasonably be expected to arise in the future are not be
considered for disposal by other means.
E.4.2 Methods of Disposal
It is preferable that disposals from museum collections remain in the public domain, and
museums should offer internally approved disposals to other museums or appropriate public
institutions as a gift, or for exchange or sale before considering commercial concerns or private
individuals.
Museums may properly endeavour to maximize financial returns to the institution and, if
necessary, consider publicly advertised auction sales, before turning to reputable and established
dealers. Disposal by sale to a private individual is the least satisfactory option.
Occasionally, museums need to discard an object that is in such poor physical condition that
conservation or restoration is not feasible, and that is no longer useful for study or teaching
purposes. Such material should be permanently and completely destroyed before witnesses, or
disposed of in a fashion (i.e. to a scrap metal dealer),which ensures it cannot be reconstructed in
any way.
It is unethical for museum workers, their relatives and associates, or any individuals or
organizations associated with funding the museum, to acquire or to benefit in any way from
disposals from museum collections.
Museums should make public their intention to dispose of objects from the collections at least 3
months in advance, using the appropriate media.As a courtesy, museums should make every
effort to notify relevant donors and/or living artists about the forthcoming disposals.
Museums may not dispose of collections by returning them to the original donors as a gift,
(whether or not the donor received any tax benefit at the time of the donation); however,
museums may allow the original donor to purchase the material at current fair market value. As a
courtesy, museums should allow living artists the first right of refusal to re-acquire their earlier
works.
E. 4.3 Use of Funds Generated by Disposals
Museum collections are part of the fixed capital assets of a public institution;funds which are
generated by disposals replace the collections themselves, and may be used only for further
capital acquisitions, that is, for additions to the collections and for repairs to the collections which
are directly necessary to maintain them.
Therefore, it is clearly unethical for museums to dispose of collections in order to provide funds
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for purposes other than for the acquisition of, or direct care of, museum collections.
Nevertheless, the proceeds generated by disposals may remain in a capital fund, suitably
protected against inflation (such as an endowment), which generates income for the museum;
such income is not subject to the same restrictions as the capital fund itself.
E. 4.4 Domestic and Foreign Returns
Every request for restitution, repatriation or return must be given immediate and serious
consideration, and treated with respect and sensitivity. Such requests can only be resolved by
each museum on a case-by-case basis. Museum policies must clearly describe the process
followed to, answer such requests.
In the event of requests from a foreign state, museums should facilitate negotiations, rather
than awaiting action at a government or political level.
Objects which are specifically held "in trust"for any community may be returned to that entity
or to another appropriate institution that is mutually agreeable.
Museums should be committed to the return of human remains , directly associated funerary
objects and culturally sensitive objects, when requested by communities or groups with a
demonstrable claim of historical relationship to them, and be prepared to facilitate the return of
material which may have been acquired under circumstances that invalidate the museum's claim
to title.
E. 5 Conservation and Disaster Planning
Museums should take all practical steps to preserve and minimize the physical deterioration of all
collections entrusted to its care, regardless of their financial value.
While preventive conservation is acknowledged as a primary responsibility, museums must
often make an informed decision and attempt to strike a balance between the need to use and
the need to preserve, in some cases, considering the original purpose of the object.
As part of their overall conservation practice, museums should develop specific and
comprehensive plans to deal with all types of emergencies that might affect the collections and
the facilities-both those that can be anticipated as well as unexpected crises. In all cases,
however, the well being of museum workers and visitors must be given priority.
E. 5.1 Welfare of live animals
Museums that maintain live animals must provide for the protection of museum workers and
visitors, and for the health and well being of the animals. A veterinarian should be available for
regular inspections of the animals, the programs they are required to perform and their living
quarters.
The procurement and disposal of animals should be in keeping with humane and professional
practices; if museums dispose of such animals, they should ensure that they are not acquired by
individuals who are not properly qualified to handle them.
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F. i. cessi5iI ty & Fresentet:ons
To fulfill their public service responsibilities, museums must ensure that there is equality of
opportunity for public access to collections, information about them, and to all types of museum
presentations. Some museums meet this responsibility by providing free admission at specific
times. Presentations are the most visible public service activity of museums; they should relate as
directly as possible to the mandate of the institution.
In addition to providing for a broad range of interest levels and abilities, museums should
actively seek out new and wider audiences in the community, including groups that may be
disadvantaged in some manner. Most particularly, museums must make every effort to eliminate
any form of discrimination based on age, gender, racial origin, religion, sexual orientation and
77
medical condition or disability.
Museums also have an obligation to the wider community of colleagues and other cultural
institutions, as well as to the public beyond the immediate community, to share information about
the collections and to make loans, subject to institutional policies.
Particular care should be taken to ensure a culturally respectful approach to the values and
traditions of all groups, which are part of the community; to this end, museums should involve
these various groups in planning and developing presentations.
Presentations should endeavour to represent the multiple perspectives held by different groups
in a fair and impartial manner; when museums do present a singular viewpoint, this bias should
be made clear to the public.
Museums must be especially conscious of copyright requirements, and exercise due diligence
in this matter.
F. 1 Media and publicity
The media provide a link between museums and their users; it is therefore appropriate for
museums to seek to influence the media in a positive manner.
To avoid confusion, museum workers should not make public statements on behalf of the
museum without authorization, and museums should identify an individual to co-ordinate all
media contacts for the institution.
As with all other museum presentations, information prepared for publicity and other media
purposes should be factually accurate and sensitive to community values.
G. Culturally Sensitive Objects and Human Remains
Information about certain culturally sensitive objects may not be readily available, and it is the
responsibility of museums to actively seek it out from knowledgeable members of the appropriate
cultural groups before using the object in any way.
Presentations, research and museum-sponsored archaeological field trips should be
accomplished in a manner acceptable to the originating community. In specific cases, it may be
appropriate to restrict access to certain objects, to honour the protocols and ceremonies of that
community regarding storage, treatment, handling and display, or to facilitate special access as
appropriate.
Where appropriate, museums could assist in the reinterment of(archaeological) human
osteological material by assisting local reburial committees or other community groups.
H. Research, Publications and Field Wortz
In order to enhance the quality of all types of presentations, museums have a responsibility to
support and encourage research activities and to share their findings with the community at both
a popular and a professional level.
Policies should ensure that research relates directly to the institutional mandate, and conforms
to the approved research and/or publications program of the museum.
Access to museum collections and related research should also be provided with appropriate
supervision, to legitimate outside researchers, including members of the public with a genuine
interest in or connection with specific material or cultural groups.
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Museum-sponsored research and fieldwork should:
use appropriate and ethical scientific or historical methodologies;
observe all applicable legislation, including where appropriate, that
of the host province or state, and proceed only with the agreement
of the responsible authorities;
not be detrimental to the environment, to any animal or plant
populations, or to any natural, historical or cultural site;
be designed in partnership with the social or cultural group that
may be the subject of the research, or the occupant of the
fieldwork area, and respect the customs, traditions and values of
that community;
ensure that natural or cultural objects are collected for museum
use, or are shared with the host province/state, (or other
responsible authority), and do not become available for
commercial exploitation. If museum policies permit personal
collecting, a disclosure statement should be provided by all field
workers.
The results of research should be published (or presented in another form) in a timely fashion,
since unavailable research represents wasted institutional resources.
Wherever feasible, museums should permit researchers with work in progress continued
access to relevant data or collections, (even if the museum worker leaves the employ of, or
formal association with, the museum)and protect unpublished research findings from plagiarism
during a reasonable term of completion. Where research is not completed or published, it should
be made available to other researchers for that purpose.
When museum workers prepare material for publication(or another form of presentation)as
part of their paid duties, the museum retains all rights to the work, unless there is an agreement
to the contrary.
I. Commercial and Revenue-Generating Activities
Commercial activities include retail sales of all kinds, in restaurants, museum shops, commercial
or promotional filming and photography, reproductions, space and object rentals, sponsored or
joint ventures, and so on.
Relationships between museums and outside organizations should be clearly defined, and any
joint or sponsored activities, products or services should not compromise the institutional
mandate and its public trust responsibilities. Such enterprises should make a positive
contribution, not only financially, but also to the public image and role of the museum.
Where feasible, commercial activities should relate to the institutional mandate, and should not
place museum collections at any greater risk than normal museum use.
Products sold by museums should be accurate, reliable publications and good quality, safe,
educational or decorative items. It should be made clear to the public that museums do not sell
products that incorporate(parts of)any endangered species, or illicitly acquired objects or items
that have been disposed from museum collections.
I. I ,13p:o:.iUCaicrhs Enc coi)vrie
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Museums must ensure that they have secured the appropriate copyright or license to reproduce
before reproducing items for sale, particularly images that are modified or decontextualized.
When material is acquired directly from an artist(or an individual who holds copyright)for the
purpose of reproduction, museums must ensure that royalty, reproduction and moral rights are
negotiated and documented.
Replicas, reproductions or items derived from the collections should be clearly marked as such
and made in a size, material or other manner so as to ensure that the reproduction is not identical
with the original. Every effort should be made by museums to avoid any confusion on the part of
the buyer.
immim
J. Employer/Employee Relations
All museum workers benefit from equitable working relationships based upon mutual respect.
Museum workers owe:
to members of the public: courteous, efficient service and
assistance;
to their colleagues: respect, co-operation and support; senior
museum workers are particularly responsible for sharing
knowledge and transferring skills to co-workers;
to their institution: loyalty to its policies and the conscientious
performance of their duties, improvements in competence,
awareness of current developments in the museum field and use
of the museum's name and resources for official business only.
In turn, museum administrators are responsible for ensuring that working relationships among all museum
workers are clearly defined, that shared roles and separate responsibilities are recognized for trustees, paid staff,
volunteers, and contract consultants and that there is respect for the professional expertise and experience of
museum workers.
Specifically, institutional policies should be in place to ensure:
equality of opportunity in job postings, recruitment, and
promotion;the elimination of discrimination based on age,
gender, racial origin, sexual orientation, religion and medical
condition or disability;
regular review of written job descriptions and the development of
diverse work experiences leading to meaningful career paths;
clearly defined and appropriate disclosure procedures exist
governing possible conflict of interest situations relating to
employment(such as private work from which remuneration may
accrue);
museum workers are never required to contravene any
legislation or the CMA Ethical Guidelines;
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opportunities exist for museum workers to propose amendments
to institutional policies, and procedures to resolve disputes;
that in the event of labour disputes, the care and maintenance of
the collections (including live animals)are the primary
responsibility of the museum. In situations where union
membership is mandatory for employment, and crossing a picket
line results in the loss of that membership for an employee, the
museum may need to make special arrangements.
J. 1 Staff Development
Both museums and museum workers benefit from educational opportunities for development or retraining,
including university or college courses of study, workshops, meetings, secondments, exchanges, conferences
and membership in museological and other professional associations.
Museums should support and encourage association membership and participation in staff development
functions, and make appropriate provision for the equitable funding of these activities.
K. Volu.iteers
Most museums originated as volunteer organizations; those which have developed beyond that
stage should continue to make good use of community volunteers by encouraging them to
develop an organizational framework(such as an association)which clearly defines both the
relationship between the museum and the volunteer organization, and the role of volunteers in
the museum.
Museums should identify appropriate and effective channels of communication, and where
feasible, assign a permanent liaison to work with any volunteer organizations.
As museum workers, volunteers are subject to the same ethical obligations as paid staff and
should operate under the same working conditions.
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L. Conflict of Interest
To maintain an ethical environment, museum workers must act in an ethical manner, and just as
importantly, be seen to do so.
L. I i-3rsos•.&! CmiZi'2;,t
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Museum workers shall avoid ail activities, which could be construed as an actual, potential or
perceived conflict of interest with respect to that of the museum. They may not use their affiliation
with the museum for personal gain or to benefit any third party.
Nevertheless, museum workers have a right to pursue their own interests, provided these do
not conflict with those of the museum, and are not detrimental to their own reputation or that of
the museum. Most particularly, museum workers must make a clear distinction between acting on
behalf of their institution and acting on their own account.
Museum policy should require that the business and personal activities of museum workers,
(including collecting)are formally disclosed, updated, and when there is potential for conflict of
interest, either approved or discontinued.
L. 2 Gifts
Museums must exercise special care concerning offers of objects as a donation for tax benefit(or
for sale), from museum workers, (including trustees)their families or close associates, and
ensure that valuations associated with such transactions are carried out at arm's length.
Museum workers must not solicit or accept for personal use, any gift or other form of reward for
services rendered, action taken or influence exerted, from any person or organization having or
seeking contractual, business or professional relationships of any kind with the museum.
However, suitable items may be accepted on behalf of the museum for the collections or for
institutional use, and institutional policies may provide for the acceptance of meals,
accommodations or travel by museum workers for official museum business.
L. 3 Collecting and Dealing
Museum workers must disclose the extent of any personal collections and shall not compete with
the museum for the acquisition of objects.
When museum workers have personal collections, which are covered by the collections policy
of the museum, they must not act as a dealer(that is, buy and sell for profit as distinguished from
occasional sales or exchanges from a personal collection). If they wish to dispose of an item or a
collection, it should be offered first to the museum for consideration.
Museum workers should not assist a member of the public in the acquisition of private
property, or in its disposal, unless it is directly acquired by the museum.
Museum workers, their relatives or associates may not acquire objects disposed from the
museum collections, or appropriate in any other way, items from the collections, even on a
temporary basis, or use their association with the museum to promote their private collecting
activities.
L. 4 Confidentiality and Privacy
Museum workers should avoid the careless or deliberate disclosure of any information received
as a result of their position whether imparted in confidence or not, concerning the management
and security of the institution, any future or unannounced events, and so on.They must respect
the privacy of donors, lenders, members of the public, and other cultural institutions, particularly
concerning sensitive material such as human remains, and exercise caution where there is
reason to believe that unrestricted access to information could lead to the abuse of significant
sites or material.
L. C f:r.prz;salss
It is preferable that museum workers appraise only objects,which are owned by the museum,
since any other appraisals they execute will ultimately reflect upon the reputation of the museum.
Museum workers may not undertake paid or unpaid authentications and appraisals for any
third party without first declaring a conflict of interest and securing the express consent of the
governing authority of their museum.The only exception is the appraisal of proposed donations to
the museum, valued less than $1000 as defined and accepted by Revenue Canada(1998
regulations). For such donee appraisals, museum workers are subject to the same requirements
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for substantiation that govern outside appraisals.
Museums should avoid recommending to the public a specific dealer, appraiser or auctioneer;
museum workers may not accept any special price or discount for any personal purchases or
services from such parties.
Appraisals of objects for donation to the museum (or for other purposes)should be executed
by qualified individuals acting at arm's length, who have no past, present or future interest in the
transaction.
Museums have a responsibility, when obtaining appraisals in connection with tax benefits for
donors, (either directly, or from the donors), to ensure that"fair market values"are appropriate
and properly substantiated
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APPENDIX"B"
CLASSIFYING OBJECTS IN THE MUSEUM'S COLLECTION
using Robert G. Chenhall's System for Classifying Man-Made Objects
Terminology used to describe all artifacts in the Museum's Collection should be consistent on all
documentation referred to the objects. It is also helpful to use the same terminology that is used in other
museums. Standard terminology is essential if the Museum plans to transfer its records to computer.
The following pages describe the feature of the Chenhall Nomenclature classification system. In 1973
Robert G. Chenhall published a"structure system for the naming of man-made objects", especially for
use in the cataloguing process in museums. His book is a lexicon, or standardized word list, which can
be,used equally well with manual or computerized cataloguing systems. There is an object name for
every conceivable artifact, and a controlled method for adding the names of y unnamed artifacts. The
system is based on the concept that all artifacts have one thing in common—they were all created to
fulfill some function or purpose. Therefore the artifacts are categorized according to their original
function. The object names fall into a carefully structured classification system, which consists of three
levels of terminology:
1. Major Artifact Categories;
2. Classification Terms;
3. Object Names.
1. Major Artifact Categories
Category#1: Structures
Artifacts originally created to define space for human activities or to be used as components of space
defining artifacts.
Category#2: Building Furnishings
Artifacts originally created to facilitate human activity and to provide for physical needs of people
generally by offering comfort, convenience, or protection. Clothing is excluded from this classification
as it addressed only the needs of a specific individual. Furnishings are not artifacts used as active agents
in other processes such as artifacts used as active agents in other processes such as artifacts used as tools
or equipment; they passively enable human activity.
Category#3: Personal Artifacts
Artifacts originally created to serve the personal needs of an individual as clothing, adornment,body
protection or an aid for grooming.
Category#4: Tools & Equipment for Materials
Tools, equipment, and supplies originally created to manage, oversee, capture, harvest, or collect
resources and to transform or modify particular materials,both raw and processed. These artifacts are
normally created response to problems inherent in the materials themselves. Wood requires certain kinds
of cutting devices, fish require certain lures, and food requires certain serving utensils.
Category#5: Tools & Equipment for Science & Technology
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Tools, equipment and supplies used for the observation of natural phenomena or to apply knowledge
gained from such observation. Tools in this category tend to be made to enlarge or record our
understanding of the world or to help express such understanding. The classifications in this category
are related by virtue of the fact that they contain artifacts created to employ a particular body of
knowledge. "Astronomical T&E"is a classification that lists those things that people have developed to
measure time. "Maintenance T&E" is a classification that lists those tools developed in response to a
body of knowledge about how to take care of things. These classifications are based, then, on
knowledge rather than material.
Category#6: Tools & Equipment for Communication
Tools, equipment and supplies used to enable communication. This category includes those
classifications for literal and abstract communication—"Printing T&E"and"Musical T&E". This
category does not include things produced as communication, such as works of art and documents.
These are the artifacts created by the tools of this category and they are listed in Category#8—
Communication Artifacts.
Category#7: Distribution & Transportation Artifacts
Artifacts originally created to transport or distribute animate and inanimate things. This category also
includes artifacts originally created to facilitate such transportation or as an adjunct to such
transportation. This category includes propelled vehicles such as automobiles and wheelbarrows as well
as containers that facilitate distribution. Because transportation equipment is complex and parts are
often collected independently, sub-classifications for accessories are offered for some classifications.
Category#8: Communication Artifacts
Artifacts originally created as expressions of human thought. Communication artifacts comment on,
interpret, or enhance people's environments. Communication artifacts can function symbolically or
literally. This category excludes the tools and equipment that are used to create communication
artifacts.
Category#9: Recreational Artifacts
Artifacts originally created to be used as toys or to carry on the activities of sports, games, gambling, or
public entertainment.
Category#10: Unclassifiable Artifacts
Artifacts originally created to serve a purpose that cannot be identified at the time the object is
cataloged.
Artifact Remnant—A segment or incomplete part of an artifact originally created to fulfill a purpose that
cannot be determined or inferred from the fragment.
Functions Unknown—An artifact originally created to serve an unknown purpose.
Multiple Use Artifact—An artifact originally created to serve a variety of purposes that extend beyond
the range of one classification. Tools that have multiple attachment that enable them to serve a range of
functions fall into this classification along with hybrid tools that are made of several disparate parts that
are used together to perform a particular function such as mending fences.
2. Classification Terms:
These are subdivision of the Major Artifact Categories.
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Example: Category#2: Furnishings is subdivided into: Bedding, Floor Covering, Furniture, Household
Accessory, Lighting Device, Plumbing Fixture, Temperature Control Device, Window or Door
Covering.
Example: Category#3 Personal Artifacts is subdivided into: Adornment, Clothing, Personal Gear, and
Toilet Article.
3. Object Names:
Each object name was carefully considered and authenticated before being included in the
lexicon. Object names are listed alphabetically under each Classification Term.
Precise definitions are provided for each Major Artifact Category and Classification Term. An
explanation of the system is provided in the first three chapters, and charts on how to use the system are
conveniently located inside the front and back covers of the book. Information in subsequent chapters
can be cross-referenced and include:
❖ a list of only the Major Artifact Categories and Classification Terms;
❖ definitions of each Major Artifact Category and Classification Term;
❖ a list of Major Artifact Categories and Classification Terms with Object Names;
❖ an alphabetical list of Object Names.
Chenhall stresses the importance of consistency in word order and punctuation, and of clarity and
precision in recording any information about artifacts. Such care taken in the cataloguing process will
ensure that information can be found easily when needed. For example: CLOTHING falls under the
Person Artifact Category, which is subdivided into ten Classification Terms. The entire listing for this
category covers 17 pages.
Note: Terms in upper case letters can be used for the identification of museum artifacts.
Terms in lower case letters are object names that should not be used for the identification of
museum artifacts. These names are cross-referenced to useable names.
EXAMPLE:
Category#3 Personal Artifacts: CLOTHING
Classification Term: CLOTHING, FOOTWEAR
BOOT
(May be further subdivided to indicate specific type: i.e.
BOOT, COWBOY or
BOOT, RIDING or
BOOT, SKI
Object Names: A Coyote leather boot, size 8,man-made in Canada
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