Unmanaged Collections: Worst First Impressions

alttext As I announced recently I’m looking for real world examples for my book about managing unmanaged collections. The first chapters will have much to do with the process of getting an overview of what items the collection consists of, defining priorities and developing a strategy to tackle them.

I think maybe the worst moment is the first time you see the collection. It’s the moment you get the first idea of how much work it will be and how many issues you will have to face. What was your worst first impression? I think mine was a collection of vintage cars and agricultural machinery crammed into a shed in a way you could barely walk and sometimes had to crawl over a few things to get deeper into the collection. All the objects were rusty, a considerable amount of windshields were smashed and the fact that this place was inhabited by mice, martens and pigeons was sadly all too obvious. To make matters worse, there were some more delicate objects carelessly crammed in between the bigger objects and I found something that turned out to be a lady’s dress under a plow.

What was your worst first impression when you worked with an unmanaged collection?

Off the shelf – Put a lid on it

lotus_closedLet’s say you buy a widget that comes in a box. This protective container might have on it colorful pictures of what is inside, instructions for setup and use, and barcodes by which the manufacturer, the shipper and the store keep track of inventory and price. Once the box’s usefulness is over, you flatten it and send it to the recyclers.

Think ahead, say, fifty years. You give the widget that was in the box to a museum. What does the museum do? Put it in a box. This box serves purposes very similar to the original one, and sometimes even has the ubiquitous barcode on it. There are important differences, however, between the original packaging and the new housing. The old box might have served as short-term physical protection to save the widget from damage during shipping and storage, but it was almost certainly made of materials that would have done long-term damage to the poor widget. Acidic paper and cardboard, foam that offgasses harmful chemicals, perhaps plastics that deteriorate and form sticky films that mar the finish. Adhesives that break down and migrate from tapes and seams onto the contents.

lotus_adviceThe new box is made of specially manufactured acid-free cardboard, buffered against acid migration. It is made without adhesives. Internal trays or supports may be made of inert foams, undyed and unprocessed cotton or polyester fabrics or fibers, or crumpled acid-free tissue paper. The box is labeled with the widget’s number and description, sometimes even a digital photograph of the it so you don’t have to open the box to see what’s inside. If necessary, instructions for opening up the box and taking the widget out safely are included.

lotus_open1Many objects in the museum’s collection are able simply to sit on shelves or in drawers, and a great many others are put into commercially available acid-free boxes with minimal padding or support. Some items, though, are too fragile, or odd-shaped, to fit in ready-made housing. That’s where the box-maker comes in. I use simple tools – a knife and cutting mat and a glue gun. My arsenal of materials includes acid-free cardboard and card stock, foam in sheets and blocks and rods, archival double-sided tape, muslin and cotton tying tape, as well as the acid-free tissue.

lotus_open2Laying out a box involves measuring the object and figuring out the best way for it to sit, working out how much extra space to include for padding and supports, and figuring out how to get it into and out of the box with the least amount of handling. Sometimes the item is nestled into a cushion of polyester fiberfill, sometimes it is tied to its supports, sometimes it is blocked in with removable foam blocks, complete with numbers and instructions. How do you figure out what to use? Experience, and for me, an ability to imagine myself as the object, able to detect any stresses or weak points that need to be taken care of.

The box illustrated here is of the type known as a lotus box. It has four drop-down sides, allowing the Native American jar to be seen without lifting it out. The lid holds the sides together when the box is closed up. I am currently involved in designing a similar type of box for an artifact belonging to the Levine Museum. It will have a tray and only one drop-down side, with internal foam blocks that will allow two objects to travel safely one inside the other. I have also been asked to teach a box-making workshop this summer for the North Carolina Preservation Consortium.

lotus_open3Containers have fascinated me since I was a kid. I always have saved boxes and tins and bottles. I used to sit in geometry class and design tiny fold-up boxes on my graph paper. Graduating to designing housing for museum objects was a very natural progression, and this is still my favorite part of the job of Collections Manager.

Storage Solutions: A Home For The Barcode Scanner

Motivated by the experiences of Sheila Perry (See “If it moves, barcode it“) we are at the moment in the process of implementing barcoding in our collections management at the TECHNOSEUM. We need the scanners portable and protected from all the dangers the storage of a science museum hold. We bought standard aluminium cases in red, so we can easily spot them in the storage (the color already proved useful for clipboards and cutters). Then I handed the task to think of a good protection for scanner and accessoires to my student assistant, Linda. Here is the first beauty she created:


The material is a black polypropylene foam we use for creating mounts in exhibitions. Can you see she even carved little fingerholes so one can remove all the acccesoires like the USB stick easily? Definitely the best housed tool we have at the moment! Now, Linda entered serial production as we have some more scanners…

Managing Previously Unmanaged Collections –
Will you join me in this journey?

Dear Readers of this Registrar Trek Blog,

For the last three years we’ve seen a growing number of faithful readers who not only read, but also contribute by sharing the articles, writing comments and sparking conversation with their peers. Some even wrote stories and articles for this blog. That’s great!

Today, I want to share with you a new project I’m working on and I ask you to join.

In my working life I’ve stumbled upon one conundrum of our profession time and again: there are really great books and online resources about best practice in collections management – the wonderful 5th Edition of Museum Registration Methods readily comes to mind, but of course there are much more. You read what is best for the artifacts, how to treat them, document them, store them… These books are written from the perspective of ”best practices“ and as we all strive to reach the best for our collections, that’s a good thing. Only that the starting position is often all but ”best practice“. Take Antony Aristovoulou ‘s story ”Match-ball for the Registrar“ as a prime example: being contracted for relocating and registering a collection of tennis artifacts and discover that all is stored in one giant shipping container and you have to start from scratch, including sourcing locations and material.

hhAll too often, especially for small and middle sized museums with historical, agricultural and/or science and technology collections there is a gap between what is written in books and the real world. Reading about best practices is great and necessary, but standing in an old shed with a leaking roof and heaps of rusty things that were euphemistically called an agricultural collection in your contract you are miles away from taking your acid-free cardboard and start building a custom box for a single artifact.

To make a long story short: I’m about to write a practical guide to manage previously unmanaged collections. This book will be written with the worst case scenario in mind, starting with nothing than a collection in peril and working step-by-step towards improving the situation 1. It will be written for the practitioner in the field who has to deal with all possible and impossible circumstances while trying to get her/his collection managed. Especially it will be written for people who are thrown into this situation without having it done before – may it be job starters or colleagues who have only worked in larger and/or well organized institutions so far.

DSCF0373This is where you, the readers, come in. This book will be much better and encouraging with real world examples. Sure, everyone loves to be the best practice example but what I’ll need here are examples of how difficulties were tackled and how issues were resolved. How collections that were in peril were brought to a better stage. Maybe still far away from being ”best practice“ but still much better than before. I’m collecting all kinds of worst case examples, brought in from veteran museum professionals young and old who have encountered unbelievable situations in collections management (I’ve seen a main sewage pipe right above the shelves of an archive, so, the possibilities are endless…).

Every now and then I will present you some aspects I’m writing about here on this blog and will ask for your experiences and thoughts. It would be great if you would be willing to share them. I promise that I won’t abuse your willingness to share and will always check if the way I want to use some of those examples in the book is acceptable for the original author and her/his institution.

Thanks for reading and best wishes


  1. Janice Klein and I have written a short article about ”Tackling Uncatalogued Collections“ in the March/April 2015 edition of the ”museum“ magazine of the American Alliance of Museums (p. 59-63), here you will find some additional ideas and the general direction of this project, although being uncatalogued is just one of the issues of an unmanaged collection.

The Journey to the Fourth Edition of Basic Condition Reporting

by Deborah Rose Van Horn

BCROver 3 years ago, the Southeastern Registrars Association (SERA), decided to update their book, Basic Condition Reporting: A Handbook. The third edition had been published in 1998 and had not been updated since. The goal of the book has always been to create a common framework for professionals when conducting condition reports. It is intended to be a reference tool for experienced collections professionals and a training tool for those new to the field.

Over time, the popularity of the book had grown. SERA started getting an increasing number of orders both within the country and overseas. This meant that the SERA Treasurer had to carry a bunch of books to the post office on a weekly or bi-weekly basis. This made the treasurer’s position one that volunteers often wanted to avoid.

When we began looking at the fourth edition of Basic Condition Reporting the board started looking at the book from a new perspective. Could we get a publishing partner? How much work would that be? Would we lose money? We decided to find out but first we needed a book.

Our first step was to contact all of the authors from the previous edition and see if they wanted to update their chapters. Less than half wanted to take on the project so the search for new authors began. This was easy at first, but as we got closer to contacting publishers we had a number of authors or editors drop out of the project. That meant that we were back to square one and we had to recruit more authors. At times it felt like herding cats!

We gave the authors the choice of either completely re-writing the chapter or updating the existing chapter and giving the previous author credit as a co-author. We also asked the authors to update the chapters by adding photographs and giving the book a whole new look. After two and a half years, we finally had something to take to publishers to see if we could find a publishing partner.

No, we didn’t have every chapter in hand but we felt that we soon would. We approached Rowman & Littlefield, the company that owns Alta Mira Press, to see if they would be interested. Within two days we had a publishing partner.

That was when we had to get serious about getting the remaining chapters turned in for editing. The process of emailing and calling people began and then disaster struck! One of our authors disappeared! We couldn’t reach them by phone or email and we had to have a chapter. We reached out once again to the previous authors and asked if we could reprint the chapter. We were saved! They agreed and the project could move forward.

After three years of managing this project, I am happy to announce that Basic Condition Reporting: A Handbook, Fourth Edition will be available on February 27, 2015. The new edition has over 70 new illustrations depicting different types of damage and sample condition report forms for many different material types. It also features updated and expanded chapters on a variety of material types including: archaeological artifacts, basketry, ceramics, glass, ethnographic artifacts, furniture, metals, natural history specimens, paintings, paper, photographs, sculpture, skins and leather, and textiles. The book also features a new chapter on condition reporting for loans. We hope you will find the book as useful as we do!

The books are available on the Rowman & Littlefield website or through Amazon.com.

BCR flier with special discout

Deborah Rose Van Horn is the registrar at the Kentucky Historical Society and together with Heather Culligan and Corinne Midgett editor of the fourth edition of “Basic Condition Reporting: A Handbook”.

Post-its never die; they just fade away

A fascinating experiment on light damage

by Judith Haemmerle, Executive Director
Digital Game Museum, Santa Clara, California

In our startup video game museum, everything is done by volunteers on a ridiculously limited budget. So it’s always a balance between collections care and – well, everything else. My biggest anxiety last year was light damage.

We removed half the fluorescent bulbs in the collections area and covered the remaining ones with UV shields; not too expensive, and it was work that was easy to get done. But the big expanse of glass in the room where we install our exhibits remained unprotected. No one was willing to tackle the exacting job of applying UV film, and having it done was far too costly, especially in a facility we were renting short term. We put in a display of items of interest but easily replaceable, and I worried about light. Then one day, our past stepped in to help.

The first public event we did involved a 10’x10′ space that would be difficult to tempt visitors into, so we stopped every passerby we could and had them write the name of their favorite video game on a colored Post-it note, plus the year they were born in. This was, of course, completely for fun and not real research, but there were some interesting things we found nonetheless. 1 We put the notes on the back wall grouped by decade, and it proved to be eye catching display. And we added hundreds of people to our new mailing list, so it was a very effective strategy.

The Post-it wall, photo by Brian Quan

The Post-it wall, photo by Brian Quan

There were piles of leftover Post-it notes; we bought a lot of them to get a good selection of colors. And one day, while worrying about light, I took a sheet of cardboard from the back of a pad of notebook paper and lined up the different colored Post-its so that they would be half behind the cardboard and half exposed. I also overlapped them for no particular reason. And then I hung it in the window.

Months went by. I don’t know how many, because I forgot to date it. I’d guess six or eight. We finally bought shielding, even though no one wanted to install it, and I took down the Post-it note color fade tester and asked our photographer to take some pictures of it. The photos that follow show the before and afters.

Post-its from the outside, photo by Brian Quan

Post-its from the outside, photo by Brian Quan

The photo above is what it looked like from the outside of the window when I took it down. The photo below is what it looked like when we flipped back the notes to compare the part protected by the cardboard with the part in the sun.

Faded post-its, photo by Brian Quan

Faded Post-its, photo by Brian Quan

The contrast between the original colors and the part exposed to sunlight is striking, and this is the back of the notes; the fading went right through to the back. The different colors that overlapped even reacted together, so that the orange lying on the blue not only faded to yellow, it also picked up a greenish tinge from the blue. Some of the pink and fuchsia are faded almost to white; those were two different colors when we started: a plain pink and a bright fuchsia.

Overlapping Post-its, photo by Brian Quan

Overlapping Post-its, photo by Brian Quan

I showed it to the volunteers, and the window shielding went up quickly! We keep the Post-it fade tester in the museum and show it to visitors when explaining the importance of conservation and collections care. Sometimes, the simplest materials can solve your biggest problems.

  1. First, the game chosen by the oldest (over 60) and the youngest (5) participants was the same game – Angry Birds! Second, the decade of people born in the 1960s chose a lot of arcade games. There weren’t any before then, and they fell off sharply after 1970. For those of you who like raw data, it’s available here.

Changing of the Guards – A Homage to Mentors

image by contagiousbasti via pixabayThis is a special Tuesday. Today, we celebrate the retirement of my former professor Hans Wilderotter and this means that an era comes to an end. Now, I could take a nostalgic review because back in 1998 when I took museum studies this degree program was rather young, at least in Western Germany, the first graduates had just left the University of Applied Sciences “Fachhochschule für Technik und Wirtschaft” in Berlin. Many things were still in progress and it would be easy to glorify the good old days as a student, which would have presumably as little to do with reality as all the other good old school, post-war or any other days.

But there are things I took away from my studies, far from the professional aspects. Facts are just a small part of the taught contents, no matter if it’s a school, university or workplace. A more significant impact has the personality of the one who teaches on those who are learning. Said in a minor modification of Karl Valentin’s 1 remark: “Teaching people is useless, they will imitate you, anyway.” In spite of yourself you adopt certain quirks and idioms, adopt a certain way of seeing things or ways of solving problems. And if one of those adopted strategies lead to success, you are tempted to credit this to your own cleverness and experience. But if you are really honest and listen closely you hear the voice of a mentor. For some it is a Smith or a Miller, for me it’s an Einholz or a Wilderotter.

What they say in detail, I won’t reveal here. But I want to say “Thank You!” at this point. First of all of course to Professor Sibylle Einholz, who went into a well-deserved retirement last year, and to Professor Wilderotter. But also to all those around the world who took up the responsibility to teach people and who are passionately committed to it. That’s not only professors. There are teachers, trainers, masters or simply colleagues who pass on their knowledge and know-how. What separates you from the rest is the enthusiasm and passion for your profession as well as for the mentoring of others. How great your impact is will be realized by your students and mentorees much later – and it is likely that you’ll never know.

I wish to those who fill the shoes of my professors in the museum studies program in Berlin the same enthusiasm and courage, the same energy and eagerness to experiment but also the mental balance and endurance of their predecessors.

And of course, I wish all who have the possibility to take part in tonight’s celebration a great party and much fun!

Angela Kipp

  1. Karl Valentin: Bavarian author and humorist http://en.wikipedia.org/wiki/Karl_Valentin who said: “It is useless to educate children, they will imitate you, anyway.”

Dust: Arch Enemy and Artwork

Staub aus dem Naturkundemuseum (c) Klaus Pichler

Dust from a museum of natural history
(c) Klaus Pichler

Day in, day out collections staff is fighting against dust. We wrap artwork, dinosaurs, cars and coffee makers, sometimes we even put old cardboard boxes into new archival boxes. We do everything to keep our arch enemy, the mighty dust, away from our artifacts. And while we brush, wipe and vacuum I bet it never occurred to one of us that this evildoer could have an aesthetic aspect.

But photographer Klaus Pichler, whom we already know from his series “Skeletons in the Closet”, has now captured this aesthetic aspect of dust. Fascinated by the difference between the dust from a natural history museum and a fashion shop I asked him how he got the idea:

Klaus Pichler:
“The idea for this project came by coincidence: I moved from my old apartment and while I was clearing the space I realized the dust in the living room was red and the one in the bedroom was blue. This astonished me and I couldn’t get it out of my mind, so I decided to look into it and to study dust systematically, especially the notorious “dust bunnies”, agglomerations of dust. Right from the start it was my plan to create an archive of dust that should contain dust from a wide range of areas from our society and that all dust samples should be photographed. To decide on which places to collect dust I took the model of the basic living needs (reside, work, recreation, traffic,…) and used it to decide roughly the weighting of the places that should be included in this project. And then the time had come: I went dust hunting!

Staub aus einem Modegeschäft  (c) Klaus Pichler

Dust from a fashion shop
(c) Klaus Pichler

I guess you can imagine the reactions I got when I (without advanced notification, I like to add!) showed up in different shops, apartments, museums, schools, restaurants, etc. I was interested in and asked them permission to search for dust. Especially, as I didn’t go much into detail why I was doing this, but as soon as I got the permission began crawling on all fours, searching for dust bunnies. For many people confronted with my wish it was surely one of the stranger requests in their professional life…

The dust samples I discovered (I tried to collect different samples in every room but always kept only one) went to my dust archive. I cataloged them with consistent categories (date, place, address, description, catalog number) and archived them in numbered petri dishes. Every time I had 25 new samples I made a photo session where I photographed them all at the same conditions with a high-resolution macro camera. The results of my activities as a collector can be found in the book “Dust” that is out now.”

What is it that fascinates you about dust which is for most of us – especially registrars – only an annoyance?

Klaus Pichler:

Staub aus einem Kunstmuseum (c) Klaus Pichler

Dust from an art museum
(c) Klaus Pichler

“When I started this project I expected that there would be a certain range of dust but by the best stretch of my imagination I didn’t anticipate what I discovered then: every dust was different and not a bit of the monochrome dust I expected. Quite the contrary, the different dust bunnies often had a rich coloring, some in one primary color, some mixed in color, some harmonic, some dissonant in terms of color. This was matched by the irritating variety of ingredients – from fibers and hairs to parts that pointed to the purpose of the room the dust was formed in. Pieces of popcorn in cinema dust, dead insects in the dust from the entomology department of the natural history museum, breadcrumbs in the dust from the bakery. Sometimes it’s nearly possible to decide where the dust comes from by looking at the ingredients and the color of the dust, because every room produces an unique kind of dust due to it’s design and purpose. For me all of this was extremely fascinating.

That’s why I’d like to give you this little piece of advice: Next time you are sweeping dust, take a moment and a strong flashlight, guide the beam to the dust bunnies and dive into the fascinating world of dust.”

Thank you for the opportunity to see our dust with different eyes!

The book “Dust”:

Dust_Book-003Hardcover wrapped with 2mm textile and flocked ‘Dust’ logo, handmade, 30x30cm (open: 30x60cm), 102 pages (4 pages transparent paper, 98 pages uncoated paper), 45 images. Including a folded poster, 50x70cm, printed on uncoated paper.
First edition, 2015. Limited to 450 hand numbered and signed copies.
Can be ordered via the author’s website:

Art work, Artefact, Auto, and Pop-Culture Shrine, Part 2

Transport and Exhibit of the John Lennon Rolls Royce

By Derek Swallow – Royal BC Museum

Suffocating from a feeling of impending failure I drew in a deep breath, exhaling slowly. Relax, I murmured. I’m just responsible for moving a car from our collection for exhibit in Montreal with a few complicating factors: the car is a vintage Rolls Royce, once owned and driven in by Beatles legend John Lennon; the entire body forms a metal “canvas” for an original oil painting; it’s 2700 kg weight precludes it moving without functioning brakes – these only operate with the motor running; the car needs engine and other mechanical work; in addition our conservation team discovered flaking surface paint AND we have less than five weeks before the Rolls must be at the borrowing museum. The start date was non-negotiable. Okay, let’s do this I thought optimistically. I shot a call to our Rolls mechanic, mustered one of our conservation interns, who coincidentally specialized in painted metal. Parts were ordered and the restoration of the cars surface began.

Now for the transport plan: initially, it literally involved thinking “inside the box”. We decided to crate the car, move it on an extra heavy duty, brake-equipped dolly and minimize ground transport risk by flying the vehicle to Montreal. Good plan? No. The proposed crate size would only fit on an “air freighter”; the closest service was Seattle. This meant transporting the crate off the island, where Victoria is located, crossing the border into the US and flying the car back into Canada – a logistical and bureaucratic nightmare. In addition, a second scan of the borrower’s Facility Report revealed that the crated vehicle would exceed the size of their largest receiving door. Feeling more than just a bit unsettled I called our Rolls mechanic to ask for his advice. He suggested contracting a ground transport firm specializing in moving ultra-luxury and multi-million dollar race cars. I madly researched, found and booked such a carrier. A couple of weeks sped by, organizing logistics, loan agreements, insurance. The pickup date was now one week away. Conservation work was progressing well; the worst areas were stabilized but lack of time prohibited completing the work. We had counted on this since the only climate controlled vehicle in the transport fleet had been booked six months beforehand. A frantic call went out to our national conservation institute asking how this type of paint on metal might react to the rapid variations in temperature and relative humidity which the truck and cargo would encounter on the cross-country trek. Weather wise there couldn’t have been a worse month to transport in Canada. The Canadian Conservation Institute responded rapidly indicating the unusual paint formula was ordinarily applied only to wood. However, their final determination, though not definitive, indicated the paint should hold up under these conditions. There was a collective sigh of relief, tempered with unease. I phoned our mechanic. The parts were to arrive Thursday. Thursday? The transport truck would be here early the following Tuesday morning. Can you fix the car in time, I asked hopefully? Shouldn’t be a problem was the response – another hesitant sign of relief.

Rolls load – RBCM secure storage

Rolls load – RBCM secure storage

Tuesday morning arrived. The parts had come, the repairs made, the car tested and ready for loading. The transport truck pulled in and lowered its lift gate. The driver stepped down from his cab, eyed the Rolls, looked quizzical and said: how long is this vehicle’s wheel-base again? All eyes turned and collectively the entire teams’ hearts stopped momentarily and this horrifying thought crept into everyone mind simultaneously: the Rolls is too long for the lift gate. Tape measures appeared and measurements taken. The result, the car should just fit. Our mechanic stepped into the Rolls and confidently but carefully edged the car forward into position. It worked. The tires were blocked the vehicle lifted, then driven on board and secured at the wheels.

The driver locked the cargo door, sprung into his cab and the cross-country journey began. We maintained regular communication with the driver who reported good conditions until near the end of his journey when the weather forecast threatened the onset of a huge weather system, with high winds and snow predicted to sweep down from the NW on an interception path with his vehicle. The driver recommended pushing on to out run the storm. It was this, or wait out the storm and miss the delivery deadline. Assured he had recently rested we gave the go ahead.

heavy duty dollies

heavy duty dollies

On March 4th, late in the afternoon, 8 hours behind schedule he maneuvered his cumbersome vehicle through the constricted downtown streets of Montreal. Beforehand Montreal police were summoned to secure the area; block off critical streets and do crowd control and museum staff gathered in anticipation of the trucks arrival. The staff, equipped with beautiful high load bearing dollies had anticipated the need to push the Rolls from the truck, along the street, and up the steel ramp into the museum.
Our Rolls mechanic and head objects conservation, who flew out earlier, explained that hand pushing would damage the body and only one method could be used: driving the vehicle into place. The road was wet and salted, creating the need to cover the path before moving the vehicle. Blankets, plastic, foam packing material was scavenged from the truck and museum but the quantity was insufficient.
off  load

off load

In desperation someone began “excavating” in a nearby dumpster and discover a huge roll of orange plastic, more than sufficient to do the job.
Once in place our mechanic cautiously started the car, backed it out and off of the truck, then maneuvered it down the street to the museum entrance. Then another heart stopping moment – the Rolls looked too large for the entrance. But we knew the entrance size in advance and we used the dimensions of the car provided in the catalogue description. People with tape measures swung into action. With a self-satisfied grin one staff member turned and proclaimed that we had a whole 10 cms of clearance on either side of the car. Some say collections managers are obsessive about accuracy when documenting the size and details related to collections objects. Thank goodness this statement proved true.
into the museum

into the museum

The next challenge for our mechanic was to finesse the large vehicle through the extremely tight space. It proved a challenging few minutes with people shouting instructions and tensions rising but the vehicle moved unscathed into the exhibit hall.
Maneuvering the car rapidly into its exhibit position onto reinforced plates became the next urgent task. Most of the floating floor tiles supported a maximum of 567 kgs while the load on the individual Roll’s tires was 680 kgs each. Almost immediately after the car entered the hall the regular floor tiles showed initial signs of buckling. The car threatened the possibly collapse of the floor. The museum staff flooded down to the carpentry shop returning with sheets of plywood. Hastily the Rolls was driven onto them thereby safely distributing the weight, eliminating the hazard. Now, how can the car be moved into place? A creative solution coupling technology and brute force was concocted.
creative moving technique

creative moving technique

GoJacks with racket straps attached were placed under each wheel. The team then manually pulled the car over the plywood sheeting and into position adjacent to the reinforced tiles. The Rolls mechanic quickly but accurately drove the car so all four tires rested on the target tiles. It was in position. Yes! Now concern turned to the condition of the painted surface. How serious was the impact of the volatile and dramatic temperature and RH changes? A local paintings conservator, on hand to do the incoming condition report examined the surface carefully and found the paint undamaged.

We did it. We made the target date. The car was in place 24 hours before the special opening for the province of Quebec’s two most powerful politicians: the Premier and the Lieutenant Governor.
All of the hard work and planning, backed by brilliantly accurate cataloguing, tempered with innovative problem solving led to the success of this project.
http://pacmusee.qc.ca/en/media/press-releases/john-lennon-s-rolls-royce-at-pointe-a-calliere (history of the Rolls and install)

This is my last article for RegTrek. I want to thank the RegTrek team for their hard work and support and especially Angela Kipp for her energy and enthusiasm in spearheading this brilliant project. I want to wish everyone a fond fairwell as I transition to a new career: teaching English as a Second Language, and ESL material and curriculum development. I wish everyone the best in moving this amazing venture, RegTrek, forward, and I thank you for allowing me to participate.

Best regards.

Derek Swallow, Senior Registrar, Royal BC Museum.

Art work, Artefact, Auto, and Pop-Culture Shrine

Transport and Exhibit of the John Lennon Rolls Royce, Part 1

By Derek Swallow – Royal BC Museum

Lennon Rolls – RBCM 992.66.2 Collection Royal British Columbia Museum - RBCM

Lennon Rolls – RBCM 992.66.2 Collection
Royal British Columbia Museum – RBCM

Dedication: To the team of Nordic registrars who sponsored the fabulous European Registrar’s Conference, 2014, I attended in Helsinki, Finland and to all collections managers who measure their artefacts with precise accuracy (see part two of this article).


rolls2The rumor percolated through the museum for nearly a month then reality slammed home while scanning my email that cold late January morning of 2013. My eye caught the subject line: Loan Lennon Rolls. I hesitated then opened and read the message. So it’s true, we have five weeks to plan and transport the Rolls from here to Montreal. It’s huge and heavy: 6 meters long and 2.2 meters wide weighing 2,700 kgs. It has to travel 5000 kms., cross country, during Canada’s most severe winter month, possibly through fierce cold, driving blizzards and on treacherous highways. I drew a deep breath, concerned partly with the tight time-line, the vehicle’s mass, potential hazards caused by inclement weather, but also due to my lack of experience with a project like this one. Despite decades of coordinating hundreds of loans I’ve never done a car before. This unease escalated, knowing this was also no typical museum-collected car, representative of its time period, style, and make. This vehicle, a venerated pop-cultural icon and an original work of art, made it unique and precious beyond its appraised value.

The John Lennon Rolls Royce:

A working automobile:

Beatles in the Rolls at Buckingham Palace Oct. 26,1965 www.beatlebrunchclub.com

Beatles in the Rolls at Buckingham Palace Oct. 26,1965 www.beatlebrunchclub.com

This fully functioning, 1965 Rolls-Royce Phantom Touring Limousine, now catalogued and in the collection of the Royal BC Museum, originally owned by rock music legend John Lennon, transported the Beatles around for three years.

Pop-Cultural Icon:

John Lennon in the Rolls in Spain Oct.1966 www.beatlebrunchclub.com

John Lennon in the Rolls in Spain Oct.1966

The 60s generation elevated Lennon and the other group members to the stratum of popular cultural “demi-gods”. To some their physical presence within the vehicle transferred to it such a power of association that it took on a “shrine” like quality. In later years, the vehicle, lent for use by such musical superstars as the Rolling Stones, the Moody Blues and Bob Dylan, only enhanced its mystical quality.

Work of Art:

John and Julian Lennon beside Rolls 1967 thegilly.tumblr.com

John and Julian Lennon beside Rolls 1967 thegilly.tumblr.com

In 1967, Lennon chose to transform this expensive yet utilitarian object into a work of art. He commissioned artist Steve Weaver to convert the somber “valentine black” body of the car into an explosively vibrant painting. Weaver primed his metal “canvas” with several coats of chrome yellow paint then for six weeks applied by hand bold motifs inspired by Romani designs using strident colours akin to the saturated pigments found in “psychedelic” art, a popular European style in the 1960’s. The end product, with designs flowing over the entire body of the car, was a powerful, unique composition. This transformation created more than just a three-dimensional work of art. The Rolls Royce, a quintessential emblem of prestige and traditional “establishment” now morphed into a powerful symbol of 1960s counter-culture and a striking icon of anti-establishment values. The Beatles were destined to represent a generation of youth eager to flaunt the “establishment” and kindled the phenomenon called “Beatle mania”.

Association with the Nordic Countries:

Beatles in Copenhagen at the KB June 4th, 1964  http://thegilly.tumblr.com

Beatles in Copenhagen at the KB June 4th, 1964 http://thegilly.tumblr.com

In 1963 “Beatle mania” swept Great Britain and surged north to this beautiful Nordic region. Karlstad, Sweden was chosen as the first stop outside the UK. For five days the pop group toured even appearing on Swedish TV. http://www.youtube.com/watch?v=-clOQdFRyig Also, in 1963, the youth of only one world country pushed the seminal Beatles song “Twist and Shout” to the top of the music charts. That country was Finland. http://www.youtube.com/watch?v=pVlr4g5-r18&feature=kp(Twist and shout video). On June 4th ,2014, Beatles enthusiasts in Denmark celebrated the 50th anniversary of the group’s concert in Copenhagen, the city which was the official launch point of the Beatles two year “World Tour”. http://www.youtube.com/watch?v=8_zzoJYoeao (video of the Beatles in Denmark)
Despite their British origin, the Beatles, their music, and the “Beatle mania” phenomenon remains an enduring part of the 60’s pop cultural history of Scandinavia, Europe, and North America and the Lennon Rolls itself, one of its most recognized symbols and icons. The Royal BC Museum cares for the Rolls not just for the people of British Columbia, or Canada, but for the entire world. http://www.youtube.com/watch?v=imXZS6WTxEw (Victoria news cast about the Rolls)

The move of the Lennon Rolls from the Royal BC Museum, in Victoria to Montreal, Quebec was to showcase this icon as part of the anniversary of “Beatle mania” and the group’s concert in Montreal during their “World Tour”. It also was a celebration of the Beatles for the entire world.


Images from Pointe-à-Callière website: http://pacmusee.qc.ca

Images from Pointe-à-Callière website: http://pacmusee.qc.ca

Read Part 2: The Transport of the John Lennon Rolls Royce…