Manchester Metropolitan University Special Collections - Collections Development Policy

1

Name of museum: MMU Special Collections Name of governing body: Manchester Metropolitan University (MMU) Executive Date on which this policy was first approved by the then governing body, Board of Governors, Estates and Services Committee: 3rd February 2005.

Policy review procedure: This policy was reviewed by the Special Collections team during the period November 2014 – January 2015, with advice from the Special Collections Advisory Committee and the Library Management Group. It was approved by the Museum’s governing body, which is the MMU Executive, at their meeting 9th February 2015. Summary of changes to February 2005 version:

Makes more explicit how the policy regulates the acquisition and disposal of items for the Special Collections Museum.

Clearer and more explicit statements of what is collected and why and how the collections meet the statement of purpose.

Inclusion of collection-based micro policies.

More detailed history of the collections.

Update to the 2014 template provided by the Arts Council England. The collections development policy will be published and reviewed from time to time, at least once every five years. Date at which this policy is next due for review: March 2019. The Arts Council England will be notified of any changes to the collections development policy, and the implications of any such changes for the future of the collections.

2

1. Introduction

The Manchester Metropolitan University mission is to be the UK’s leading university for world class professionals.

1.1. The Museum is one of the cultural and heritage assets of the University.

Our statement of purpose is:

We advocate, promote and facilitate hands-on access and engagement with Manchester Metropolitan University’s inspiring collection of primary source material to enrich and stimulate teaching, learning and research for all audiences.

We explore and encourage ways in which the collections can be used across a wide range of disciplines within the University;

We promote engagement with the collections for teaching, learning and research across the University;

We encourage supervised, hands-on access to all but the most fragile items;

We collaborate with staff and students within the University and other museums and educational/cultural organisations in Manchester and the North West;

We promote the role of the collections as part of the ‘memory of the University’;

We deliver professional exhibitions which meet internationally approved standards of display and care, providing access to curatorial and academic expertise and knowledge, protecting the University’s heritage assets and raising its profile.

The Museum’s aims, as outlined in our forward plan 2013-2016, are as follows:

Student experience We will work towards making the Museum a destination for learning and teaching across the University. Our small team of professional museum staff will provide advice and services to staff and students, including three exhibitions each year, adding an extra and unique dimension to the student experience. Research We will initiate, facilitate and stimulate exchanges based on object and collections-based research to inspire new interdisciplinary collaborations, knowledge and research outcomes. We will align with the University’s research strategy. Collections Collections form the bedrock of any museum and its cultural activity and we will work with colleagues across the University to maximise their impact and the associated educational and cultural offer. Innovation We will promote the Museum as a catalyst for creativity and innovation and an agent for social change, promoting intercultural understanding. Access and engagement We will increase audience engagement with the collections by the implementation of an audience development and marketing strategy informed by the University’s strategic vision, and recommendations from the Museum Consultancy Report (undertaken June-July 2012).

3

Profile We will increase the profile and publicity of these well-respected collections and the University’s reputation via local, regional and international exhibitions, collaborations, projects and loans, including links to schools and colleges, and the wide sharing of these successes. Institutional sustainability We will keep Museum operational costs at a steady state and aim to increase income.

Relationship to other policies and plans This policy is guided by the University’s mission and vision and led by the Museum’s purpose and aims. It provides a brief history and overview of the Collections, along with the priorities for collection development and rationalisation. Detailed micro-policies for each collection are provided in the Appendices. This policy also provides legal and ethical information pertaining to the Collections. This policy can also be described as an acquisitions and disposal policy and relates closely to: the documentation policy and plan; the collections care and conservation policy and plan; and informs the forward plan. It is a public document intended for all stakeholders including all users of the collections, potential donors and exhibitors.

All accessioned material in the Collections is owned by the University. All new acquisitions will be owned by the University unless deposited on a loan agreement. This policy applies to all accessioned objects, including books and archives, in the care of the Museum. Accessioned objects are those that have been accepted into the collections (by gift, purchase or other) and title of ownership has been formally transferred to the Museum. Deaccessioning is the formal approval and documentation of the disposal of an object.

1.2. The governing body will ensure that both acquisition and disposal are carried out openly and

with transparency.

1.3. By definition, the Museum has a long-term purpose and holds collections in trust for the benefit of the public in relation to its stated objectives. The governing body therefore accepts the principle that sound curatorial reasons must be established before consideration is given to any acquisition to the collection, or the disposal of any items in the Museum’s collection.

1.4. Acquisitions outside the current stated policy will only be made in exceptional circumstances.

1.5. The Museum recognises its responsibility, when acquiring additions to its collections, to ensure that care of collections, documentation arrangements and use of collections will meet the requirements of the Museum Accreditation Standard. This includes using SPECTRUM1 primary procedures for collections management. It will take into account limitations on collecting imposed by such factors as staffing, storage and care of collection arrangements.

1.6. The Museum will undertake due diligence and make every effort not to acquire, whether by

purchase, gift, bequest or exchange, any object or specimen unless the governing body or responsible officer is satisfied that the Museum can acquire a valid title to the item in question.

1.7. The Museum will not undertake disposal motivated principally by financial reasons

1 SPECTRUM is the UK Collections Management Standard recognised nationally and internationally. It represents a common understanding of good practice for collections management in museums and contains detailed procedures for managing the different processes that an object goes through in its lifecycle in a museum.

4

2. History of the collections Background The Manchester Metropolitan University was created in 1992, emerging principally from the Manchester Polytechnic (created in 1970). However, the history of the collections goes back much further. The Museum holds important collections of prints and books from the Manchester School of Design (established in 1838) and the Manchester School of Art Library (established 1845), which became the Manchester School of Art in 1853 and later the Manchester Municipal School of Art in 1892. The School of Art established a museum in 1898 and developed a collection with a particular strength in the Arts and Crafts movement. Most of this collection survives today in the Museum and continues to be supplemented by other works of fine and decorative art, including work by MMU staff and students. During the last three decades of the 20th century, the Library consolidated its pre-existing special collections to establish: a book design collection; an artists’ books collection; archives of artists and illustrators; Victorian ephemera and greetings cards; decorated papers; and 20th century posters. More recently, in response to new and developing teaching and research needs, we have been collecting objects which use digital and emerging technologies, an area we understand we are unique in collecting in the region, and we have also made Manchester and region architecture archives a formal area of active collecting. There are a number of influential figures who have been responsible for the formation of the collections to-date. Most notably are the former Polytechnic/University Librarian and the Art & Design Librarian, who together developed the book and archive collections into what they are today, over a period of thirty years (1970’s-1990’s). The University Librarian following this period was instrumental in bringing all of the collections together into the Library in 2002 and for applying for, and achieving museum accreditation for the unified collections in 2005. Latterly, the current Curator for the Manchester School of Art collection has been working closely with academic staff in the School of Art to ensure that relevant contemporary art/craft works are added and used for teaching and research. Similarly, the current Archivist, has worked with local institutions to establish and enhance the Manchester and region architecture archive, again ensuring enhanced scholarly support in the area of architectural studies. For more detailed historical information for each collection, see Appendices 1-8.

3. An overview of current collections The core collections comprise:

3.1 Book collections 3.2 Archive collections 3.3 Greetings card collections 3.4 The Manchester School of Art collection 3.5 Poster collections 3.6 Decorated paper collections 3.7 The Malcolm Garrett collection 3.8 The Sir Harry Page collection of Scrapbooks, Albums and Commonplace Books 3.9 Birley Fields archaeological material

The Collections are strong in the following themes and areas:

Arts and Crafts and design from the 19th century to the present;

19th century studies, especially print and books, and cards and ephemera;

Fine art prints and printing, and commercial prints, including posters;

Book design and book art, including decorated papers and book illustration;

19th/20th/21st century architectural practice and education in the Manchester region.

5

3.1. The Book collections The Book Design collection currently contains some 15,000 volumes and continues to offer a comprehensive resource for the study of British book design and production in the 19th and 20th centuries. The collection maintains its established areas of strength and in so doing, embraces the book as an artefact, providing examples of all elements of book design such as cover design, binding, printing techniques, typography and illustration. The Artists’ Books collection is of national significance being the largest of its type outside London and currently numbers some two thousand items ranging in date from the 1960’s to the present. The strengths of the collection lie in its comprehensive, chronological coverage and in its representation of the wide variety of forms within the genre. The emphasis is upon British artists although not exclusively so. The Children’s Books collection currently numbers around 10,000 items. The chronological strength is the late 19th and early 20th century and includes Edwardian boys’ adventure stories, stories for girls and children’s periodicals. Picture books dating from the 1970’s to the present are a substantial part of the collection. Prize winning books such as the Caldecott, Carnegie and Mother Goose awards, amongst others, have been added along with popular series such as Harry Potter. The varied origins of the collection lend it a hybrid quality making it suitable for a variety of research subjects. 3.2. The Archive collections

The Archive collections are a resource of national significance for the study of 20th century book illustration, art and design and post-war textile design and manufacture. The collection was established to provide access to unique primary source material for those working with the Book Design collection. The Manchester School of Art archive includes: Annual Reports and Calendars, prospectuses, photography, student record cards, administrative records and items of ephemera. There is also a series of student work and other archival material, which it should be noted, was never removed from the School. Student work, which remained with the creator, and was only later returned to the School is designated as the creator’s archive and included in the ‘Artists, designers and the arts professions’ collection. The Artists, designers and the arts professions archive comprises 38 distinct archives and include: original artwork and sketches, woodblocks, wood engraving and colour lithography techniques; developmental prints, correspondence between artist and author; and all material concerning a publication (e.g. Fleece Press) from inception to completion. The strength of this collection is in archival material recording:

The professional practice of 20th century British artists and designers and organisations involved in the book arts and book design and production. Particular emphasis is placed upon the Private Press movement in Britain in the 20th century and artists specialising in wood-engraving as an illustrative technique.

The education and professional practice of artists and designers who have a significant association with the Manchester School of Art.

The professional practice of artists and designers working in fields which are particularly well represented in the Manchester School of Art collection or whose work has significant representation within that collection.

The professional practices of artists and designers who work predominantly or have a particular association with an area of material well represented within another area of the collections.

6

The Manchester and region architecture archives currently comprise 12 distinct archives/collections (see Appendix 2 for more information). This collection is strong in architecture and furniture plans and drawings, and in photography, both from architectural practice and teaching practice. A small number of archives also include a wider range of the records of architectural practice. 3.3. The Greetings Card collections

A significant collection of artist-made and/or designed Christmas cards were donated in 2007, thus creating the Artists’ Christmas cards collection. The design, visual quality and the chronological development of these cards made them a valuable addition the collections. A number of smaller collections of similar types of cards were subsequently acquired. The date range of the cards is 1950 to the present. The artists and designers represented are predominantly, although not exclusively, British. In a number of cases, the same artists and designers have produced cards over a significant number of years. The strength of the collection is in providing a chronologically and developing sample of the private illustrative and design practices of a significant number of artists and designers and, in some cases, being able to trace that development in the work of individual artists and designers. Commercial greetings cards and postcards During the 1980s a number of trade catalogues, featuring commercially produced greetings cards, calendars and personal stationary, were donated to Manchester Polytechnic’s central library. Subsequently a number of collections of commercially produced greetings cards and postcards have been acquired, principally through donation. The date range of this collection is from the mid-19th century to the present and comprises 18 distinct collections, the most significant of which is the Laura Seddon Collection of Christmas and Valentines cards (See Appendix 3 for more detail). The strength of this collection is in providing a chronologically and developing sample of the design and illustration of commercially produced greetings cards and postcards. The collection also offers insights into the development of visual cultures during this period and of developments in associated cultural and social attitudes. A significant collection of artists greetings cards sent to Barnett Freedman exist in the Barnett Freedman archive. 3.4. The Manchester School of Art collection

This collection currently comprises around 2,500 objects, mainly decorative art and works on paper, comprising both historic and contemporary material. The most significant part of the collection was acquired between 1894 and 1914. This includes examples of contemporary craft and design in the form of the Arts and Crafts and Art Nouveau, many acquired from the Arts and Crafts Exhibition Society, Liberty’s and some direct from the makers. These include metalwork and jewellery by CR Ashbee and the Guild of Handicraft, copperware by WAS Benson and Co., jewellery by May Morris, a large collection of Arts and Crafts historic revival glass by James Powell and Sons (Whitefriars Glasshouse), ceramics by William De Morgan, glass by Tiffany and Co., cartoons for stained glass by Ford Madox Brown, and The Adoration of the Magi tapestry made by Morris & Co. designed by Edward Burne-Jones, 1894. For a full description of the type of material and content of this collection, see Appendix 4.

3.5. Poster collections

The Philip Granville collection was given to MMU Library in 2000 by Philip Granville (1911 – 2003) under the Acceptance in Lieu (AIL) scheme, and was formally transferred to the University in 2006/7. It is a collection of 1,145 posters that comprise 20th century poster design

7

and date from 1957- 1996, with a focus on the period 1970-1989. They are predominantly advertising, propaganda and poster art/exhibition posters. The MMU Library Poster collection came out of the former Manchester Polytechnic Art and Design Illustrations Collection. This collection was started by the Art and Design Librarian in the 1970s, who retained all posters sent to the Art and Design Library, and actively sought others, to create a reference collection for student study. It comprises over 2,000 posters covering British poster design from the 1970s to date. The collection is in mainly British posters, dating between 1960-2000, with a handful being from 1910-1959, (the most notable of these earlier posters are early 20th century theatre playbills), and from 2000 to date.

The range of posters includes examples of art posters, posters for art exhibitions locally and nationally, and art schools exhibitions; posters by publishers such as Athena and Pentagram; designers such as James Marsh and FHK Henrion. However many are anonymous, reflecting the ephemeral nature of the commercial poster. The collection also includes sets of posters designed for the Football World Cup in Spain 1988 and Munich Olympics 1972.

The Schmoller London Transport Poster collection A group of 40 posters donated by Mrs Tanya Schmoller in 2005. All of these posters date from 1940-1979 and most were designed for London Transport. A variety of British designers are represented including Hans Unger, John Farleigh and Abram Games. The collection also includes two posters designed for Penguin Books. This collection is closed.

Other posters in the Museum include 20th and 21st century posters the Manchester School of Art collection (See Section 3.4. and Appendix 4 check).

The Manchester School of Art archive holds over 100 exhibition posters, mainly dated from 1960-1990.

Some of the artists archives, most notably the archives of Barnett Freedman, John Farleigh and David Walker also contain some posters.

3.6. Decorated Papers The Schmoller Collection of Decorated Papers The Schmoller Collection of Decorated Paper comprises over 3,500 examples of decorated or patterned paper, mainly of the type used as endpapers or paper bindings for books. It is one of only three comparable public collections in the UK and the only one outside London2. Unlike these other collections, the Schmollers collected sample books as well as sheets. This is a unique strength of the collection and an important aid to the identification of designs, printers and artists.

The collection is mainly 20th century, plus some examples from the 19th and the 21st centuries. The papers are both handmade and machine made. The techniques covered include traditional and art marbling, embossing, block printing, paste paper making, stencilling, lino cutting, air brushing, batik and more. Western papers include 2,400 sheets of decorated paper from Europe and the Americas. Oriental papers include around 900 sheets from Japan, China, India, Nepal. Sample books include over 230 books, from a variety of printers and makers, countries and dates. Supporting documentation, including clippings and articles; original writings and correspondence by Hans and Tanya Schmoller, and a small group of books with decorated endpapers or covers.

2 The others being the Olga Hirsch Collection in the British Library and a collection at the V&A. There is a collection at the National Library of Scotland, however this is not a collection of sheets and/or sample books, but is a catalogue of papers used in and on the book collections.

8

Currently on loan from Mrs. Schmoller are 168 early and gilt papers, mostly European, 18th and 19th century. Other decorated papers in the collections:

The archive of the Fancy Paper Company (closed)

The Fleece Press archive (see section 3.2)

The Roderick Cave collection of Chinese papers (closed)

3.7 The Malcolm Garrett Collection Books and items related to the many science fiction and espionage TV shows of the 1960’s, including The Avengers, Gerry Anderson, James Bond, The Man from U.N.C.L.E, Z Cars and more, annuals, single issue comics and magazines, children’s books, TV tie-in story books and specials, miscellaneous leaflets, programmes, publicity booklets, records and Brooke Bond picture cards and posters. Various items relating to the NY World’s Fair 1939/40, the 1960’s and the US/USSR Space Race, including ephemera relating to the Festival of Britain; a collection of Punk and other clothing and footwear designed by Dame Vivienne Westwood, but also including BOY and other designers, along with supporting publications about and from punk culture; and a collection of books on the subject of Andy Warhol. 3.8 The Sir Harry Page collection of Scrapbooks, Albums and Commonplace Books Manchester Polytechnic Library purchased this collection in 1987. The core collection consists of 276 bound albums created between 1752 and 1972. The majority being from the long 19th century, and emanating from families based in the Midlands and the North of England. The second part of the Page Collection consists of some 95 scrap books of similar material compiled by Sir Harry Page. These include themed examples of 18th and 19th century printing, almanacs and calendars, caricatures and cartoons, greeting cards, postcards, scraps, prints, memorabilia of death, bookplates, examples of collage, etc. There are also over 1000 bookplates, mainly designed by 20th century British designers, arranged into themes or subjects by Sir Harry. 3.9 Birley Fields archaeological material The Museum currently holds a small amount of archaeological material consisting of registered finds and sample material from 19th century domestic dwellings from the Birley Fields excavation, Hulme, Manchester (2012), undertaken prior to the building of the University’s new Birley Fields campus.

4. Themes and priorities for future collecting The extent of future acquisitions for the Museum, as a result of purchase, gift, loan, exchange or bequest, will be restricted to or have a direct association with items of a craft, fine art, design or architectural nature. Collecting will build on the existing strengths, aiming to add depth to themes, rather than building up comprehensive collections of object types. This will be reactive, driven by offers of gifts and as and when items come up for sale at auction. Offers by gift will be considered on a case by case basis. Collecting will be in the following areas:

works that have identified potential for display, interpretation and education work;

supports teaching and learning in the University where a need can be shown that cannot be met by the existing collection or by a collection elsewhere in the region, and that meets other criteria laid out by this policy;

supports the University’s research strategy;

9

books that fill gaps in existing areas and capture new developments within the field of book design and production. The symbiotic relationship that exists between the book collections and the artists’ papers will also influence the acquisition of new material;

artists’ books which demonstrate new directions within the genre. Retrospective collecting will be undertaken within the ‘canon’ of the artists’ book. Identified strengths will be developed further to maintain the academic purpose of the collection and the chronological coverage and the breadth of variety. These include photo books, concrete poetry, conceptual works and examples of innovative structural forms and printing techniques;

children’s books that demonstrate innovative design in illustration and that support the work of illustrators represented in the archive collections. However, donations will still be accepted that augment the pre-existing strengths;

along with accruals to existing archives, archival material that significantly adds to its strengths will be added;

greetings cards produced by British artists of the 20th and 21st centuries, although when cards from other countries (especially the USA) are represented within constituent collections, then these are retained;

only 20th and 21st century commercial greetings cards from established donors. We will acquire pre-20th century cards and postcards where such an addition may be deemed appropriate to enhance the quality and range of cards held. Given the range of cards already held, especially in the Seddon collection, such additions are likely to be rare;

items that relate to either the history or development of teaching and research at the Manchester School of Art, or consist of work and/or records either produced by, or in the collections of, significant current or former staff or students of the School of Art, or by individuals or groups directly associated with the School of Art. We are particularly interested in collecting finished and preparatory drawings and sketchbooks;

material collected by Malcolm Garrett that adds depth to his existing collection;

British posters, 20th century to date; and posters that relate to art exhibitions generally and art schools and their exhibitions;

significant examples of poster art/designers, internationally and from any period;

current and past posters from or by former staff and students of the Manchester School of Art and its founder institutions;

decorated paper by contemporary and historic makers, all periods and internationally;

items that develop the contemporary craft and design collection;

the work of current and former members of MMU staff and students;

items that illustrate links between collections;

items that reflect a wider ambition to raise the national and international profile of MMU, building on the current strengths of the collections as outlined in this policy.

For additional detail of themes and priorities for future collecting for some collections, see Appendix 9. Specifically these are: Book Design, Artists books, Children’s books; Commercial greetings cards and postcards; and contemporary craft and design for the Manchester School of Art collection.

5. Themes and priorities for rationalisation and disposal 5.1 The museum recognises that the principles on which priorities for rationalisation and

disposal are determined will be through a formal review process that identifies which collections are included and excluded from the review. The outcome of review and any subsequent rationalisation will not reduce the quality or significance of the collection and will result in a more useable, well managed collection.

10

5.2 The procedures used will meet professional standards. The process will be documented, open and transparent. There will be clear communication with key stakeholders about the outcomes and the process.

5.3 Unless otherwise stated (see 5.4) we do not anticipate disposals from any collection.

5.4 A number of duplicate volumes exist in the Book Design collection for reasons such as the amalgamation of collections, historical donations or inadvertent duplication of purchases. We do not actively acquire duplicate copies although duplicates may be retained if they relate to archival collections and therefore support research and exhibitions. True duplicates will share the same publication history and identical physical characteristics. Distinguishing features can include copy-specific details such as bookplates, inscriptions, stamp marks. In these instances we will retain both copies. In the case of true duplication we will retain the copy which is in the best overall condition. This area has been identified as a potential theme for rationalisation. We do not anticipate any further disposals from this collection.

5.5 There are a number of duplicates in the MMU Library Poster collection, which if identified as true duplicates, will be made available to other institutions in line with our disposals procedures (see section 16 and Appendix 11).

6. Legal and ethical framework for acquisition and disposal of items

6.1 The Museum recognises its responsibility to work within the parameters of the Museum

Association Code of Ethics when considering acquisition and disposal.

6.2 All disposals will be made in line with the MA Disposals Toolkit. Where any uncertainty arises (e.g. with provenance or legal title) we will refer to the University’s legal team and no disposal will go ahead without the formal approval of the Museum’s governing body.

The Museum must be able to show legal title before a disposal can be considered.

The accession history of the object will be checked to ensure that there are no other

conditions attached to its disposal.

If an item has been donated to the collection, we will make every effort to consult the

donor or the donor’s representatives before a decision to dispose is made.

When an item is disposed of, we will ensure its removal from the University’s Asset

Register.

6.3 Other legal requirements

The legal position of following types of object must be investigated before disposal is undertaken:

Items covered by CITES (Convention on International Trade in Endangered Species of Wild Fauna and Flora)

Drugs and pharmacological items

Radioactive objects

Hazardous items covered by COSHH (Control of Substances Hazardous to Health)

Items containing asbestos

Firearms and other militaria

11

7. Collecting policies of other museums 7.1. The Museum will take account of the collecting policies of other museums and other

organisations collecting in the same or related areas or subject fields. It will consult with these organisations where conflicts of interest may arise or to define areas of specialism, in order to avoid unnecessary duplication and waste of resources.

7.2. Specific reference is made to the following museum(s)/organisation(s):

Manchester City Galleries; Whitworth Art Gallery; The Museum of Science and Industry in Manchester; Bolton Museum & Art Gallery, Harris Museum & Art Gallery, Preston; Salford Museum & Art Gallery, The University Library of Manchester Special Collections, Greater Manchester County Records Office, Manchester Archives+, The National Art Library, Victoria and Albert Museum, The London Library of Arts and the Tate Library.

8. Archival holdings

See section 3.2 above and Appendix 2.

9. Acquisition

9.1. The policy for agreeing acquisitions is:

The Museum recognises its responsibility, in acquiring additions to its collections, to ensure that care of collections, documentation arrangements and use of collections meet the requirements of the Accreditation standard. It will take into account limitations on collecting imposed by such factors as staffing, storage and care of collection arrangements.

The Museum Curator, Archivist and Librarian/Manager, as the senior professional staff,

have delegated authority and responsibility for:

the acceptance or rejection of potential gifts or bequests

soliciting gifts of material for the collections within the terms of this policy.

for making recommendations and taking action on the purchase of material

These actions will be carried out in accordance with this policy. Items offered to the Museum as gifts or bequests will not normally be accepted if there are significant resource implications, or they are subject to any restrictive covenant or special conditions. In exceptional circumstances, if the Curator, Archivist or Librarian/Manager feels that the item(s) are of over-riding importance, the Head of Library Services may be asked to approve the acquisition of a specific item to which conditions are attached.

9.2. The Museum will not acquire any object or specimen unless it is satisfied that the object

or specimen has not been acquired in, or exported from, its country of origin (or any intermediate country in which it may have been legally owned) in violation of that country’s laws. (For the purposes of this paragraph ‘country of origin’ includes the United Kingdom).

9.3. In accordance with the provisions of the UNESCO 1970 Convention on the Means of

Prohibiting and Preventing the Illicit Import, Export and Transfer of Ownership of Cultural Property, which the UK ratified with effect from November 1 2002, and the Dealing in Cultural Objects (Offences) Act 2003, the museum will reject any items that have been

12

illicitly traded. The governing body will be guided by the national guidance on the responsible acquisition of cultural property issued by the Department for Culture, Media and Sport in 2005.

10. Human remains

10.1. The Museum does not hold or intend to acquire any human remains.

11. Biological and geological material

11.1. The Museum will not acquire any biological or geological material.

12. Archaeological material

12.1 The Museum will not acquire archaeological material (including excavated ceramics) in any case where the governing body or responsible officer has any suspicion that the circumstances of their recovery involved a failure to follow the appropriate legal procedures.

12.2 In England, Wales and Northern Ireland the procedures include reporting finds to the landowner or occupier of the land and to the proper authorities in the case of possible treasure (i.e. the Coroner for Treasure) as set out in the Treasure Act 1996 (as amended by the Coroners & Justice Act 2009).

The Museum currently holds a small amount of its own archaeological material, together with material belonging to the Oakington Archaeological Project which is held under loan agreement UCLAN. The Museum will continue to house this material until the ultimate destination of this material is established or until the return of the loaned material is requested.

It is the Museum’s policy not to actively collect new archaeological material. The only exception to this would be in the case of significant local finds, unearthed in the process of an official dig carried out by a recognised group of professional archaeologists. These items would be accepted into the Museum’s collections, subject to the above terms (see 12.1 and 12.2). However, this does not preclude the acquisition of items found in archaeological contexts subject to due diligence with regard to the protection of the cultural heritage.

13. Exceptions

13.1. Any exceptions to the above clauses will only be because the museum is:

acting as an externally approved repository of last resort for material of local (UK) origin

acting with the permission of authorities with the requisite jurisdiction in the country of origin

In these cases the Museum will be open and transparent in the way it makes decisions and will act only with the express consent of an appropriate outside authority. The Museum will document when these exceptions occur.

13

14. Spoliation

14.1 The Museum will use the statement of principles ‘Spoliation of Works of Art during the Nazi, Holocaust and World War II period’, issued for non-national museums in 1999 by the Museums and Galleries Commission.

15. The Repatriation and Restitution of objects and human remains

15.1 The Museum’s governing body, acting on the advice of the museum’s professional staff, may take a decision to return human remains (unless covered by the ‘Guidance for the care of human remains in museums’ issued by DCMS in 2005) , objects or specimens to a country or people of origin. The Museum will take such decisions on a case by case basis; within its legal position and taking into account all ethical implications and available guidance. This will mean that the procedures described in 16.1-5 will be followed but the remaining procedures are not appropriate.

15.2 The disposal of human remains from museums in England, Northern Ireland and Wales will follow the procedures in the ‘Guidance for the care of human remains in museums’.

16. Disposal procedures

16.1 All disposals will be undertaken with reference to the SPECTRUM Primary

Procedures on disposal.

16.2 The governing body will confirm that it is legally free to dispose of an item. Agreements on disposal made with donors will also be taken into account.

16.3 When disposal of a museum object is being considered, the museum will establish if

it was acquired with the aid of an external funding organisation. In such cases, any conditions attached to the original grant will be followed. This may include repayment of the original grant and a proportion of the proceeds if the item is disposed of by sale.

16.4 When disposal is motivated by curatorial reasons the procedures outlined below will

be followed and the method of disposal may be by gift, sale, exchange or as a last resort - destruction.

Recommendations for disposal can only be made by the Museum Curator, Archivist, Librarian or Conservator. The proposal will be assessed by a Disposal Panel (to include the Curator, Archivist, Librarian, Conservator and Education Officer) to make sure all procedures have been followed. The proposal will then be submitted to the Head of Library Services who will approve, report and pass to the governing body for final approval. Details of items proposed for disposal will be publicly available and the decision to dispose will be published on our website. The Museum reserves the right not to dispose of an item at any stage in the disposals process, particularly if new information comes to light.

16.5 The decision to dispose of material from the collections will be taken by the

governing body only after full consideration of the reasons for disposal. Other factors including public benefit, the implications for the Museum’s collections and collections

14

held by museums and other organisations collecting the same material or in related fields will be considered. Expert advice will be obtained and the views of stakeholders such as donors, researchers, local and source communities and others served by the museum will also be sought.

16.6 A decision to dispose of a specimen or object, whether by gift, exchange, sale or

destruction (in the case of an item too badly damaged or deteriorated to be of any use for the purposes of the collections or for reasons of health and safety), will be the responsibility of the governing body of the museum acting on the advice of professional curatorial staff, if any, and not of the curator or manager of the collection acting alone.

16.7 Once a decision to dispose of material in the collection has been taken, priority will

be given to retaining it within the public domain. It will therefore be offered in the first instance, by gift or sale, directly to other Accredited Museums likely to be interested in its acquisition.

16.8 If the material is not acquired by any Accredited museum to which it was offered as a

gift or for sale, then the museum community at large will be advised of the intention to dispose of the material normally through a notice on the MA’s Find an Object web listing service, an announcement in the Museums Association’s Museums Journal or in other specialist publications and websites (if appropriate).

16.9 The announcement relating to gift or sale will indicate the number and nature of

specimens or objects involved, and the basis on which the material will be transferred to another institution. Preference will be given to expressions of interest from other Accredited Museums. A period of at least two months will be allowed for an interest in acquiring the material to be expressed. At the end of this period, if no expressions of interest have been received, the museum may consider disposing of the material to other interested individuals and organisations giving priority to organisations in the public domain.

16.10 Any monies received by the museum governing body from the disposal of items will

be applied solely and directly for the benefit of the collections. This normally means the purchase of further acquisitions. In exceptional cases, improvements relating to the care of collections in order to meet or exceed Accreditation requirements relating to the risk of damage to and deterioration of the collections may be justifiable. Any monies received in compensation for the damage, loss or destruction of items will be applied in the same way. Advice on those cases where the monies are intended to be used for the care of collections will be sought from the Arts Council England.

16.11 The proceeds of a sale will be allocated so it can be demonstrated that they are

spent in a manner compatible with the requirements of the Accreditation standard. Money must be restricted to the long-term sustainability, use and development of the collection.

16.12 Full records will be kept of all decisions on disposals and the items involved and

proper arrangements made for the preservation and/or transfer, as appropriate, of the documentation relating to the items concerned, including photographic records where practicable in accordance with SPECTRUM Procedure on deaccession and disposal.

15

Disposal by exchange 16.13 The nature of disposal by exchange means that the museum will not necessarily be

in a position to exchange the material with another Accredited museum. The governing body will therefore ensure that issues relating to accountability and impartiality are carefully considered to avoid undue influence on its decision-making process. 16.13.1 In cases where the governing body wishes for sound curatorial reasons

to exchange material directly with Accredited or non-Accredited museums, with other organisations or with individuals, the procedures in paragraphs 16.1-5 will apply.

16.13.2 If the exchange is proposed to be made with a specific Accredited museum, other Accredited museums which collect in the same or related areas will be directly notified of the proposal and their comments will be requested.

16.13.3 If the exchange is proposed with a non-Accredited museum, with

another type of organisation or with an individual, the museum will place a notice on the MA’s Find an Object web listing service, or make an announcement in the Museums Association’s Museums Journal or in other specialist publications and websites (if appropriate).

16.13.4 Both the notification and announcement must provide information on

the number and nature of the specimens or objects involved both in the museum’s collection and those intended to be acquired in exchange. A period of at least two months must be allowed for comments to be received. At the end of this period, the governing body must consider the comments before a final decision on the exchange is made.

Disposal by destruction 16.14 If it is not possible to dispose of an object through transfer or sale, the governing

body may decide to destroy it.

16.15 It is acceptable to destroy material of low intrinsic significance (duplicate mass-produced articles or common specimens which lack significant provenance) where no alternative method of disposal can be found.

16.16 Destruction is also an acceptable method of disposal in cases where an object is in

extremely poor condition, has high associated health and safety risks or is part of an approved destructive testing request identified in an organisation’s research policy.

16.17 Where necessary, specialist advice will be sought to establish the appropriate

method of destruction. Health and safety risk assessments will be carried out by trained staff where required.

16.18 The destruction of objects should be witnessed by an appropriate member of the

museum workforce. In circumstances where this is not possible, e.g. the destruction of controlled substances, a police certificate should be obtained and kept in the relevant object history file.