Cleaning and sanitising
Sanitisation methods
If items have been affected by foul water then you must arrange for chemical or irradiation sanitisation due to the risk of infection. This is a specialist task: use an expert company experienced in disaster recovery, cleaning and sanitisation including the irradiation of collections affected by mould, such as Harwell Document Restoration Services.
You can manage wet surface dirt such as mud and soil at the site if you are careful. You could rinse loose mud and soil off the surface of wet paper and photographic prints using a dispensing bottle with a flexible nozzle. However, a conservator should oversee this due to the risk of puncture damage and the risk to the media. Dry treated items as per guidance on the ‘Moving and drying items‘ page.
Cleaning methods according to object type
Once items are dry, follow these cleaning procedures. Always start with the least interventive option before moving to additional steps.
- Paper, photographic materials and textiles
Brush with a soft dry brush to remove loose surface dirt and debris. The most suitable type is a soft wash or mop brush – see suggested equipment on the ‘Storage‘ page of this guidance. - Paper objects
Remove more persistent dirt with a latex sponge eraser, also known as a smoke sponge. Apply dry using a rolling motion (rather than rubbing) to lift the dirt from the surface of the paper. Only use vinyl erasers with extreme caution because they may be abrasive and leave residues. - Textiles
You can handwash modern textiles such as clothing or soft toys with more persistent dirt. Use a cold wash and unscented gentle detergent to prevent dye removal and fading. Avoid removing significant markings such as handwriting in these cases.
Repair
Level of repair: maintaining integrity of the collection
You should aim for a light conservation touch to maintain the integrity and meaning of rapid response collecting. The conserved state of items should reflect the way in which they were collected, and should not be overly visible or robust. Maintain the original intent of the donor at all costs as a key part of an object’s significance.
See the ‘Storage‘ page of this guidance to decide on the level of conservation. Consider designing storage and packaging which sufficiently supports the un-conserved or lightly conserved materials, and so reduce the level of intervention.
Cultural sensitivities for repair
Certain commonly used conservation materials, such as gelatine, leather and parchment, may not be suitable for use, depending on the practices and beliefs held by those affected by the event (see ‘Who is involved?’, on the ‘Initial evaluation‘ page). You must check that materials are suitable before starting treatment.