Tender loving care for a significant artifact
It’s not all currency. The Museum holds 1000’s of items related to the business of making money—literally. The addition of a 19th-century printing press to the vaults presented some unusual challenges to the collections team.
A venerable printing firm donates its history
In 2012, the Ottawa-based security printing firm BA International closed. Formerly the British American Bank Note Company, BA had been printing bank notes, passports, bonds and other secure documents since before Confederation. With this closure came an opportunity for the Museum’s National Currency Collection (NCC) to acquire objects that showcase the production processes used by BA and other security printers. Luckily, one of the pieces offered to us was a large production tool known as a spider press.
A 500-year-old tradition
Used extensively in the 19th century, this type of hand-operated press printed secure financial documents using the intaglio method. Intaglio literally means carving, and initially, an image would indeed be carved (engraved) into a soft steel plate. This plate would be coated in ink and wiped with a cloth to remove the ink from the non-engraved surfaces. It was then placed on the press underneath a clean sheet of paper. The press operator would turn the machine’s hand wheel, rolling the plate-and-paper combo between two large, heavy cylinders. The pressure of the cylinders would push the paper into the ink-filled areas, leaving a raised print on the paper. The multiple spokes of the hand wheel, reminiscent of the legs of a spider, gave rise to the name “spider press.”
The press is stored on a pallet and moved with a hydraulic jack. It takes four strong people to shift it even a few centimetres.
The Devil is in the humidity
When our BA spider press arrived in 2013, we discovered it had been exposed to a greater amount of moisture than expected. The result? A coating of bright orange corrosion had blossomed over all the exposed steel surfaces. As well, years of use had left crusts of dust, dirt and grime embedded in the crevices of the machinery.
As it was not intended to go on display immediately, we decided to treat the spider press before it went into storage at the Museum. The goal was to reverse as much of the damage as possible and hopefully prevent further active corrosion from appearing.
Gentle treatment for a heavy machine
After several spot tests, we decided that the corrosion should be removed with extra fine steel wool followed by gently wiping the surface with soft cloths and alcohol. The embedded dirt and grime was then removed with cotton swabs lightly dampened with mineral spirits. Finally, a thin layer of machine oil was applied to all the metal surfaces to act as a protective coating.
The original surface can be seen in the upper cylinder while the corrosion is being removed during treatment.
A fresh coating of machine oil was applied to protect the surface. This also has the added benefit of allowing the machine to function smoothly.
Putting the spider press to bed
Once the press was moved back into storage, it was sealed in a tent of polyethylene sheeting along with packs of moisture-absorbing silica gel. This created a drier micro-climate around the press. The condition of the spider press will be monitored as it remains in storage, making sure this valuable artifact will be around for generations more.
With the treatment fully complete, the rolling bed was re-installed between the upper and lower cylinders and the press photographed for the database.
Stay tuned for a further blog on the conservation of some of a large collection of intaglio printing plates obtained along with this press.
We want to hear from you! Do you have an idea for a blog post you’d like to see?
Content type(s):
Blog posts
September 6, 2013
Before the museum closed for renovations on 2 July, technicians began to remove the heavier artifacts in late May. First to go was the strong box. Built of ¼” thick welded steel plates, this trunk was used by the Bank of Upper Canada in Toronto between 1821 and 1866.
First Artifacts to Leave the Museum: And they were big
By: Graham Iddon
Content type(s):
Blog posts
August 30, 2013
Most of us know the first part of Alexander Graham Bell’s take on opportunity: “When one door closes, another one opens…” What we often don’t recall is the second half of that quote, where he says: “…but we so often look so long and regretfully upon the closed door, that we do not see the ones which open for us.”
Director’s chair : “I don’t know why you say goodbye, I say hello.”
By: Ken Ross
Most of us know the first part of Alexander Graham Bell’s take on opportunity: “When one door closes, another one opens…” What we often don’t recall is the second half of that quote, where he says: “…but we so often look so long and regretfully upon the closed door, that we do not see the ones which open for us.”
Content type(s):
Blog posts
July 30, 2013
The Staff of the Currency Museum was saddened to learn of the passing of artist Alex Colville who died on 16 July at his home in Wolfville, Nova Scotia. He was 92. One of Canada’s most celebrated painters, Colville is not as well-known as a sculptor but if you look carefully through your pocket change you might just find an example of his work.
Remembering Alex Colville (1920-2013)
By: Raewyn Passmore
Content type(s):
Blog posts
June 21, 2013
The roots of the Currency Museum go back to 1959 when the then Governor of the Bank of Canada, James Coyne, proposed the idea of establishing a currency collection that would reflect the colourful monetary history of Canada. By the time the go-ahead was given in 1963 by Coyne’s successor, Louis Rasminsky, the collection’s mandate had been expanded to include world monetary history, banking and production artifacts and a numismatic library.
Farewell to the Currency Museum c.1980
By: Graham Iddon
Content type(s):
Blog posts
