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Marking hard gear


Alonzo
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I have been trying to figure out a way to mark hard gear...mess kits, trench art, canteens etc.

The markings would indicate an inventory number that can be referenced to a database entry in my inventory program and hard(hand written)copy.

I have seen museum artifacts that have had, what looks like white out with a number hand printed on the white out and sealed with what appears to be a lacquer.

Is this an accepted method of marking hard artifacts for inventory identification? Or, is there another method that will not damage the artifact?

Cheers

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I use paper tags with string attached. They work for everything accept books. Simply write the info on the tag and fish the string through somewhere and run the tag back through it and presto, your item is tagged.

 

Get them at office supply stores.

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Marking of artifacts is quite an art, actually... I myself prefer string tags.

 

However, if one wanted to learn state-of-the-art best practises for museum standards in marking all kinds of artifacts, then this is the authoritative book:

 

MUSEUM REGISTRATION METHODS - American Assoc. of Museums, publisher

 

http://www.amazon.com/New-Museum-Registrat...s/dp/0931201314

 

The best $20 (used paperback version) anyone seriously concerned with storage, preservation, marking, shipping et al will ever spend.

-----------

http://www.bcin.ca/Interface/openbcin.cgi?...p;Chinkey=66749

 

Abstract: Contents: Introduction: Part I. Basic procedures - The registration department; Incoming and outgoing material. The registration of objects; Measuring and marking objects; Storage and care of objects; Loans from museum collections; Packing and shipping collections. Part II. Special information - A terminology for describing objects in a museum of anthropology, by Geraldine Bruckner; Classifying paintings, drawings, and prints by media, by Laurence Majewski; The inspection of art objects and trial glossary for describing condition, by Richard D. Buck; Card records - their organization and duplication, by David B. Little; Cataloguing in the Metropolitan Museum of Art, by Marcia C. Harty; Cataloguing prints in the Museum of Modern Art, by Dorothy C. Lytle; A classification system for art objects, by Winifred Kennedy; Accessioning, marking, and storing scientific collections, by William A. Burns; Registration methods in a museum of science and industry, by Sterling H. Ruston; Accession records in a historical museum, hy Margaret P. Pearsall; Preparing art exhibitions for travel, by Virginia Pearson; Importing and exporting museum collections, by Dorothy H. Dudley; Canadian import and export regulations affecting museums, by George Hulme; Competitive exhibitions, by Irma Bezold; Receiving centers for competitive exhibitions, by Paul Mills; References at end of chapters; Index. -- AATA

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I use paper tags with string attached. They work for everything accept books. Simply write the info on the tag and fish the string through somewhere and run the tag back through it and presto, your item is tagged.

 

Get them at office supply stores.

 

 

I have been using string tags for the last 20 years. I even inquired on bulk purchases of string tags at one time...the girls behind the counter just laughed, until I explained the volume of artifacts being tagged.

The problem arises with gear where there is not available point of attachment for a tag, I have tried placing a tag in or on an artifact only to have is go missing over a period of time. Even with attachment points for tags, there are occasions when the tag just disappears, whether inadvertently torn off, or somehow misplaced. The process of identifying and replacing the tag on/in the artifact takes some time. I have been attaching tags on some gear and cutting the string short so there is less excess string hanging on the item...this has worked well...so far.

With close to 2800 items in the collection, including books, photos (easy to identify and store), uniforms (string tags work for these), equipment (also easy if there is an attachment provision for a string tag) the problem crops up regularly. I may not have given enough details in my original post...the problem is with trench art and hard gear with no attachment points or protrusions that would facilitate attaching a tag. Recently I have been adding more of the above to the collection and have discovered the difficulties involved with tagging them. With soft gear (web/woven gear) this is not a problem since there are plenty of attachment options which can be used.

The next step would be investigating archival marking of artifacts...whatever materiel is used for that purpose. I was wondering what our fellow collectors have been doing relating to this.

Thanks for the input...I will pursue the book mentioned by "Bluehawk".

Cheers

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I use a label maker. I set it on the smallest print size and when it prints I trim it down with scissors to get the smallest size. I mainly do it to my groupings so I know what goes with what group.

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I use a label maker. I set it on the smallest print size and when it prints I trim it down with scissors to get the smallest size. I mainly do it to my groupings so I know what goes with what group.

 

 

That's a great idea...The item would have to be completely dry with no oils etc where the label will go.

More thought on that one...but sounds really easy to work with.

Thanks

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Thanks for the input...I will pursue the book mentioned by "Bluehawk"...

Cheers

You won't regret it.

 

Every artifact of every conceivable description in every museum has to have some sort of an accession number marked permanently on it somewhere.

 

I had a lot of fun over 35 years, at times, trying to figure out the least obvious least invasive most neutral yet permanent way to do that.

 

The most current edition of the book (about 2-3 years old now) will have state-of-the-art marking instructions. And, AAM Registrar's Committee advice is available for the truly oddball object.

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You won't regret it.

 

Every artifact of every conceivable description in every museum has to have some sort of an accession number marked permanently on it somewhere.

 

I had a lot of fun over 35 years, at times, trying to figure out the least obvious least invasive most neutral yet permanent way to do that.

 

The most current edition of the book (about 2-3 years old now) will have state-of-the-art marking instructions. And, AAM Registrar's Committee advice is available for the truly oddball object.

 

Are there any books you recommend that go over collection conservation and preservation. Something that would have info on ideal conditions for storing textiles, papers, leather goods, etc.

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Are there any books you recommend that go over collection conservation and preservation. Something that would have info on ideal conditions for storing textiles, papers, leather goods, etc.

The MUSEUM REGISTRATION METHODS book does that in such a way that will serve 95% of those needing the information. That book is a very good buy, the "Bible" for museum preservationists - with a first-rate unsurpassed bibliography.

 

If one has some extra special need then there are books specific to those media you mentioned, all of which are readily available in booklet or book form from the MUSEUM CONSERVATION INSTITUTE:

 

http://www.si.edu/mci/english/learn_more/t...e/supplier.html

 

If ever you have a specific question re: those storage issues, please let me know. I did that work professionally all my adult life, with every imaginable kind and size of artifact.

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Stinger Gunner USMC
Marking of artifacts is quite an art, actually... I myself prefer string tags.

 

However, if one wanted to learn state-of-the-art best practises for museum standards in marking all kinds of artifacts, then this is the authoritative book:

 

MUSEUM REGISTRATION METHODS - American Assoc. of Museums, publisher

 

http://www.amazon.com/New-Museum-Registrat...s/dp/0931201314

 

The best $20 (used paperback version) anyone seriously concerned with storage, preservation, marking, shipping et al will ever spend.

-----------

http://www.bcin.ca/Interface/openbcin.cgi?...p;Chinkey=66749

 

Abstract: Contents: Introduction: Part I. Basic procedures - The registration department; Incoming and outgoing material. The registration of objects; Measuring and marking objects; Storage and care of objects; Loans from museum collections; Packing and shipping collections. Part II. Special information - A terminology for describing objects in a museum of anthropology, by Geraldine Bruckner; Classifying paintings, drawings, and prints by media, by Laurence Majewski; The inspection of art objects and trial glossary for describing condition, by Richard D. Buck; Card records - their organization and duplication, by David B. Little; Cataloguing in the Metropolitan Museum of Art, by Marcia C. Harty; Cataloguing prints in the Museum of Modern Art, by Dorothy C. Lytle; A classification system for art objects, by Winifred Kennedy; Accessioning, marking, and storing scientific collections, by William A. Burns; Registration methods in a museum of science and industry, by Sterling H. Ruston; Accession records in a historical museum, hy Margaret P. Pearsall; Preparing art exhibitions for travel, by Virginia Pearson; Importing and exporting museum collections, by Dorothy H. Dudley; Canadian import and export regulations affecting museums, by George Hulme; Competitive exhibitions, by Irma Bezold; Receiving centers for competitive exhibitions, by Paul Mills; References at end of chapters; Index. -- AATA

 

I can second the recomendation on this book! This was my bible when I went through the curatorship, exhibition and design program at my university. :thumbsup:

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The MUSEUM REGISTRATION METHODS book does that in such a way that will serve 95% of those needing the information. That book is a very good buy, the "Bible" for museum preservationists - with a first-rate unsurpassed bibliography.

 

If one has some extra special need then there are books specific to those media you mentioned, all of which are readily available in booklet or book form from the MUSEUM CONSERVATION INSTITUTE:

 

http://www.si.edu/mci/english/learn_more/t...e/supplier.html

 

If ever you have a specific question re: those storage issues, please let me know. I did that work professionally all my adult life, with every imaginable kind and size of artifact.

 

Today I visited the Edison National Park in West Orange, NJ. I was talking with a park ranger and now have the opportunity to volunteer at the museum. I would be working on cataloging and storing items. Just the type of real museum experience I have wanted.

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