APPENDIX
A
November
25, 1998
THE
CURRENT
COLLECTION AND EXHIBTION
MANAGEMENT
POLICIES AND PROCEDURES
TABLE
OF CONTENTS
I COLLECTIONS
I.1 Definitions
I.2 Collection Mandate
I.3 Collection Development Strategy
I.4 Responsibility
I.5 Purpose
I.6 Scope of Collection
I.7 Collection Categories
I.8 Loans
I.9 Acquisitions/Deaccessions
I.10 Ethics
I.11 Documentation
I.12 Security
I.13 Conservation
I.14 Restoration
II EXHIBITIONS
II.1 Display
II.2 Permanent Exhibitions
II.3 Temporary Exhibitions
II.4 Solo Exhibitions
II.5 Interpretation
COLLECTION
The Frederick Horsman Varley
I COLLECTIONS
1.1 The Frederick Horsman Varley
I.2 COLLECTION MANDATE
The
I.3 COLLECTION DEVELOPMENT STRATEGY
There are four descending
levels of priority in the Collection Development Strategy for The Varley
1.
Works by F.H. Varley
2.
Varley study materials
3.
Artists who influenced Varley and/or were influenced
by him
4.
Other artists with nationally established Canadian
reputations
1.3.1 Works by F.H. Varley
Strengthening the
Varley collection through donation or purchase is the highest priority for the
Gallery’s Collection Development Strategy.
Works may become available through the following sources:
·
Private Corporate Collections
·
Individual Private Collections
·
·
Auctions
1.3.2 Varley
Study Materials
As a second priority, while
original and archival material will be sought wherever possible, the Gallery
will gather copies of Varley-related archival material for study purposes,
develop a photographic and slide collection of Varley works, and automate the
Varley Inventory and other data, in order to contribute to our knowledge and
understanding of the artist’s work, while giving the Gallery in Markham a
particular distinction.
1.3.3 Artists
Who Influenced Varley and / or were Influenced by Him
As a third priority, the
Gallery will seek donations and acquisition funds to develop an international
art collection of influences on Varley (i.e. Chinese and Buddhist art), and of
artists influenced by him (i.e. his students).
1.3.4 Other
Artists with Nationally Established Canadians Reputations
The fourth priority is
assigned to unrelated Canadian works of art, contemporary or historical, by
established artists that have held exhibitions in or whose works are collected
by public art institutions in the country.
I.4 RESPONSIBILITY
I.4.1 The
Gallery undertakes the responsibility within its budget limitations to develop
and maintain records of all works of art collected, to provide conditions for their
security and indefinite preservation, to provide physical, financial and staff
resources for their study and enjoyment by the general public, by scholars, and
to interpret their significance through exhibitions, education programs,
publications, broadcasts, demonstrations and other means.
I.4.2 A
Program Committee and Acquisitions Sub-Committee exist as committees of the
Gallery
1.4.3 The
Gallery maintains copyright for the Varley Estate and therefore acts as the governing
body in issuing permission to reproduce images by F.H. Varley until such time
as his work becomes part of the public domain (in the year 2019).
1.5 PURPOSE
All works of art in the
collection should be acquired for, and classified according to, one of three
purposes:
a) Display Collection: acquired for
presentation in exhibitions, within the limits of professional consideration
for their preservation.
b) Study Collection: acquired and
preserved for research or comparative examination.
c) Reserve Collection: although given
reasonable care, not intended for indefinite preservation:
·
Objects (not normally works of art) acquired for
hands-on use in; Interactive or other demonstrations;
·
Works in condition beyond cost-effective
restoration;
·
Works placed on deposit from other
·
And works pending deaccessioning.
I.6 SCOPE
OF COLLECTION
I.6.1 Works of art may
be any media, and may include: paintings, sculpture, crafts, graphics, etc.
I.6.2 Curatorial
expertise should be representative of all relevant disciplines, with volunteer
or part-time assistance, or persons seconded from higher institutions, if
needed in order to provide expertise in all areas.
I.6.3 The
art historical range of the collection is not to be Canadian only, or even
Western art only, but may include, for instance, Chinese landscapes and
Buddhist art related to Varley’s interests.
1.7 CATEGORIES
I.7.1 Three
categories of objects will appear in the Gallery Catalogue:
· Works of Art
· Archival Material
· Library Material
I.7.2 The Gallery
maintains a separately catalogued Reference Library for research publications
related to the collections.
I.7.3 Apparatus
(models, reproductions, interactive exhibitions, etc.) is kept on inventory for
stock-taking purposes, but is not normally be catalogued.
1.8 LOANS
All loans (either incoming
or outgoing) must be approved by the Acquisitions Sub-Committee, be for a fixed
time and be accompanied by documentation (see Appendices):
Appendix A:
Incoming Loan Agreement
Appendix B:
Outgoing Loan Agreement
Appendix C:
Traffic Receipt
Appendix D: Condition
Report Form
1.8.1 Incoming
Loans
Incoming loans must be
accompanied by an Incoming Loan Agreement form initiated by the Director and
signed by both parties to the loan in triplicate (one copy to be retained by
lender and two copies to be retained by The Varley
1.8.2 Outgoing
Loans
Outgoing loans of the
Gallery collection must be approved by the Director and only if the borrower
can satisfy environmental, security and transportation conditions that are
equivalent to that of The Varley
1.9 ACQUISITIONS/DEACCESSIONS
The
1.
Acquisitions
·
Gifts/Donations
·
Purchases
2.
Deposits
3.
Deaccessions
1.9.1 Acquisitions
Curatorial recommendations
for acquisitions should refer to the following criteria:
·
Aesthetic
Quality: referring not only to craftsmanship
or style, but also to the communication of visual meaning in a piece.
·
Art Historical
Significance: in relation to studio
furnishings in the collection; here the criterion is not exceptional quality,
but rather a representative character,
or the exceptional character due to association with the artist.
·
Title: the Director must ensure that the item is free
of dispute over ownership, liens or estate disputation, and national and
international moral or legal issues.
·
Provenance: all available information should be recorded
about the proposed acquisition at the time of its consideration, including a
detailed and dated provenance sequence, if possible.
·
Condition: the Gallery aims only to acquire works of art
for which it can provide adequate care, and which are in or can readily be put
in condition adequate to the display or study purposes of their
acquisition. At the time an acquisition
is being recommended, its condition should be reviewed and rejection should be
recommended for work that requires extensive treatment beyond cost-effective
restoration unless the Acquisitions Sub-Committee feels that the object in question
warrants acceptance. This criterion does
not apply to the Reserve Collection, particularly for items intended for
hands-on programmes.
1.9.1.1 Gifts/Donations
1.
All submissions are made to the Director, who
presents the work to the Acquisitions Sub-Committee.
2.
The Work is borrowed and brought before the
Acquisitions Sub-Committee once a Loan Agreement has been completed.
3.
The Director and Acquisitions Sub-Committee review
the work and provide a recommendation for approval.
4.
On approval of the Sub-Committee the work is
presented to The Frederick Horsman Varley
5.
Once the
6.
A deed of Gift form transferring ownership of the
work to the Town of
7.
The Director initiates appraisals of the work to
assess fair market value for tax receipt purposes.
8.
The cost of appraisals is usually the responsibility
of the donor. Previous appraisals may be
accepted with appropriate documentation.
9.
For items of “outstanding significance and national
importance” application may be made for certification of Cultural Property for
Income Tax Purposes. A tax receipt is
issued by the Town of
10.
Photographs of all works are to be made for
insurance verification and educational purposes.
11.
Correspondence to the donor is forwarded by the
Chair of the
12.
The Director notifies the Town Clerk’s Department of
the acquisition to ensure insurance coverage.
13.
An annual report is submitted to Council detailing
acquisitions received within the fiscal year.
1.9.1.2 Purchases
1-5 (See Gifts/Donations)
6. Appraisals are completed at the Gallery’s
expense if they are necessary.
7. The Director records the purchase and
documentation of transfer of ownership.
8. Photographs of all works are to be made for
insurance verification and educational purposes.
9. The Director notifies the Town Clerk’s
Department of the purchase to ensure insurance coverage.
10. An annual report is submitted to Council
detailing acquisitions received within the fiscal year.
1.9.2 Deposits (Inter-
Long-term Deposits
can be accepted by The Varley
1.9.3
Deaccessions
The
deaccession process is subject to Cultural Properties guidelines and the Kathleen
Gormley McKay Agreement with the Town.
Should the Gallery consider deaccessioning works, the following
procedure applies.
1. The
Director initiates the deaccession based on the work falling under one of the
following criteria:
·
outside Gallery’s Collection Mandate
·
spurious identification, attribution or provenance
·
deterioration beyond cost-effective restoration
·
inferior to and not distinct from several better
examples
2. Disposal of works in order of priority, should be:
·
By offer of gift or exchange to another appropriate
exhibiting or research institution in York Region; failing that, in
·
By auction, not on the Gallery premises, and only if
accompanied by an explicit statement on all promotional and catalogue
publications stating that the over-all commitment of the Gallery to preservation
of its collections, and the specific reason for which the sale items are being
deaccessioned.
·
By documented destruction.
·
Outstanding works of art, and works for which tax
exemptions have been allowed, may
be placed by the Director and the Acquisitions Sub-Committee on a list of
objects that can never be considered for deaccessioning.
3. The Director and Acquisitions Sub-Committee review the work
and provide a recommendation for approval.
4. On approval of the Acquisitions Sub-Committee, the work is presented
to the
5.
If the
6. Certified cultural
property cannot be deaccessioned or disposed of for a minimum of 10 years,
according to guidelines specified by the Cultural Properties Export Review
7. All records of deaccessioned works will be retained
indefinitely.
8. Any
funds derived from the sale of deaccessioned works can be used only for the
purchase of other objects for the collection and never for Gallery operations.
9. The
Director will strive to notify relevant descendants of art donors of
deaccessions, and in consultation with the same people, inform them of the Gallery’s
intention to purchase similar objects with funds acquired through the deaccessioned
work and label them accordingly.
I.10 ETHICS
I.10.1 The Gallery will not collect in violation of
the laws of Canada, the Town of Markham’s Conflict of Interest Policy, UNESCO
Conventions, Treaties or other international agreements to which Canada is
signatory.
I.10. 2 No
member of staff nor of the
I.11 DOCUMENTATION
I.11.1 The Director is responsible for ensuring
that all acquisitions are entered in documentation files, on paper where
necessary, but on computer files wherever possible. Files include:
a)
Temporary receipt, if any
b)
Donor’s Gift Agreement form or bill of sale
c)
Condition Reports, dated and signed on acquisition
and before and after each loan
d)
Artists’ biographies
e)
Documentation on provenance
f)
Photograph, print and negative stored separately (and
one stored off premises)
g)
Loan Agreement forms
h)
Computerized master catalogue database (and one
stored off premises)
I.11.2 Catalogue numbers are placed in a
consistent inconspicuous place on the back of the support of 2-dimensional
works, or on or under the base of 3-dimensional works, with non-corrosive
indelible marking material.
I.11.3 An inventory of the collection will be
taken annually, as part of an annual report on Collections Development, with
recommendations for acquisition priorities; the inventory includes insurance
valuations, and recommendations for updating where needed.
I.12 SECURITY AND DISASTER
The Gallery’s Security and Disaster policy addresses
four major issues that are incorporated into the Gallery’s Security and
Emergency Plan:
1.
Health and Safety
2.
Risk Management
3.
Insurance
4.
Security Equipment
I.12.1 Health and Safety
The personal health
and safety of the Gallery’s visitors is of paramount concern, followed closely
by that of staff and other users.
I.12.2 Risk Management
I.12.2.1 Collections may be exposed to the dangers of
fire, water, wind, theft, vandalism, handling by staff or public, and other
risks. The Director assigns recovery
prioritization to the collection.
Objects of high priority are red-tagged for easy identification and
retrieval. Relocation of objects may be
necessary.
I.12.2.2 A Disaster Response Team identifies the
persons responsible for responding to such emergency situations with the
following roles:
·
Director: Spokesperson for the Gallery, salvage of
administrative files, liaison with emergency personnel, release building to
emergency personnel, signing authority, contact other personnel as required.
·
Gallery
Technician: Assumes role of Director in
his/her absence; otherwise, assesses impact of emergency on collection,
provides assistance to the fire department regarding physical plant, contacts
specialists if necessary, directs safe transport of salvaged works to secure
area, contacts additional personnel as required.
·
Fire Department
Representative: Assesses impact of emergency to
building and contents, secures building for Disaster Response Team.
·
Consulting
Conservator: Assesses collection for emergency
stabilization and emergency treatment.
I.12.3 Insurance
I.12.3.1 The Clerk’s Department, Corporation of the
Town of
I.12.3.2 The Director is responsible for ensuring that
insurance values for the collection is updated every three years. A record of these values is kept at the
Gallery as well as the Town Clerk’s Department.
I.12.3.3 Collection insurance includes a
“nail-to-nail” rider for loans outside the building, provided that the
recipient and transport are approved by the Director; this must be transferable
to incoming loans for exhibitions, with notification of the insurer only above
an agreed amount.
I.12.4 Security Equipment
Security equipment on-site at the Gallery will be
subject to regular performance checks and includes:
·
closed-circuit television cameras for all entrances,
collection/storage areas, public areas
·
electronic intrusion alarm system linked to a
surveillance company
·
smoke detectors, fire extinguishers, and sprinkler
system
I.13 CONSERVATION
The preservation of the
Gallery’s collection is ensured by providing the best possible physical
environment, preventative maintenance and conservation plan.
I.13.1 The environmental
systems are controlled electronically and information from all collection areas
are monitored around the clock.
Hygrothermographs are strategically placed in all relevant collection
areas to permit immediate monitoring of environmental conditions. Temperatures within the collection,
exhibition and preparation areas are maintained at 21 degrees plus or minus 1 degree. Electronic humidifiers maintain these areas
at 48% plus or minus 2%. A psychrometer
is used to monitor RH levels.
I.13.2 The
Gallery’s air-conditioning circulation and filtration system is capable of
removing 85% of particles larger than 1 micron, with make up air maintained at
no more than 10%.
·
The exhibition preparation area and loading area is
adequately ventilated and provided with air circulation and filtration.
·
All floor surfaces are sealed and carpets are of low
loop, tight industrial weave.
I.13.3 The
Gallery protects its collection from ultra-violet radiation. A lux meter is used to monitor light levels.
·
Lighting levels must not exceed 50 lux for works on
paper and 150 lux for paintings.
·
Lighting in the galleries consists of incandescent
track lighting. Light levels are
maintained with the use of a dimmer rack and the proper placement of lamps.
·
Lighting in non-gallery areas consists of
incandescent lights and ultra-violet reducing sleeves on fluorescent tubes.
·
Windows in the gallery areas have ultra-violet
reducing sun shades.
I.13.4 A
pest management program is maintained to eliminate any risk to the collection
as a result of insect and vermin.
I.13.5 An
Emergency Disaster Plan is implemented for the care of artifacts in the event
of physical emergencies such as fire, flood, water damage, theft, vandalism,
smoke, explosion, public violence, structural failure, power failure and
accidents.
·
An Emergency Disaster Team meets quarterly to
discuss issues and recent developments.
·
An emergency work area is designated.
·
All staff and volunteers receive an initial
orientation and any new updates to these
emergency procedures.
I.13.6 Adequate
collection storage and exhibition preparation areas are maintained so that
works can be uncrated and brought into the galleries for installation.
·
The collection storage and exhibition preparation
areas are kept clean and orderly. The storage area is used only for the safe
keeping of the Gallery’s collection and of borrowed works.
·
The collection storage area consists of a textile
storage rack, moveable vertical hanging racks for framed works, flat storage
units with acid-free tissue for unframed works and a large locking cabinet
lined with etha foam for small three dimensional works.
·
Access to the exhibition preparation area and
collection storage is restricted to qualified personnel staff.
I.13.7 Staff
is experienced and trained in the care and handling of works and artifacts. Gloves, dollies, carts and acid free-packing
are utilized in the safe handling and transportation of art and artifacts.
·
Where training is required, the Gallery endeavours
to provide support for staff in outside training programs.
I.13.9 All
objects from the collection, whether owned or borrowed, are correctly documented
and labeled with respect to ownership.
Incoming/outgoing and daily Condition Reports are kept current including
required conservation treatments.
·
Condition Reports are maintained as part of the
catalogue system and updated whenever objects are used for new displays or
loaned to other institutions.
·
The exhibition preparation area is designated as the
documentation area. The works remain isolated in this area and are documented
and monitored for pest control.
I.13.10 The
Gallery ensures that all artifacts borrowed from other institutions are
protected from damage in transit and while on display.
I.13.11 The Director is
responsible for determining conservation priorities and the nature and extent
of conservation to be carried out.
I.13.12 Exhibition
of an item in the collection must never take precedence over its preservation.
The decision to display must always be taken by the Director.
I.14 RESTORATION
Active restoration of the
Gallery’s collection is contracted to professional conservators only. Only routine cleaning and frame repairs can
be undertaken in-house.
I.14.1 The
services of qualified professional conservators are sought when treatment is
required. All restoration activities must be under the supervision of a professional.
·
The gallery in commissioning restoration endeavors
to minimize replacements of materials, and retain as much of the original as
possible.
·
Replaced materials must be honestly shown as such.
·
Any restoration must not be detrimental to the
conservation of the object, and in case of conflict, conservation takes
precedence over restoration.
·
All restoration activity must be initiated and
controlled with reference to a concrete plan of work approved by the Director
which includes a complete review of all known catalogue information about the
object, analysis of alternatives for its restoration and a reasoned
recommendation which most respects the principle of this policy, and a detailed
step-by-step procedure, including a precise specification of all materials,
sources and costs, a timetable and identification of all those who are to carry
out the work. After completion, a full
report including this plan will be kept on file with the catalogue entry for that object.
II. EXHIBITIONS
II.1 DISPLAY
II.1.1 The
II.1.2 Conservation
and security considerations take precedence in determining the content of all
exhibitions.
II.1.3 Display
methods must guarantee the reasonable security of the works of art from theft
or damage. Adequate staff and display
equipment is to be provided to ensure this criterion.
II.1.4 Works
of art selected for exhibition must be able to endure the mounting, lighting
and environmental conditions without endangering the on-going condition of the
object.
II.1.5 Works
of art will be exposed to light levels following guidelines specified by the
Canadian Conservation Institute.
II.1.6 The
Director has responsibility for deciding whether and for how long objects may
be placed on exhibition.
II.1.7 Outdoor displays
will be offered only if adequate security and conservation conditions can be
provided.
II.1.8 Gallery
exhibitions must have clear objectives enunciated in the planning or proposal
for them; must be supported by adequate research either undertaken or
supervised by the Director; and must be mounted or displayed in accordance with
professional gallery display practices.
II.1.9 The Kathleen
Gormley McKay Art Centre, an adjunct facility that complements the Gallery is
designated as a venue to support community artists. Exhibitions at this site need not be
curated. The space may be rented to arts
organizations or individual artists.
II.2 PERMANENT
EXHIBITIONS
II.2.1 A
portion of the Kathleen Gormley McKay Collection is normally on display in the
Orientation Gallery and is represented in that portion of Gallery featuring
Selections from the Permanent Collection.
II.2.2 The
Orientation Gallery articulates Varley’s significance as a member of the Group
of Seven and as a cultural icon in Canadian art history as well as establishes
his relationship with Kathleen McKay and Unionville.
II.2.3 Selections from
the Permanent Collection strive to display works of high quality and art
historical significance on a rotating basis as the scope of the collection
permits (including selections based on themes, media, artists, etc.)
II.2.4 New
acquisitions are featured in a section of the Gallery dedicated to Recent
Acquisitions.
II.3 TEMPORARY
EXHIBITIONS
Temporary exhibitions are an
important aspect of the Gallery and Art Centre displays. A provision for payment of Canadian Artists
Representation (CARFAC) fees, the necessary compensation for artists, is
included in the temporary exhibition budget.
Exhibition subject matter both historical and international in scope is
drawn from local, national and international sources and includes:
·
at least one exhibition per year related to F.H.
Varley
·
an annual juried exhibition featuring the work of
York Region artists
·
exhibitions that have reference to
·
exhibitions that have reference to
·
exhibitions drawn from the permanent collection
·
group exhibitions featuring the work of several
individual artists or art societies
·
solo exhibitions focusing on the work of individual
artists
II.4 SOLO EXHIBITIONS
Exhibitions by individual
artists are considered on the basis of the proposal meeting at least one of the
following criteria:
·
The artist has links to the art of F.H. Varley,
artists who influenced Varley or were influenced by him.
·
The artist is Canadian or has strong ties to
·
The artist has a proven exhibition record in other
public art institutions and/or is
represented in their collections and/or is highly recommended by another public
gallery.
·
There is a relevant educational or cultural thesis
that can be adequately interpreted.
II.5 INTERPRETATION
II.5.1 Visual access is
supported by accurate and authentic interpretation, so that intellectual access
is also provided.
II.5.2 Visitors
are offered the opportunity to appreciate and understand exhibitions through a
range of modes, including:
·
contemplation - visual access to works
·
comprehension and discovery - educational or
thematic exhibitions accompanied by the opportunity to study at close hand and
pursue further research into artistic developments within an art historical
context
·
Experience - through hands-on learning provided
through creative studio activities
II.5.3 Methods
of interpretation may include:
·
photographs
·
labels
·
spoken (docent-guided), recorded (audio) and printed
guides to displays
·
publications
·
on-going video presentations and films
·
artist demonstrations
·
living history presentations