Was signed into law as of August 17, 2006 and new Transitional Guidelines were released on October 19, 2006 In addition to changes in fractional gifts, related use, and penalties, two of the most sweeping changes have to do with “qualified appraisals” and “qualified appraisers.” “Qualified appraisal” means an appraisal that is conducted by a qualified appraiser in accordance with generally accepted appraisal standards. A “qualified appraiser” means an appraiser who has earned an appraisal designation from a recognized professional appraiser organization

The contents of the standard were identified by a combination of background research, interviews, and, most importantly, by major international questionnaire surveys.  In total, over 1,000 responses were received from organizations in 84 countries.  The findings of these surveys” published in Protecting Cultural Objects in the Global Information Society” demonstrated that there was close agreement on the information needed to describe objects for purposes of identification.

The appraisers at Eldridge Appraisals Inc. have the necessary experience and credentials to provide plausible appraisals and testimony, resulting in your successful compensation. We understand and utilize Standard 8 of the Uniform Standards of Professional Appraisal Practice that allows a professional appraiser a method to address this problem and the proper way that it should be presented in a court of law.

Hypothetical and Extraordinary Assumptions Definitions

USPAP Standard 8

Hypothetical Condition- That what is contrary to what exists but is supposed for the purpose of analysis. Appraisals are permitted under the USPAP (Uniform Standards of Professional Appraisal Practice) 2008-2009 in situations where it is clearly required for legal purpose, for purposes of reasonable analysis or for purposes of comparison; use of the hypothetical condition results in a credible analysis and that the appraiser complies with the disclosure requirement set forth in USPAP 2008-2009 for hypothetical conditions.

Extraordinary Assumptions-An assumption directly related to a specific assignment, which if found to be false, could alter the appraiser’s opinions or conclusions.

These recommendations are intended as guidance only and Eldridge Appraisals Inc. assumes no responsibility for statements made or advice given.

For decades, museums have kept their thermostats at a steady 21 degrees Celsius (70 degrees Fahrenheit ), with a relative humidity of 50 percent. Now, a team of Conservation Analytical Laboratory researchers has found that most museum objects can safely tolerate a wider range of both temperature and relative humidity.

In fact, according to the teams research, there can be as much as plus or minus 15 percent fluctuation in relative humidity and as much as 10C (50 F) difference in temperature. Within that range the scientists say, any object — whether it’s Leonardo daVinci’s painting “Mona Lisa” or an installation of Jeff Koons’ vacuum cleaners — may be safely stored or placed on exhibit.

The researchers’ insights could save museums, archives and libraries millions of dollars in construction and energy costs necessary to maintain rigid environmental controls.

The CAL researchers — Marion Mecklenburg, Charles Tumosa, David Erhardt, and Mark McCormick-Goodhart — reached their conclusions during a series of investigations of the chemical, physical, and mechanical properties of materials common to a wide variety of museum objects. The objects ranged from natural history specimens and archaeological artifacts, for example, to 19th century landscape paintings and photographic prints and film.

In the past year, the researchers have presented their work in a variety of papers and presentations for organizations such as the Materials Research Society, the American Chemical Society, and, most recently, at a meeting in Ottawa, Canada, of the International Institute for Conservation of Historic and Artistic Work.

“As scientists, we don’t work from the idea that each object in a museum is unique,” Mecklenburg says. “Rather, we start by looking at the whole picture — examining and understanding all of the materials found in the vast majority of museum objects.”

Through informal discussions of their work, the researchers say, came the understanding that materials such as wood, cellulose, various polymer coating, fibers, minerals, pigments and the like share an overlapping range of tolerance to temperature and relative humidity.

“Up to 50 percent of construction costs for new museums and archival storage facilities may go toward highly overbuilt heating and cooling systems,” Mecklenburgsays. “Our research shows that such specialized systems are unnecessary. Most museums can adequately protect their collections with commercially available technology, such as the heating and cooling systems used in grocery or retail stores.”

Moreover, Mecklenburg says, specialized heating and cooling systems that keep temperature and humidity stable can be expensive to operate. Seasonal variations in outdoor temperature and relative humidity, particularly in temperate climates, he says, can mean monthly energy costs that soar to tens of thousands of dollars in order to maintain strict environmental controls.

For older or historic buildings, Mecklenburg adds, making use of conventional equipment avoids the structural damage that might result from installing more elaborate heating and cooling systems.

The materials research at CAL that has let to the new insights about temperature and relative humidity involves laboratory tests of the properties (physical, mechanical, and chemical) of materials commonly found in museums. The overall goal of the CAL researchers is to apply the best scientific knowledge about various materials to the treatment and conservation of cultural, historic, artistic, and scientific artifacts.

Chemist Tumosa has measured the effects of changes in relative humidity on acrylic paints. For example, he has cooled and dried samples of acrylic paint on canvas to document responses to lowered temperature and humidity (if temperature and humidity are too low, many paints and coatings become brittle and crack). Tumosa also considers changes on stretched canvas in response to changing temperature and humidity, which might cause paint to crack and fall off.

Other materials — wood, photographic emulsions, paper — are subjected to high humidity, or they undergo accelerated aging through exposure to many potentially damaging environmental factors, including heat, humidity, light and various pollutants.

For example, McCormick-Goodharthas tested the effects of temperature and relative humidity on photographic prints and film, especially motion picture film. Results show that temperatures below freezing provide the best storage for maintaining the film (particularly color film) and that commercially available freezers are adequate, despite fluctuations in temperature that might occur with such off-the-shelf equipment. Precautions must be taken to guard film against high humidity, he says. For motion picture film, McCormick-Goodhart places each reel inside a zip-lock freezer bag, which is encased in a cardboard box.

In general, the CAL researchers say, for most materials the low end of the temperature / relative humidity range prevents biological damage from microbial growth and minimizes chemical reactions that occur naturally within objects over time. At slightly higher values for temperature and relative humidity, they say, physical damage is minimized.

“This work is capable of defining the tolerance limits for temperature and relative humidity of large classes of materials represented in museum collections,” McCormick-Goodhart says. “It means we don’t have to study every single object. That’s the breakthrough.”

Reprinted from The Torch, Dec. 1994, p.3. The Torch is published monthly by the Office of Public Affairs of the Smithsonian Institution for distribution to Smithsonian employees.

These recommendations are intended as guidance only and Eldridge Appraisals Inc. assumes no responsibility for statement made or advice given.

EMERGENCY: IF YOU’RE FIRST…..

Initial Coordination:
-Try to control or eliminate the source of the problem;
-Turn off the electricity, water or gas;
-Inform proper authorities;
-Find the person in charge of the building or condominium.

Assessment will begin after the building is declared safe for re-entry.

Take time to coordinate and plan activities. Officials may prevent re-entry for several days.

Priorities:

-Human safety.
-Ensure that you have masks for mold, rubber gloves, plastic bags and sheeting.
-Secure records and information needed for your collection.
-Make a thorough photographic and written record of emergency conditions and salvage activities prior to work and throughout the process.
-Prioritize work, from important (valuable; significant; vulnerable to irreparable damage) to least important.
-Keep track of any objects that are moved.

Inform your insurance company:

Document all stages of response photographically and with a written journal
accompany the insurance adjuster and all investigating persons and contractors, taking extensive notes of conversations. Such records may be required in court.

Protection of Artifacts:

-Protect objects by covering, lifting, or evacuating.
-Diminish mold growth by reducing the temperature and humidity and by promoting air circulation.
-Obtain containers and supports for moving and handling objects: plastic crates, polyethylene sheeting, plywood, saw horses, dollies or carts.
-Identify temporary storage.
-Set up work areas for items that need to be packed or air dried.
-Locate cold storage or freezing facilities.
-Handle objects only with rubber gloves, contaminated objects may pose a health hazard.
-If time and conditions permit, record objects and destination with digital photographs or pencil and paper.
-Label object containers.

Prevention of Further Damage:

-Turn off electricity, blocking entry until done.
-Switch off, divert, or sandbag the water source.
-Cover drains as soon as possible.
-Cover places where water is entering.
-Move collections up if water is rising.
-Locate pump and fans, and use only if you know the circuitry is dry.
-Plan mud removal, remembering that it may be contaminated.
-Raise objects out of water.
-Cover objects and check every 24 hours, uncovering if there is a threat of mold.
-Secure floating objects.
-Locate supplies: containers, un-inked newsprint, clean sheeting, blotter paper, toweling, flashlights, batteries, fans, extension cords, work lights, ladders, padding materials, mops, buckets, sponges, hand tools, plastic bags, boots, aprons, tags and labels, scissors, pencils and paper, clipboards, filament tape, waterproof markers, rubber gloves, and a source of clean water.

Basic Drying Procedures

GENERAL:
AIR DRY means find a cool, dry space with fans. Use absorbent material (un-inked newsprint, blotters, paper towels) under objects. Replace absorbent material as it becomes wet. For wet books, documents, photographs, textiles: if these cannot be air-dried within about 48 hours, freeze. If freezer is unavailable, keep as cool as possible with air circulation until air drying is possible. Expect mold growth.

Since most materials become significantly weaker when wet, do not hang wet objects without a conservator’s advice.

FRAMED ARTWORKS:
Remove frames and place paintings in a safe place. Keep wet paintings horizontal and paint-side up.

ART ON PAPER OR PHOTOS:
If image appears stuck to glass/glazing, leave in frame and dry glass-side down.

PHOTOGRAPHS:
Rinse mud off photographs (using gentle water stream or by immersion and gentle agitation). Thoroughly wet photographs can stay wet in a container of clean water. Dry or freeze within 48 hours. If possible, interleave photographs with wax paper prior to freezing. Freeze or air dry damp or partially wet photographs.

BOOKS IN QUANTITY:
Remove two or three books from each wet or partly wet shelf (to relieve pressure). Evacuate completely or partly wet books. Pack snugly, spine down, and freeze. Leave damp books on shelves if space can be kept cool and dry. Contact a commercial dehumidification firm if space has been flooded.

INDIVIDUAL BOOKS:
Air dry, stand upright, and open covers gently to support book.

DOCUMENTS/PAMPHLETS:
Remove plastic covers. Air dry flat, in piles no thicker than 1/8″ within 48 hours; or pack snugly, upright in original folders (if no folders, pack flat) and freeze.

TEXTILES:
Air dry or bag wet textiles in plastic and freeze. Briefly immerse partially wet textiles in clean water, blot, and air dry or freeze.

FURNITURE:
Lift furniture above water level. Dab dry with clean cloths. If mud-covered, rinse immediately with clean water. Wrap with plastic and dry slowly, under weights if possible. Leave drawers in place but remove contents.

BASKETS:
Pad basketry with un-inked newsprint, keep lids on, dry slowly.

LEATHER:
Shape, pad, and air dry.

BONE/IVORY:
Dab to absorb excess water, place under loose sheets of polyethylene to slow drying.

METAL:
Dry metal as quickly as possible, using fans and/or sun.

ANIMAL MATERIALS:
Air dry unstuffed specimens and skeletal material on racks in moving air; do not squeeze.

These general recommendations are intended to provide practical guidance in the EMERGENCY recovery of water-damaged objects, when no conservator is available. These recommendations are intended as guidance only and neither Eldridge Appraisals Inc. ,AIC nor HP assume responsibility or liability for treatment of water-damaged objects.