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Salvage Operations for Water Damaged ARchival Collections: A Second Glance. Written by Betty Walsh
- Bertha Waters
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1 Salvage Operations for Water Damaged ARchival Collections: A Second Glance Written by Betty Walsh Preservation Committee February 2003
2 Canadian Council of Archives 2003 National Library of Canada Cataloguing in Publication Walsh, Betty, 1954 Salvage operations for water damaged archival collections [electronic resource] : a second glance / written by Betty Walsh. Issued also in French under title: Mesures de sauvetage des collections d archives endommagées par l eau. Includes bibliographical references. ISBN Archival materials Conservation and restoration. 2. Emergency management Planning. 3. Archives Safety measures. I. Canadian Council of Archives II. Title. Z701.3.F55W C Canadian Council of Archives
3 Table of Contents Introduction...2 General A. Minor disaster...3 B. Moderate and major disasters...4 Guideline For Packing A. General...7 B. Packing guidelines for specific media Paper Books Parchment and vellum Paintings Computer magnetic media Compact discs and CD-ROMs Sound and video recordings Photographic materials...10 Recovery Methods A. Overview of drying methods...12 B. Recovery methods for specific media Paper Books Parchment and vellum manuscripts Paintings Computer media Compact discs and CD-ROMs Sound and video recordings Photographic materials Microforms...21 Rehabilitation A. Rehabilitation of storage areas...22 B. Rehabilitation of collections...22 C. Post-disaster review...22 Attachments Table 1: Potential Emergencies...23 Salvage at a Glance...24 Salvage Operations for Water Damaged Archival Collections: A Second Glance 1
4 Introduction I have been salvaging wet records and writing disaster plans for the B.C. Archives since In 1988, sections of the then current salvage plan were printed as articles in the WAAC Newsletter and the ACA Bulletin. 1 Recently, I examined wet records from another disaster. Some problems were familiar wet volumes and files, while other problems were relatively new, such as carbonless papers and diazo microfiche. The experience reinforced the advantages of ongoing disaster planning, and the benefits of sharing experience with the conservation and archival communities. The following, updated version of the plan was published in the May 1997 WAAC Newsletter; 2 it has been reprinted by the Canadian Council of Archives. I would like to thank the following experts for their advice. For the recovery of sound and video recordings, I am indebted to Brian MacDonald (National Archives of Canada), Gilles St-Laurent (National Library of Canada), and Gerald Gibson, (Library of Congress). The sections on the recovery of photographs were revised on the basis of a workshop supervised by Debbie Hess Norris at the Getty Conservation Institute. Additional tips on archival materials were provided by Nancy Marrelli (Concordia University). Finally, many thanks go to my employer, and Barry Byers, my supervisor, for their ongoing support in maintaining the plan and giving me the practical experience in the salvage of wet records. Betty Walsh 1 The full salvage section of the plan, the Salvage at a Glance chart, and notes were published as: Betty Walsh, Salvage Operations for Water Damaged Collections, WAAC Newsletter 10, no. 2 (May 1988): 2 5. The chart and notes were published in the Association of Canadian Archivists ACA Bulletin 12 no. 4 (March 1988), and reprinted in the IIC-CG Newsletter 14 no. 2 (March 1989): 5 6 and chart. 2 Betty Walsh, Salvage Operations for Water Damaged Archival Collections: A Second Glance, WAAC Newsletter 19 no. 2 (May 1997):12 23, plus foldout chart. Reprinted with permission of the author. 2 Canadian Council of Archives
5 General Salvage is only a small part of the overall disaster planning process: prevention, preparedness, response, and recovery. Most importantly, management should support planning; duties should be delegated ahead of time and staff should be trained. For more information, consult the classic references in the field. 3 The first table shows the levels of flood emergencies to prepare against, and the responses that may be necessary. In the chaos of a real disaster, events will unfold in an unpredictable way. A. Minor disaster Do not enter the area until the Chief Conservator has declared it as safe to do so. If there is an electrical hazard, ensure the circuit breakers have been disconnected. The Chief Conservator notifies the Conservator, and Imaging Services Supervisor (if needed for documentation or roll film recovery). The Chief Conservator, accompanied by the Conservator and designated Records Curator will assess the damage: 4 Where is it? How many records are damaged? If it is water damage: Have the records been wet for more than 48 hours? Is mold present? Is the water clean or dirty? Are the records wet, partially wet or damp? What materials are damaged? The Chief Conservator, in consultation with the Conservator, will formulate recovery plans. If further assessment shows that recovery is beyond the scope of Conservation and Technical Services, the Disaster Recovery Team is activated. The Chief Conservator will coordinate with the building superintendent to: 5 Clean up water. If assistance is not prompt, a mop-up team will be designated. Control the environment. Circulate air with fans. 3 John E. Hunter, Mauseum Disaster Planning, in Museum, Archive, and Library Security, ed. Lawrence J. Fennelly. (Boston: Butterworths, l983); John P. Barton, and Johanna G. Wellheiser, ed., An Ounce of Prevention: A Handbook on Disaster Contingency Planning for Archives, Libraries, and Record Centres, (Toronto: Toronto Area Archivists Group, l985); Hilda Bohem, Disaster Prevention and Disaster Preparedness. (Berkeley: University of California, 1978); Sally Buchanan, Disaster Planning, Preparedness and Recovery for Libraries and Archives: A RAMP Study with Guidelines, (Paris: Unesco, 1988); Judith Fortson, Disaster Planning and Recovery: A How-To-Do-It Manual for Librarians and Archivists, (New York: Neal-Schuman Publishers, 1992) 4 Toby Murray, Basic Guidelines for Disaster Planning in Oklahoma, (Tulsa: Oklahoma Conservation Congress, February 1991), 12; Fortson, Bohem, 11 12; Barton and Wellheiser, Salvage Operations for Water Damaged Archival Collections: A Second Glance 3
6 The Chief Conservator will monitor the environment. While the water is being cleaned up, a Records Curator will arrange for extra services (such as cold storage) and extra supplies (such as extra boxes, newsprint for interleaves). The Chief Conservator will supervise the packing of damaged materials, and the move to the Conservation Lab, roll film processing facilities, or cold storage. The Records Curators will keep basic records regarding the location of the materials moved. The Conservation Unit will air dry the damaged materials. B. Moderate and major disasters Do not enter the scene of disaster until the Recovery Director has designated it as safe to enter. Confer with the building superintendent, fire and police departments. The Communicator alerts the Disaster Team by phone or in person at each worksite. Key team members will meet during the assessment stage; others are assembled after the site has been stabilized and salvage is ready to proceed. The Recovery Director, Recovery Specialist, and Conservation Specialist, accompanied by the Recorder and a photographer, will assess the scene of disaster. 6 The latter three will estimate and record the damage in a preliminary way. They should consider: 7 Where is the damage? Is it in one small area, or in all sites? This will affect the mobilization of staff, supplies, and facilities. How many records are damaged? Large quantities of records should be frozen to await further treatment. What kind of water damage is it?: Have the records been wet for more than 48 hours? Is mold present? Is the water dirty? The records may need to be cleaned. Are the records wet, partially, wet, or damp? This affects the drying method. What materials are damaged? Different media need specialized packing and drying methods. See the Salvage at a Glance table. The Recovery Specialist will review the salvage priority list and revise it if necessary. It is better to freeze wet records rather than to discard them under the pressure of an emergency. Given the extent of the damage, the Recovery Director decides whether the site will remain open, or closed so staff can participate in salvage operations. 6 Barton and Wellheiser, Murray, 12; Fortson, Canadian Council of Archives
7 The Recovery Director coordinates with the building manager to: Remove standing water. If the building manager cannot assist, the Recovery Director will make alternate arrangements. Reduce the temperature to less than 18 C (65 F) by turning down the heat. Lower relative humidity by adjusting the humidification system or installing rented dehumidifiers. Circulate air with fans. Separate compact storage units so air can move between them. Open doors if security is available. The Recovery Specialist will monitor the temperature and relative humidity. 8 Electricity to power cleanup equipment may not be available. The Logistics Manager will obtain generators if the electricity is off. Use safely grounded, waterproof cords. 9 The Recovery Director will set up a headquarters near the site and ensure that it is accessible by phone or walkie-talkie. 10 The Recovery Director will designate facilities for the treatment of records that can only be air dried. If the conservation lab is not operational, the Logistics Manager will locate alternate facilities. The majority of paper and photographic records should be packed and shipped to cold storage. Freezing will stabilize wet materials and buy time until the records can be dried. The Logistics Manager arranges for emergency facilities and supplies, particularly: cold storage, transportation to cold storage, and packing supplies. Arrangements should be made for team members coffee, portable toilets, etc. 11 The Communicator gathers teams at a designated assembly point. The Recovery Director will brief team members and assign them to: 12 Prepare packing materials (cutting freezer paper, assembling cardboard boxes) and move records to packers. Pack the damaged collections. See packing instructions below for the materials being handled. Begin with items on the floor and the wettest objects, and then items on the ends of shelves. Number the crates and record their contents. Label crates with Tyvek tags; mark cardboard boxes directly with a waterproof pen. Record separately the catalogue range of the records; media priority; condition of the contents as wet, partially wet, or damp; and the destination (e.g. cold storage, conservation lab). 8 Bohem, 11 12; Barton and Wellheiser, Peter Waters, Procedures for Salvage of Water-Damaged Library Materials, in A Primer on Disaster Preparedness, Management, and Response: Paper-Based Materials. (Washington: Smithsonian, NARA, Library of Congress, and National Park Service, 1993), Bohem, Ibid.; Barton and Wellheiser, Waters, Primer, 4, 7; Fortson, 49; Buchanan, 73, 75. Salvage Operations for Water Damaged Archival Collections: A Second Glance 5
8 Move crates and boxes by hand trucks and pallet movers to a truck in an accessible location. Meetings are held at the beginning of each day to review strategy and to keep up morale. Salvage team duties should be rotated. 13 If the damage is substantial and salvage will take more than 10 hours, loosen tightly packed document boxes, books and pamphlets so they do not jam into the shelves. Do not separate remaining dry books and documents when the relative humidity is high. 14 If the RH remains high during cleaning and repairing of the storage areas, remove to an air conditioned room. 13 Bohem, p. 15; Buchanan RAMP, Waters, Primer, 7. 6 Canadian Council of Archives
9 Guidelines For Packing A. General Be extremely careful when handling wet materials all of them are very fragile, and they can be easily damaged during packing and transport. If cardboard boxes are saturated or weak, replace them with new containers. Borderline boxes may be reinforced by packing inside plastic crates. Pack files in order and retain documentary information. If the label is loose or lost, pencil identifying information and location on a piece of paper, and insert it in the volume or box. Don t mark wet paper. Film and tape reels and the backs of picture frames can be marked with a grease pencil. 15 During removal, do not stack materials in piles or on the floor. If boxes are put on pallets, do not mix different sizes of boxes or stack more than 3 boxes high. 16 If there is time, different materials should be packed separately, in the following categories: by media, moldy from uncontaminated, and wet from partially wet and damp. 17 B. Packing guidelines for specific media 1. Paper Do not try to separate single sheets of paper or uncrumple them. Pick up files by their folders, and interleave the folders every two inches with freezer paper. If it is known from the outset that the records will be freeze dried, interleaving is not necessary. Fill cartons and crates three quarters full. 18 Soluble Media (watercolours, soluble inks, hand coloured maps and historic map and plan production processes): Do not blot the surface. Quickly freeze or dry. Coated papers will stick together unless frozen or dried immediately. Keep them wet in cold water until they can be air dried or packed for freezing. Framed prints and drawings: if time and space permit, unframe and pack as for single sheets. Maps, plans, oversize prints and manuscripts: Sponge standing water out of map drawers. Remove the drawers from the cabinet, ship and freeze them stacked up with 1" x 2" strips of wood between each drawer. Pack loose, flat maps in bread trays, flat boxes, or plywood sheets covered in polyethylene. 19 Bundle rolled maps very loosely to go in small numbers to the freezer, unless facilities are available for conservators to unroll them. 15 Fortson, 49; Waters, Primer, 13; Public Archives of Canada, Archives Branch Contingency Plan, (Ottawa: Public Archives, September 21, 1982), Waters, Primer, 7, 10: Buchanan, RAMP, Waters, Primer, Fortson, Gilles Langelier, and Sandra Wright, Contingency Planning for Cartographic Archives. Archivaria 13 (Winter ): 55. Salvage Operations for Water Damaged Archival Collections: A Second Glance 7
10 Drafting cloths are coated with starch and may stick together like coated papers. 20 Be careful not to blot the surface or apply pressure. Immediately freeze or dry. Maps and plans by photoreproductive processes (diazos and blueprints in particular): Do not blot the surface. Quickly freeze or dry. Maps and plans on Mylar: 21 Do not blot if the inks are soluble. Freeze or air dry. 2. Books Don t open or close wet books or remove book covers. Gently shape closed books to reduce the distortion set into the book on drying. 22 If the water is very dirty, wash the books before freezing. Do not wash open books and those with water soluble media (e.g. letter press books). Wash closed books in tubs of cold running water and dab away (do not rub!) mud with a sponge. Time and facilities may limit treatment at this stage; it may be safer to clean the books after they are dried. 23 Lay a sheet of freezer paper around the cover, and pack spine down in a milk crate or cardboard carton. Pack only 1 layer deep, to prevent crushing of bindings. Oversized volumes can be packed flat in cartons or bread trays, 2 or 3 books deep. 24 If books have fallen open, pack them as is in cartons or trays. They can be stacked in between sheets of freezer paper and 1 /2" foam. 25 Leather, parchment, and vellum bindings are an immediate priority because they distort and disintegrate in water and they are highly susceptible to mold growth. They should be air dried; if there are large quantities, freeze them. Books with coated papers will stick together unless frozen or dried promptly. Keep them wet in cold water until they can be air dried or frozen. 3. Parchment and vellum Interleave between groups of folders, pack in crates or flat boxes, and freeze. 4. Paintings Tilt the painting to drain off excess water, and take it to a work area for immediate drying. Transport horizontally if you can; if not, carry the painting facing toward you, holding the side of the frame with the palms of your hands. Larger paintings should be carried by two people. The order of removal and treatment is: first, the most highly valued; second, the least damaged; third, slightly damaged; and fourth, severely damaged Fortson, 56 57; Carol Turchan, The Chicago Historical Society Flood: Recovery Analysis Two Years Later The Book and Paper Group Annual 7 (1988): 61 62; Harold Henderson, After the Flood: A Restoration Drama Reader: Chicago s Free Weekly 16 No. 1 (September 16, 1986): Ibid. 22 Waters, Primer, 13; Buchanan, RAMP, Waters, Primer, Buchanan, RAMP, Waters, Primer, Canadian Conservation Institute, Emergency Treatment for Water-Damaged Paintings on Canvas, CCI Note 10/5 (Ottawa: CCI, April 1986), 1. 8 Canadian Council of Archives
11 5. Computer magnetic media Check with the Systems Administrator, to ensure that undamaged backup tapes are available. It is far more practical to recover data from backup tapes than it is to salvage damaged media. Separate into the following: dry, wet enclosures only, and wet media. If water has condensed inside cassettes, treat the tapes as wet. 27 Do not touch magnetic media with bare hands. Media damaged by mud, sewage, or sea water: as soon as possible, rinse in tap water. Keep magnetic media wet so that contaminants will not dry on to the tape or diskettes. Media can remain wet in cold clean water for several days. Pack inside plastic bags. If media will remain wet for weeks, immerse them to prevent mold. Do not freeze magnetic media because the tape can stretch, and lubricants can migrate out. 28 a) Cartridge backup tapes Keep wet by packing inside plastic bags. Pack all tapes vertically in plastic crates or cardboard cartons. b) Floppy disks Pack upright in plastic bags inside boxes or in containers of cold water. c) Open reel computer tapes Handle the tapes by their hubs and pack them vertically inside plastic bags inside boxes. 6. Compact discs and CD-ROMs If the discs have been exposed to sea water, wash them in tap water immediately. Do not scratch the disc during rinsing or packing. 29 Pack discs vertically in crates or boxes. 7. Sound and video recordings a) Sound and video tapes Separate the tapes into the following: dry tapes, wet boxes only, and wet tapes. If water has condensed inside a cassette, treat the tape as wet. Salvage tapes according to the following priorities: 30 unmastered originals over masters, masters over reference copies, older tapes over newer, paper over acetate, acetate over polyester based tapes. 27 Miriam Kahn, Disaster Response and Prevention for Computers and Data (Columbus: MBK Consulting, 1994), John Van Bogart, Recovery of Damaged Magnetic Tape and Optical Disc Media (paper presented at Emergency Preparedness and Disaster Recovery of Audio, Film and Video Materials: A Library of Congress Symposium, Washington D.C. September 21, 1995, accessed December 19, 1995); available from Internet. 29 Ibid. 30 Ibid. Salvage Operations for Water Damaged Archival Collections: A Second Glance 9
12 Tapes that have been damaged by mud, sewage, or sea water: as soon as possible, rinse in tap water. Keep tapes wet, at their initial level of wetness. (For example, some tapes may have only become wet on the outside of the tape pack, and it is not necessary to immerse them). If the tapes dry at this stage, contaminants will dry on to the tape and be harder to remove later. Pack tapes individually inside plastic bags, keeping loose labels with the tape. Pack tapes vertically into pastic crates and cartons. In general, magnetic tapes can remain wet for several days, as long as the water is cool and clean. This is longer compared to paper records. 31 However, immersion may be limited in two cases. Many tapes have water soluble label adhesives and inks, 32 and paper boxes and labels. In addition, older tapes may not survive long immersion. This may reduce the salvage time to 48 hours or less for some media. If magnetic tapes cannot be salvaged for more than a week, immerse them to prevent mold. Do not freeze magnetic media. 33 b) Discs Salvage shellac and acetate discs first, because they are sensitive to water. If storage boxes are badly damaged, transfer the discs (up to 5 at a time) to plastic crates or cardboard cartons. Pad the bottom of the crate with ethafoam and interleave with ethafoam every 25 records to absorb shocks. Always support the discs vertically and hold the discs by their edges. Avoid shocks and jolts during transport. 34 Groups of discs, particularly 78 s, can be very heavy. Pack them in small boxes (or larger ones with extra padding) that can be easily moved. 8. Photographic materials a) Salvage the following historic photographs without delay. They are best preserved by water protective measures, because the damage may be severe. Wet collodion glass negatives. Salvage first and air dry immediately. Both immersion and freeze drying will destroy the binder. 35 Cased photographs: Ambrotypes: Salvage and air dry immediately. Both immersion and freezing will destroy the binder. 36 Pannotypes: Salvage and air dry immediately. Tintypes: Salvage and air dry immediately. Daguerreotypes: Salvage and air dry immediately. 31 Ibid. 32 Gerald Gibson, personal communication, January 24, Van Bogart. 34 Public Archives of Canada, Archives Branch Contingency Plan, (Ottawa: Public Archives, September 21, 1982), p Klaus B Hendriks and Brian Lesser, Disaster Preparedness and Recovery: Photographic Materials, American Archivist 46 (Winter 1983): Ibid., Canadian Council of Archives
13 Color transparencies by the additive process. (Autochromes, Dufaycolor): The recovery rate is poor because the dyes dissolve. Do not freeze. 37 Air dry immediately. Dye transfer prints. The recovery rate is poor because the dyes migrate. Prevent damage by enclosing in waterproof containers. 38 Deteriorated nitrates. Emulsions are water soluble and could be lost. Air dry or freeze immediately. Deteriorated acetate negatives. Air dry or freeze immediately. Handle with care because of the swelling of the emulsion and backing layers. Carbon prints and Woodburytypes. Air dry or freeze quickly. Handle with care because the binder will swell up considerably. 39 b) Other photographs should be kept wet until they are either air dried or frozen. If allowed to partially dry, they will stick together. If there is time, rinse the photographs with cold water before they are dried or frozen. 40 Pack inside plastic bags in boxes or pails. Keep to a minimum the immersion time before treatment or freezing. 41 Prints, negatives, and transparencies. Salvage prints first, followed by negatives and transparencies on stable bases. Unframe and unmat framed photographs if there is time. If facilities and personnel are available, air dry; pack and freeze if not. 42 Motion Pictures. If only the outside of the can is wet, dry the container and relabel it if necessary. 43 If the film is wet, fill the can with cold water, and replace the lid. Pack into plastic pails filled with cold water or cardboard cartons lined with garbage bags. Ship to a film processor for rewashing and drying. Microforms. Microfilms in rolls. Do not remove the films from their boxes. Hold cardboard boxes (and their labels) together with rubber bands. Wrap 5 cartons of film into a block with plastic wrap. Pack the blocks into a heavy duty cardboard box lined with 3 garbage bags; tie each bag separately. Label as wet film for rewashing and drying, and ship to a microfilm processor. 44 Aperture cards. Pack and freeze. Microfilm strips in jackets. Pack and freeze. Diazo microfiche. Pack and freeze. 37 Klaus B. Hendriks, Recovery of Photographic Collections Following a Flood, in Sauvegarde et Conservation des Photographies, Dessins, Imprimés et Manuscrits : Actes des journées internationales d études de L ARSAG: Paris 30 Septembre au 4 Octobre (Paris: Association pour la Recherche sur les Arts Graphiques, 1991), Norris, Ana B. Hofmann, Dealing with Photographic Materials, Before and During a Disaster, in Library Disaster Handbook: Planning, Resources, Recovery, ed. Nelly Ballofet, (Highland N.Y., Southeastern New York Library Resources Council, 1992), 17; Debbie Hess Norris, Air-drying of Water-soaked Photographic Materials: Observations and Recommendations, in ICOM Committee for Conservation 11th Triennial Meeting Edinburgh Scotland 1 6 September 1996, Preprints Volume II, ed. Janet Bridgeland (London: James & James, 1996), Hofmann, Hendriks and Lesser, Disaster Preparedness, Ibid. 43 Dan Den Bleyker, Disaster Planning for Film and Video Collections, in Preservation Papers of the 1990 SAA Annual Conference by the Preservation Section of the Society of American Archivists, (Chicago: Society of American Archivists, 1991), Eastman Kodak, Water Damaged Film QC0004, dated 6 89,.2. Salvage Operations for Water Damaged Archival Collections: A Second Glance 11
14 Recovery Methods A. Overview of drying methods The drying method should be selected after careful assessment of the collections. It is important to monitor the capabilities of suppliers who provide freeze drying and vacuum drying services. Check references beforehand and inspect a selection of materials before and after they are dried. Air drying Records are dried in a work space at room temperature conditions. To discourage mold growth, the temperature should be below 18 C and the RH as low as possible (at all costs, below 60%) and fans should keep the air circulating. Materials are spread out on or interleaved with absorbent papers. Freeze drying (vacuum freeze drying) Frozen records are dried in a vacuum chamber at temperatures below 0 C. The water passes from ice to vapor without becoming liquid, even though heat may be applied to the shelves to speed up the process. 45 It is important to monitor the temperature of the records inside the chamber; once the materials have dried, they will heat up. Freeze drying prevents additional bleeding or feathering of soluble media, distortion of bindings, and the sticking together of coated materials. Vacuum drying (vacuum thermal drying) Frozen or thawed records are dried in a vacuum chamber at temperatures above 0 C. A vacuum is drawn, heated air is put into the chamber, and a vacuum is applied again to pull out moisture. (For magnetic tapes, the air should not be heated.) The process may be repeated again. 46 Freezer drying Records are packed in permeable containers and kept in a cold storage vault for months. Over time, moisture sublimates out of the records, in the same way that food gets freezer burn. This is a slow process that will dry damp and partially wet records. Desiccant dehumidification Records are dried, while still on their shelves, by large dehumidifiers that are brought on site. The temperature and relative humidity should be controlled. This method may not be suitable for drying most collections, because soluble media will further bleed, and coated materials will block together.47 B. Recovery methods for specific media 1. Paper a) Drying methods 48 Air drying is suitable for drying small quantities of damp and partially wet papers from minor disasters. It can be used, on a triage basis, to dry wet materials in a major disaster when services are not available. 45 Sally Buchanan, Drying Wet Books and Records, in Preservation of Library & Archival Materials: A Manual, ed. Sherelyn Ogden (Andover: Northeast Document Conservation Center, 1994), Ibid.; Fortson, Buchanan, "Drying, 1; Fortson, Buchanan, RAMP, Canadian Council of Archives
15 Freeze drying is preferred for large quantities and wet materials. It is the best way to dry water soluble media, coated paper, and drafting linens. Vacuum drying will dry large quantities of wet records without intrinsic value. However, it is not suitable for many archival materials because they have water soluble inks that could bleed. Never vacuum dry coated papers and drafting linens because they will stick together. b) Air drying of paper During the following operations, maintain the original order of the files, Pencil box and folder information on a slips of paper and keep them with the records Books Documents and manuscripts. Damp and partially wet records can be dried in the following ways: Spread documents out over blotters, paper towels, or unprinted newsprint. Change the absorbent materials when they become wet. Interleave stacks of 25 sheets of damp papers and turn over frequently. 50 Dry damp records vertically, supported by bookends or supports through plastic crates. Coated papers. Note that freeze drying has far better success rate than air drying. If the papers are wet, separate each coated paper from the other by applying a sheet of polyester and lifting the plastic away with paper. At this point, the paper can be dried on the polyester, which can be hung on lines. 51 Alternatively, dry partially wet paper by interleaving between every sheet with waxed paper, or laying individual sheets on polyester web covered blotters. Drafting cloths. Dry by interleaving with either waxed paper, freezer paper, 52 or polyester web covered blotters. Maps and plans on Mylar. 53 Do not blot if the inks are soluble. Air dry. a) Drying methods 54 Air drying is suitable for drying small quantities of damp and partially wet books. It can be used, on a triage basis, to dry books in a major disaster when services are not available. Leather bindings should be air dried. Freeze drying is preferred for large quantities and wet materials. It is the best way to dry coated papers and bound volumes with soluble inks. 49 Fortson, Ibid. 51 Buchanan, Drying, Fortson, Fortson, 57; Turchan, 62; Henderson, Buchanan, Drying, 1 2; Fortson, 58. Salvage Operations for Water Damaged Archival Collections: A Second Glance 13
16 Vacuum drying will dry large quantities of wet books. The books will distort more than if they were freeze dried and they will require more rebinding or restoration afterwards. Coated paper books should never be vacuum dried because they will stick together. b) Air drying wet and partially wet books Air drying involves the following procedures: 55 Wet books will need to be drained before drying: Stand the book upright, on its head, on absorbent paper. Support the book by opening the covers somewhat, but not the pages. When the pages begin to dry and separate on their own, interleave them. Prepare interleaves: Suitable materials are thin blotters, unprinted newsprint, and paper towels. Cut interleaves that are bigger than the pages. Insert the interleaves into the gutter margin of the book. The sheets should project above the head and foredges of the book, but not on the lower edge where the book will stand. Beginning at the back, put the interleaves at intervals through the book. The sheets should not equal more than one third of the thickness of the volume, so that the binding won t be strained. Separate the covers from the text block with absorbent paper or sheets of plastic. Open the covers of the book and stand it upright. Change the interleaves as they become wet, every 2 to 3 hours. Put new interleaves in different places in the book. Change the paper underneath the book, and turn the book over (if it was standing on its tail, stand it on its head this will reduce strain on the binding). Remove the used interleaves from the vicinity of the books. The sheets can be dried and used again if they are not dirty or cockled. After the books feel dry to the touch, remove the interleaves and reshape the bindings. Flatten each book under a sheet of plastic or covered board with a light weight on top. Do not pile books on top of each other, because they could distort. Ensure that the books are thoroughly dry before they are reshelved. Monitor for mold during and after drying. c) Air drying of damp books or books with slightly wet edges Stand books upside down, and fan open the pages. Support paperbacks and books with damaged covers with bookends or weights. Every couple of hours, refan the pages. In the final stages, turn the book over to dry the tops of the pages. When the book feels dry, flatten under weights as above. 56 Damp or partially wet pamphlets open and dry flat. Turn pages often. 55 Peter Waters, Procedures for Salvage of Water-Damaged Library Materials, 2nd ed. (Washington: Library of Congress, 1979), 17 21; Buchanan, RAMP, 80 83; Fortson, 53 55, 59; Buchanan, Drying, Fortson, 54, Canadian Council of Archives
17 d) Books with coated papers Freeze drying will give the best results for wet coated papers. If the book is partially wet, fan open the pages and interleave between every page with waxed paper. 57 Damp books should be stood on their heads and fanned open. Fan through the pages frequently. 58 e) Books with leather and vellum bindings A book conservator should dry rare and vellum bindings. If the books have been frozen, thaw them in the following way. Place blotters on the outside of the book, and then lay the book flat under weights. This will prevent the binding from drying out and distorting while the rest of the book thaws. 59 In the drying phase, isolate the binding from the text block with a sheet of plastic or blotter. Interleave the book. Lay the book flat on blotters, place another blotter on top, followed by a flat board and weights. Be careful to minimize the strain put on the binding. Change the interleaves as they become wet. If leather bindings are freeze dried, they will in the very least severely distort. However, freeze drying may be chosen for bound volumes which contain soluble media, and have bindings of low intrinsic value Parchment and vellum manuscripts A conservator may air dry individual sheets and charters by drying them with weights around the edges, or flattening them between weighted blotters. Tests have shown that parchment and vellum manuscripts may be freeze dried. However, the sheets may increase in thickness and brightness, and decrease in mechanical properties. The changes may be reduced by subsequently dampening the records and flattening them under weighted blotters. 61 In any case, do not freeze dry gilded or illuminated manuscripts Paintings Ideally, this treatment should be done by a conservator. Initially, set up tabletops padded with blotters and covered with plastic. Separate the merely wet paintings from those showing structural damage. Signs of structural damage are tears in the canvas, flaking, lifting, and dissolving of paint and ground layers. Let structurally damaged paintings dry, face up in a horizontal position, on the tables. 57 Fortson, Barton and Wellheiser, Procedure from the National Library of Canada. 60 This procedure was followed for water damaged judges bench books at B.C. Information Management Services. 61 A.E. Parker, Freeze-Drying Vellum Archival Materials, Journal of the Society of Archivists, 14 No. 2 (1993):181; Francoise Fleider, Françoise Leclerc, and Claire Chahine, Effet de la Lyophilisation Sur le Comportement Mécanique et Chimique du Papier, du Cuir et du Parchemin (Paper presented at the ICOM Committee for Conservation 5th Triennial Meeting, Zagreb, 1978), 78/14/8, Parker, 180. Salvage Operations for Water Damaged Archival Collections: A Second Glance 15
18 Contact a conservator about drying paintings with high or fragile impasto layers. Other structurally sound paintings on canvas can be dried in the following way: Set up several more layers of blotter on the table, followed by a layer of Japanese tissue paper. Unframe the painting, but don t remove it from its stretcher. Lay it face down on this surface, making sure the tissue is not wrinkled. Cut blotters to the inside dimensions of the stretcher frame. Cut a sheet of plywood or thick masonite to the same dimensions, or smaller to fit inside the stretcher keys. Cover the back of the canvas with a blotter (if the canvas is large and more than one blotter is necessary, butt the blotters end-to-end), then the board, and finally weights. Change the blotter until the canvas is dry. If the tissue on the front has any tendency to stick to the paint layer, leave it in place Computer media Magnetic tapes. Rinse off sewage, mud and sea water with tap water, if this has not been done already. If oil and greasy deposits remain, wash the tape in an unscented and undyed dish detergent. 64 Tapes can be air dried or vacuum dried without heat. 65 Vacuum drying has not been comprehensively tested on a variety of magnetic media. However, it may be the only practical way to dry large quantities of tapes. Do not freeze dry, freezer dry, or vacuum dry with heat (vacuum thermal drying). 66 The following instructions are for air drying of media. Cartridge backup tapes. If only the outside of the cassette is wet, air dry it on absorbent materials. If the tape has become wet on the inside, or the cartridge is damaged, dismantle and air dry like reel to reel audio tapes. Open reel computer tapes. Remove the tape from its canister and wrap-around. Rinse off the exterior of the tape with distilled water. If the tape is in good condition, dry the exterior wet surfaces with a lint-free cloth. 67 If the edge of the tape is fragile, do not blot or do the following. Separate the reel flanges from the tape with a rubber grommet or similar material. This lets air flow around the tape and prevents the tape from sticking to the flange. Let the tapes air with fans blowing on them. (Do not use heat). When the tape looks dry on the outside, run it reel-toreel on a tape cleaner or winder. Run the tape 6 times over the cleaning tissues and not the blades (remove them if you can.), then put the tapes twice through both the tissues and blades. Never put wet tape on a tape drive because the tape could stick to the equipment and tear. Finally, recopy the tape. 68 Monitor the tape carefully; stop cleaning if the oxide layer begins to shed, or mechanical distortion becomes apparent. 63 CCI, Van Bogart. 65 Ibid.; Edward F. Cuddihy, Storage, Preservation, and Recovery of Magnetic Recording Tape in Environment et conservation de l'écrit, de l'image et du son, actes des deuxièmes journées Internationales d études de L ARSAG, Paris, Mai, 1994 (Paris: Association pour la Recherche Scientifique sur les Arts Graphiques, 1994), Van Bogart. 67 Ibid. 68 Sidney B. Geller, Care and Handling of Computer Magnetic Storage Media, NBS Special Publication 500-l0l (Washington: National Bureau of Standards, l983), Canadian Council of Archives
19 Floppy disks. Wet disks should be removed from their jackets, washed, and dried. Before starting, dry a corner of the jacket and the disk hub with a lint free cloth. Mark both the jacket and the hub with a waterproof pen, so both can be matched later on " disks. Move the diskette to one side of the jacket. Cut the opposite edge of the jacket with non-magnetic scissors. (Beware the diskette begins 1/16" from the edge) " disks. If the jacket has screws, remove them. Hold the diskette with the metal door side down, and remove the door letting its spring fall outward. With a microspatula, open the shell at the side. 71 Carefully remove the disk without touching the surface. Wash disks in a tray of distilled water. Dry with a soft lint free cloth, or spread flat to dry on the same. Insert the diskette into a new jacket (taken from a new diskette this can be reused), ensuring that the jacket or shell is firmly taped together so it won t get caught in the disk drive. Copy the disk on to a new disk and check the data. Label the new disk. Copy the information on the old jacket on to the new jacket. The computer drive heads should be cleaned frequently Compact discs and CD-ROMs If disks were exposed to sea water, wash the tapes with tap water, if this has not been done already. Clean off mud and sewage by washing the tape in a detergent solution. Do not rub the disk because dirt could scratch the tracks. After either procedure, rinse with distilled water. 73 Before drying, rinse all discs with room temperature distilled water. Dry the disk vertically in a rack. If blotting is necessary, take care to avoid scratching the surface. Blot, do not rub, with a soft lint-free cloth. 74 CD cases and the enclosed paper should also be dried. Once the disc is removed, open the case and freeze dry the entire case and glossy paper booklet. Do not freeze dry the CD. While the cases are being dried, either store the discs in spare cases or stack the CDs interleaved with polyester web (such as Tech Clean Absorb Wipes) ARMA international Guideline for Records and Information Management, Magnetic Diskettes Recovery Procedures (Prairie Village: Association of Records Managers and Administrators, 1987), ARMA, 3; Lundquist, Eric G., Salvage of Water Damaged Books, Documents, Micrographic and Magnetic Media (San Francisco: Document Reprocessors, l986), 85; Kahn, Kahn, 20; Jeanne Drewes, submission to Conservation Distlist, Instance 9:57, January 31, ARMA, Van Bogart. 74 Ibid.; Kahn, 28; Gilles St-Laurent, The Care and Handling of Recorded Sound Materials (Washington: Commission on Preservation and Access, 1991), Gilles St-Laurent, personal communication, October 10, Salvage Operations for Water Damaged Archival Collections: A Second Glance 17
20 7. Sound and video recordings a) Magnetic tapes Rinse off sewage, mud and sea water with tap water, if this has not been done already. If oil and greasy deposits remain, wash the tape in an unscented and undyed dish detergent. 76 Tapes can be air dried or vacuum dried without heat. 77 Vacuum drying has not been comprehensively tested on a variety of magnetic media. However, it may be the only practical way to dry large quantities of tapes. Do not freeze dry, freezer dry, or vacuum dry with heat (vacuum thermal drying). 78 The following instructions are for air drying of media. Reel to reel tapes. Wash the tape while it is still wound on its reel. Rinse with distilled water. If the edge of the tape is fragile, do not blot it. Let the tape air dry in a vertical position, without taking the following steps. If the tape is in good condition, blot the sides of the tape and the reel with a lint free cloth. 79 Loosen the flanges of the reel if possible. Support the tape vertically and air dry it; or air dry by laying it on sheets of newsprint spread over plastic covered tables. If contaminants have spread inside the tape pack, run the tape twice over a tape cleaner. 80 Monitor the tape carefully during cleaning; stop if the oxide layer begins to shed, or mechanical distortion becomes apparent. If the reels are still dirty, remove the tape and wash the reel with detergent and water. An alternative is to replace the reel or the flanges. The box can be air dried as well. Replace the box if it is badly damaged. Videocassettes. If only the outside of the cassette is wet, air dry it on absorbent materials. If the tape has become wet on the inside, dismantle the cassette and dry as for reel to reel tapes. 81 Inspect the cassette spindles and springs for rust. 82 Audio cassettes. If the tapes have only been splashed on the outside, dry off the exterior of the tape. If the tape has become badly contaminated, or the cassette is damaged, dismantle the cassette and air dry the tape as above. Cassettes without mounting screws may have to be broken open, and the case replaced. Re-record the tape after drying. 83 b) Shellac, acetate, and vinyl discs Salvage first shellac and acetate discs, which are sensitive to water. If these discs need to be washed, keep contact with water to a minimum Van Bogart. 77 Ibid.; Cuddihy, p Van Bogart. 79 Ibid. 80 Public Archives, p. 11.7; Brian MacDonald, personal communication, December 21, MacDonald. 82 Van Bogart. 83 Public Archives, p. 11.8; MacDonald. 84 St-Laurent, communication; Gibson. 18 Canadian Council of Archives
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Tuesday, February 18, 2014
Lone Wolf and Cub
One of the great japanese classic manga and it think it is one of the best too in depicting Edo era. Lone Wolf and Cub tells the story of a ronin Ogami Itto and his son Daigoro who went on a quest of revenge against great samurai clan of Yagyu who have dishonor and killed Itto's clan due to power hunger as Itto once held the esteemed position of Shogun's executioner. Ogami Itto is Chuck Norris in Edo era as throughout his adventure in 27 volumes anyone who face against him are dead which some of them are good people. What makes this manga special apart from the vibrant depiction of the Edo era is how Bushido is depicted in the series which is easier for reader to understand along with great doses of tragedy. This is one of the must read classic manga if you appreciate them and Sabu to Ichi torimonohikae is one of the closest title that is similar to this one.
Labels: Anime and Manga, Seinen
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An Infographic Guide to Whole Grains
Maybe you're gluten-free and avoid certain grains. Maybe your doctor told you to try and incorporate more grains into your diet, or perhaps you're into experimenting with different whole grain flours when you bake. Regardless of the scenario, there are some whole grain players that pack much more of a punch than others. Want to see?
I stumbled across this charming little infographic a few weeks back and find it quite helpful for a few reasons. First: it breaks down the fat, calories, fiber and protein so you can get a quick nutritional snapshot of each grain, side by side.
Second, it moves beyond the basics to offer nutritional highlights that you may not know about (for example: farro is a great source of zinc, magnesium and iron).
But what I loved most about it are the little bits of information that come after the "heart" symbol: the creators of the infographic pulled one important, noteworthy piece of information about each grain. For example, buckwheat isn't actually wheat at all; it's a gluten-free grain that comes from an herb. And barley? It has more fiber than quinoa, millet, oats, buckwheat and corn.
So with one quick scan, you get to know the quick-and-dirty nutritional information behind each grain, a "big picture" highlight about why each are so wonderful, and cooking and serving suggestions. All in one visual, easy-to-read place. I'm sold!
See the whole infographic: → Your Go-To Guide For Choosing Healthier Grains at Greatist
(Image: Greatist)


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A Finishing Touch: Good-Looking Pottery
At some point last year I began collecting vintage pottery. I'm no connoisseur, but now I can't help noticing attractive ceramics in photos of other people's homes.
If the devil is in the details, to me, vintage pottery adds the perfect finishing touch to a tabletop, mantle, or bookshelf. Thanks to their clay base and handmade nature, these vases, bowls, and pitchers combine natural beauty with human skill and, sometimes, happy imperfections. (I like seeing little drips or variations in glazes.)
Vintage vessels add color and texture to a room and can be completely functional as vases, pen or paintbrush holders — you name it. There are so many different styles that they can look good with pretty much any décor. Depending on what types you prefer, pottery can also be very affordable; I've found most of mine for under $10 each.
Images: 1. Daniel Mahon for Design*Sponge 2. The Brick House 3. Tim Cowie for Design*Sponge 4. via I Suwannee 5. via Pinterest 6. Lonny 7. Heather Moore for SF Girl by Bay 8. Arts and Crafts Homes 9. Country Living via Greige Design 10. Etsy seller NowVintage


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Friendship is not charity, and still less is politeness charity – these are degrees below charity; and the more they derive from charity the more sincere they are.
Mutual love differs from friendship in this respect – that mutual love regards the good which is in a man, and because it is directed to good, it is directed to him who is in good; but friendship regards the man; and this also is mutual love when it regards the man from good, or for the sake of good; but when it does not regard him from good or for the sake of good, but for the sake of self which it calls good, then friendship is not mutual love, but approaches the love of self, and insofar as it approaches this, so far it is opposite to mutual love. In itself mutual love is nothing else than charity toward the neighbor; for by the neighbor in the internal sense for by the neighbor in the internal sense nothing else is signified than good, and in the supreme sense the Lord, because all good is from Him, and He is good itself.
The brain, like heaven, is in the sphere of ends which are uses; for whatever flows in from the Lord is an end looking to the salvation of the human race. This end is that which reigns in heaven, and thereby reigns likewise in the brain; for the brain, which is where the mind is, looks to ends in the body, in order that the body may subserve the soul, so that the soul may be happy to eternity. But there are societies that have no end or purpose of use, except to be among friends, male and female, and to have pleasures there, thus seeking their own gratification only, and making much of themselves exclusively, whether at home or publicly, it being all for the same end. Of such spirits there are at this day more societies than anyone could believe. As soon as they approach, their sphere begins to work, and extinguishes in others the affections of truth and good; and when these have been extinguished, then these spirits are in the pleasures of their friendship.
These are the obstructions of the brain, and induce on it stupidity. Many societies of such spirits have been with me, and their presence was perceived by a dullness, sluggishness, and loss of affection; and I have sometimes spoken with them. They are pests and banes, although in the civic life of this world they had appeared good, delightful, witty, and also talented; for they know the proprieties of society, and how to insinuate themselves thereby, especially into friendships. What it is to be a friend to good, or what the friendship of good is, they neither know, nor desire to know. A sad lot awaits them; for at last they live in squalor, and in such stupidity that scarcely any human apprehension remains. For it is the end that makes the man, and such as is the end, such is the man; consequently such is his human after death.
There are very many societies in the other life that are called societies of friendship. They are composed of those who in the life of the body preferred to every other delight that of conversation, and who loved those with whom they conversed, not caring whether they were good or evil, provided they were entertaining; and thus who were not friends to good or to truth. They who have been such in the life of the body are such also in the other life, in which they associate solely from the delight of conversation. Many such societies have been with me, but at a distance, being seen chiefly a little to the right above the head. That they were present it was given me to note by a torpor and dullness, and by a privation of the delight in which I was, the presence of such societies inducing these effects. For wherever they come they take delight away from others, and wonderful to say, they make it their own; for they turn away the spirits who are with others, and turn them to themselves, whereby they transfer another's delight to themselves; and as they are on this account troublesome and injurious to those who are in good, they are therefore kept away by the Lord, lest they should come near to the heavenly societies. From this it was given me to know how much injury friendship occasions man as to his spiritual life if the person and not good is regarded; everyone may indeed be friendly to another, but still he should be most friendly to what is good.
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Tuesday, 1 November 2011
Beautiful Friends
For the lovely Katie Coward of Shake Up Make Up fame. I highly recommend this lady, she does wonderful hair nails and makeup.. and isn't bright orange and intimidating. If you're based in North/East London... take a look at her beautiful site www.katiecoward.co.uk or come see her this Saturday at the Vintage Charity Fete over at Hunbury Hall by Spitalfields Market. Details
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Gryffindor Tote Bag Extra Strong
from Half Moon Bay
Make 4 interest-free payments of $6.25 fortnightly and receive your order now.Sold Out
Harry Potter Extra Strong GRYFFINDOR CREST Tote Shopper from Half Moon Bay
This Harry Potter cotton tote shopper is perfect for carrying all the essentials, from spell books to magic wands. It features the GRYFFINDOR crest, on the front - and the Harry Potter logo on the back. The bag features Shoulder straps, magnetic snap closure and a small zip pocket on the inside for valuables, printed with the Harry Potter logo.
100% Cotton
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In PressPosted
communiqué de presse
Premier sommet Franco-Indien sur la santé et [...]
Discovering and learning from each other, looking for shared opportunities,
building business to business partnerships in the Healthcare Sector:
Medical devices / E-Health / Healthtech /Health processes and organisation
At a first glance, India and France Healthcare sectors look very far apart. Demographics are hugely different- 1300 million people in India, 50% less 25 years old and a life expectancy of 68 – versus 67 million in France, 19% being more than 65 years old and a life expectancy of 82. France spends 11,75% of its GDP on Healthcare versus 4,7% for India. There are 300 citizens for one doctor in France versus 1500 in India. India's Healthcare sector is already worth 100 B$, that is about 70$ per person versus 290 B$ in France or 5000$/person. India's Healthcare has huge challenges ahead – acces, mass treatment, cost, insurance etc. – but is poised to grow at 17% per year in the years to come. France's healthcare sector is seen as one of the best in the world, but is mature and faces serious challenges as well – silver economy, National Social Security costs and future balance, acces to health in tier II cities and rural areas.
Beyond the startling differences, there are probably at least three converging imperatives for both sectors:
The purpose of this first France-India Summit is to explore these challenges and look at the opportunities: learning from each other, exploring shared initiatives, possible partnerships and commercial, research opportunities. And also look at the resources needed – talent, funding – to make these opportunities happen.
The Summit participants and organisation
2 days preceded by a VIP dinner.
102, Avenue Gaston Roussel
93230, Romainville France
Métro Ligne M5 – Station Raymond Queneau
BUS Ligne 145 – Louise DORY
BUS Ligne 318 – Louise DORY
Aéroport Paris-Charles de Gaulle
Aéroport Paris-Le Bourget


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More on the absoluately devastating murder of Trayvon Martin. White People, You Will Never Look Suspicious Like Trayvon Martin and from Mother Jones, The Trayvon Martin Killing, Explained: "How did a kid armed with Skittles and an iced tea get gunned down by an overeager neighborhood watch captain? And why didn't police detain shooter George Zimmerman?" and What Everyone Should Know About Trayvon Martin (1995-2012).
Image: source.
It's been hard to think about other things, less depressing things. But here are a few from the vaults, in case you need a breather: (1) Tiny Watercolor Paintings of Nostalgic Clothing; (2) StoryCorps 240: Women of a Certain Age; (3) beautiful: Bicycle Portraits: "Stan Engelbrecht & Nic Grobler are publishing the best 162 portraits and stories of the over 500 portraits of cyclists they've photographed during their 2 year journey around South Africa"; and, (4) adorable: Mini Piñatas DIY.


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Farm & Agribusiness
Agricultural Crop Insurance is one of our specialties. Being an integral part of the California Delta community since 1922, we know the ins and outs of farming and the value of the wide variety of crops grown in the rich soils of the Delta and surrounding Central California region. Julie Lancaster, our Ag Crop Insurance specialist, comes from a family that has farmed in this region since the early 1900's. She understands agriculture and farmers, and is exceptionally suited to take care of this important part of our business and yours.
Crop insurance is often required by lenders who provide crop financing for growers. Farmers who qualify for any of the numerous subsidy programs are often required to carry Crop Insurance.
Many growers purchase crop insurance even if it is not a requirement because they understand that today's profit margins in farming aren't enough to absorb catastrophic loss before or at harvest. As Julie likes to say, "Farming without crop insurance is like skydiving without a parachute!" Typical coverage includes protection against crop loss from insect damage and adverse weather.
Owning or leasing a farm means you have unique coverage needs - whether you farm 10 acres, 1,000 acres or 10,000 acres. Having your own custom insurance plan designed for the type of operation you run is an essential part of modern-day farming operations.
Whether it's livestock, hay and row crop, fruit and nuts, a small hobby farm, or some other type of operation, we can tailor your coverage to fit the risks you face on a day-to-day or longer-term basis.
Plans can be designed to protect every aspect of your farming or ranching operation. Types of coverage include:
- Liability coverage; which is often required by agricultural lenders
- Fuel tank spills and leakage
- Buildings, machinery and equipment coverage
- A variety of other optional coverage
As always, we look for every possible way to find discounts and pricing options to maximize the risk protection of every dollar you invest in insurance coverage.
Your premiums can be adjusted to fit your budget needs by selecting deductible amounts - the more risk you can cover on your own the higher the deductible amounts and the lower the cost of your premiums.
We know farming and ranching, and we look forward to serving your needs.
Another of our agency specialties is meeting the insurance needs of ag trucking companies, sub haulers, and independent operators is a part of our business we enjoy and have been doing from our early beginnings in the 1920s.
If you're on your own, if you're a sub-hauler or are a trucking company owner, you know that the trucking business is not an easy one to find insurance coverage for. And whether you operate from within California or out of state, California state law requires you obtain insurance coverage in order to get a Truckers Operation Permit here.
We specialize all areas of required and important AG trucking coverage:
- Liability
- Physical Damage
- Cargo
- Unidentified Trailers
- Assigned Risk
Whatever your trucking insurance needs are, large or small, simple or complex, connect with our experts.
Without trucks, farmers couldn't move products to market or obtain needed resources to farm. And no matter what size truck you own or how many trucks you operate, we are well equipped to provide you with all the custom coverage you need. From your trusted farm pickup or car - to your medium size hauling, flat bed or dump trucks - or your full-size sets of doubles for heavy hauling of fruit, grain and other farm commodities. We customize your coverage to fit your unique needs.
Ag autos and trucks have been a specialty for many of our agents for years, and we continue to be an area leader in ag auto and truck coverage. The orchard, vineyard and row crop farming operations throughout the Delta and central California region rely on trucks daily - you can rely on us for the best-priced insurance to provide collision, liability, compressive, payload and other specialty coverage needed to keep you going in the fields and on the road.
Get the information you need to make the best ag auto and truck insurance decisions.
If you're a commercial grower or packer, then you already deal with risk on a daily basis - market risks, weather risks, and all other risk factors affecting current and future market prices and costs in the agricultural sectors that you specialize in.
We work side by side with you to mitigate your financial risks through insurable loss. Backed by the financial strength and programs by companies like Travelers Insurance, we can tailor specific commercial growers and packers insurance programs to meet your unique needs at prices tailored to your budget.
When you put your operation's insurance needs in our hands, you can rely on our over 80 years of experience and homegrown familiarity about your business, backed by the strength of specialized grower and packer programs we specialize in providing you.
Winery owners know there is much more to producing fine wine than growing high-quality grapes, and so do we. Whether your winery is a small family run operation or a thriving corporate venture, the Winery Insurance Program we offer is customized coverage tailored to the unique need of wineries. We think this is a far superior approach to winery risk management than relying on generic insurance products comprised of many endorsements.
Custom winery coverage can include:
- Winery property, including wine leakage, contamination, or additional causes of loss or damage.
- Orchard and vineyard protection for damage or loss to vines, signs, and other related items.
- Product recall expenses.
- Liability resulting from a variety of causes, including products, fire, chemical drift and liquor liability.
- A wide variety of additional coverage options such as wine stored for others, special events, equipment breakdown, business income and extra expenses - plus a wide variety of optional coverage so that you can be prepared for the risks you are most concerned with as a winery owner/operator.


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It has been suggested that it was originally a pagan festival associated with the goddess Brigid, who was later Christianised as St. Brigid.
In the 20th century, Imbolc was resurrected as a religious festival in Neopaganism, specifically in Wicca, Neo-druidry and Celtic reconstructionism.
I felt this blog so enlightening that I loved to share it with you...
Originally posted by Jo Lynne Valerie for her Para Goddess site. All rights reserved by the author.
The lore and traditions are many and varied surrounding this ancient, sacred festival. My own celebration of Imbolc consists of personal traditions I've developed over the years, inspired by ancestral practices, informed by my own Intuition. Keeping the day is to literally celebrate the PROMISE of spring. It's not yet here... but it's coming. And now, during the deepest, darkest leg of winter, when so many of us may be feeling restless or just plain worn out, we need that confirmation more than ever.
The word Imbolc comes from a Gaelic term literally translated to mean "first milk". Now is when sheep and other farm animals begin to lactate; so even though we're in the deepest leg of winter, spring *IS* actually on the way - as indicated by the lactation, which means springtime baby animals are soon to arrive.
This was a powerful sign for our ancestors, folks who lived a life quite different from our own. Imbolc was a harbinger that the hardship of life would ease up. Without grocery stores or malls to rely on, our ancestors had it rough (we think we do... but consider my next words...) By the time February came around, food and wood supplies may have gotten low, or they may have run out completely. Livestock, the elderly and very young children often died this time of year as a result of not enough sustenance, or the cold. These are sobering thoughts. And sobering reminders of how very blessed we are.
While we no longer suffer those particular kinds of hardships, we do face our own challenges in these times, don' we? The deepest leg of the winter brings with it the annual and utterly unavoidable Dark Night of The Soul. Who can escape it? Have you ever tried? Futile. The experience is part and parcel of our soul's evolution, a required passage on the journey we're required to make through the seasons each year.
We're meant to look closely at who we are... and who we want to be. We're meant to look with clear eyes at where we are in life, how far we've come, and where we've fallen short... Where do we want to be? What has worked... and what hasn't? What have we learned? What have we yet to learn? Are we willing?
During the Dark Night of The Soul, individuals are encouraged to retreat into the dark cave of their own being in search of the soul-spark only they can find... that elusive soul-spark only they can see. By its' light, one can discern wisdom, insight, proper choices... Those are the gifts that prompt and fuel our rebirth, come spring. At least, that is the idea; are you game?
Imbolc is essentially one and the same with Candlemas, the mainstream celebration of candles and the "holding of the light". Now you understand the significance!
I like to do four things at Imbolc (Feb 1-2): I like to make a TREASURE MAP (called a vision board by some), ignite as many candles as I have and use these to live by day and night, sans electrical light; I like to bless the seeds I will plant on the Vernal Equinox in March (usually herb and flower seeds) and I like to make a milk-based dish for my daughter to enjoy, usually home-made rice pudding or sometimes my grandmother's bread pudding.
Time allowing, I'll post the recipes for my delicious rice and bread puddings right here on my author's blog (I'm under deadline for print, photo and book work, darlings; give me a little time...). Meanwhile... here are instructions for making a Treasure Map.
Needed: Old magazines you don't mind cutting up, scissors, poster board of any size (a piece of copy paper will do in a pinch), glue stick, imagination.
Instructions: Begin leafing through the magazines in search of images, phrases or words that *speak to you*. Look for pieces that depict who you are, who you want to be, what you love, what you want more of in your life. You can also depict goals, desires or dreams with your images, words and phrases.
Glue them onto your poster board in any manner that is pleasing to your eye. You may further decorate your Treasure Map by coloring, drawing or writing words or phrases on it (I do this with colored pencils). Place the finished Treasure Map in a prominent place; you want to be able to glance at it frequently. It is, after all, the map that can lead you to your own personal treasure... that is, if you are willing to follow the trail.
Happy Imbolc, everyone. A blessed Candlemas to you. Light a candle today... or five, or ten. Let the flames illuminate the beauty in your heart and the fierceness of your dreams. Let the light spark your soul alive... And bless yourself, my friends... for all that you are and all you will yet be.
When the tides turn and the spring winds blow, we will emerge renewed, rebirthed, together.
Love always from your ParaGoddess...
Love, love, the most important thing is love... -JoLynne


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For more information, contact:Sasha SekpehO-I Investor Relations (567) 336-5128 email@example.com
O-I CEO to Present at the Credit Suisse Basic Materials Conference
PERRYSBURG, Ohio (September 6, 2016) - Owens-Illinois, Inc. (NYSE: OI) today announced that the Company will participate in the Credit Suisse Basic Materials Conference on Thursday, September 15, 2016, in New York.
O-I Chief Executive Officer Andres Lopez will present at 10:45 a.m. ET.
A live webcast of the presentation will be available at: https://cc.talkpoint.com/cred001/091316a_as/?entity=2_HJ46UXS
The replay from the conference will be available within 24 hours of the presentation and will be archived through this link for 90 days.
Slides from Andres' presentation will be posted on the company's website, http://www.o-i.com/investors/, before the market opens on September 15.
About O-I Owens-Illinois, Inc. (NYSE: OI) is the world's largest glass container manufacturer and preferred partner for many of the world's leading food and beverage brands. The Company had revenues of $6.2 billion in 2015 and employs 27,000 people at 80 plants in 23 countries. With global headquarters in Perrysburg, Ohio, O-I delivers safe, sustainable, pure, iconic, brand-building glass packaging to a growing global marketplace. For more information, visit o-i.com.


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Summertime in the City
July is…still Pet Month on AT, but that's not where the fun stops. Over on AT: New York, there's all kinds of talk about where Apartment Therapy should launch next. Opinions are strong and hometown pride at its best, so join the madness and cast your vote if there's a particular city that you would enjoy reading about over all the others.
Thanks, too, for all of the inspired Pet Design entries! Final voting of our fab five entries will take place this week.
Over at our place, we are desperately clinging onto summer, and had a full day yesterday of grilling, swimming, sailing and bocce ball. With August quickly approaching, what are some Chicago things on your to-do list (we're talking about the fun to-do's here) that you'll absolutely kick yourself if you don't get to by the time autumn hits?