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SAMPLE DOCUMENT

Type of Document: Collections Management Policies

Date: 2006

Museum Name: Bruce Museum

Type:Art Museum/Center/Sculpture Garden Natural History

Budget Size: $1 million to $4.9 million Budget Year: 2007 Governance Type: Private/Non-profit Organization

Accredited: Yes

Notes on strengths or special features: The document contains the following required elements:

Acquisitions/Accessioning Access and/or use of collections Care Deaccessioning/Disposal Inventories and/or documentation

Loans incoming outgoing

Use of proceeds from the sale of deaccessioned collections

The document contains the following additional sections: Abandoned Property/Unclaimed

Loans Appraisals Authority Categories of Collections Code of Ethics Cultural Property Insurance & Risk Management Glossary Housekeeping Scope of Collections Laws Mission Statement Objects Found in Collection Objects Left in Custody Other: Acquisition Criteria and

Guidelines, Gallery policies

Photography Rights & Reproduction Review

THE BRUCE MUSEUM

COLLECTIONS MANAGEMENT POLICY

Revised 10/27/06

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TABLE OF CONTENTS I. INTRODUCTION 3 II. AUTHORITY 3 Board of Directors Collections Committee Membership of the Collections Committee Museum Ethics Executive Director III. MISSION STATEMENT 4 IV. DESCRIPTION OF COLLECTIONS AND COLLECTING STRATEGIES 4 Permanent (Accessioned) Education (Non-Accessioned) Collection Categories V. ACQUISITIONS 10 Criteria Guidelines Year-end Gifts Procedures for Documentation and Records Appraisals VI. DEACCESSIONING 14 Museum's Responsibilities Criteria Guidelines Method of Disposal Procedures for Documentation and Records VII. OBJECTS FOUND IN THE COLLECTION 16 Care and Documentation Disposal VII. OBJECTS PLACED IN THE CUSTODY OF THE MUSEUM 17 IX. OUTGOING LOANS 17 Criteria for Lending Objects from the Collection Criteria for Borrowing Institutions Procedures X. INCOMING LOANS 19 Museum's Responsibilities Criteria for Borrowed Objects Procedures and Documentation Handling of Loaned Material “Permanent” Loans

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XI. INSURANCE 20 Permanent Collection Outgoing Loans Incoming Loans Objects Placed in the Custody of the Museum Documentation Loss Current Insurance Program XII. CARE OF THE COLLECTIONS 21 Staff Responsibilities Object Handling/Transport Change of Location Inside Museum Collections in Storage Collections on Exhibition Conservation Inventories XIII. ACCESS TO THE COLLECTIONS 23 Physical Access Informational Access Photography of the Collection Use of Gallery Space XIV. REVIEW AND COMPLIANCE 25 XV. APPENDICES A. Section 81a of Town Charter (d) 26 B. Laws and Ethical Concerns (separate document)

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I. INTRODUCTION The Collections Management Policy (CMP) is a compilation of written policies covering all aspects of the acquisition, disposal, documentation, care, and use of the objects for which the Bruce Museum is permanent or temporary guardian. It provides regulations for the creation, maintenance, care and use of the records for such objects. It establishes policies for acquiring objects for the collection, for the incoming and outgoing loans of the Museum's objects as well as borrowed objects, and for maintaining a secure and proper environment for the objects. The CMP specifies the circumstances and methods of deaccessioning objects from the collection and it specifies the regulations regarding accessibility of the collections and their records. It also recognizes the dual goals of access and accountability. The Bruce Museum (the Museum) exists as a result of a provision in article four of the Deed of Trust of Robert M. Bruce, by which he transferred to the Town of Greenwich on August 4, 1908, what henceforth would be known as Bruce Memorial Park. This article specified that either in his dwelling house or elsewhere within the park, the Town (grantee) shall keep and maintain a "Natural History, Historical and Art Museum, for the use and benefit of the public." Under the January 1992 Management Agreement with the Town of Greenwich, the Bruce Museum, Inc. (BMI) is responsible for the management of the building and the collections, both of which are owned by the Town. The Museum is an education center that collects and exhibits objects of artistic, historic and scientific value that have influenced or contributed to the development of American culture. The purpose of the Bruce Museum is to provide diverse educational experiences for the visiting public, interpreting its collections in a manner that will increase the knowledge and strengthen the appreciation of its resources, through permanent and changing exhibitions as well as lectures, workshops, courses, demonstrations, guided programs, trips and performances. II. AUTHORITY The Board of Trustees The BMI is governed by a Board of Trustees drawn from the community for their expertise, interest and service. The Board is responsible for approving Museum goals and policies and overseeing its operation. The Board is charged with the general management, control and direction of all Museum business affairs and of its trusts and undertakings and has full power to make investments and all sales and transfers of personal property belonging to the Museum. The Board is responsible for raising necessary funds and for approving the annual budget. The Collections Committee The Collections Committee advises the Board on general policy relating to collections development and collection goals, and should be familiar with the collections, its conservation needs, and the CMP. The Committee specifically guides the development of the Museum's collections through its management of the Museum's acquisitions and deaccessioning. The Committee works closely with the Executive Director. The Committee Chairman makes regular reports to the Executive Board.

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Membership of the Collections Committee The Collections Committee Chairman is to be appointed from the Board of Trustees by the Executive Director. The Executive Director, Curators, and Registrar of the Museum are to be members. Other members are to be appointed by the Committee Chairman or the Director for one-year terms. The Committee is composed of individuals who are broadly knowledgeable in areas of the Museum's collections. A quorum consists of a majority of the voting members of the committee. Approval of an item requires a majority of the voting members present. Museum Ethics Collections Committee members will abide by the standards of conduct prescribed by the American Association of Museums. As a consequence of, privileged knowledge of the Museum's collections, Collection Committee members are obliged to place the collection interests of the Museum above their own personal collecting activities. No Collections Committee member may use his/her Museum affiliation to promote his/her or any associate's personal collecting activities. To protect the reputation of the Museum, no Collections Committee member shall participate in any dealing (i.e. regular buying and selling for profit) in objects similar or related to the Museum's collections. The Executive Director The Executive Director is appointed by the Board of Trustees and is the chief executive officer of the Museum. The Executive Director is responsible for management of the collections, and is guided by the policies and procedures outlined in this document. The Executive Director, or his designated representative, makes reports to the Board of Trustees as necessary. The Executive Director shall delegate specific responsibilities to appropriate members of the staff in managing the collections. As with the Executive Director, the staff too shall be guided in their collections-related work by these policies and procedures. The prime directive for the Executive Director and staff is the protection and preservation of the collections. III. MISSION STATEMENT The Bruce Museum promotes the understanding and appreciation of Art and Science to enrich the lives of all people. IV. DESCRIPTION OF COLLECTIONS AND STATEMENTS OF COLLECTING STRATEGY 1. All objects in the Museum's collections are designated Permanent or Educational: Permanent (Accessioned) The permanent collection is comprised of objects given to, field-collected or purchased by the Museum. Once accepted into the collection, each object is assigned an accession number that identifies the year and sequence of its acceptance. Complete records are maintained on all objects in the permanent collection.

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Educational (Non-accessioned) The education collection consists of objects that are of lesser quality and value, duplicates or are not essential to the rest of the collection. These objects must have value as a teaching/learning aid or as loans to other institutions. The collection may be increased in value by unrestricted gifts and by on-going addition of deaccessioned objects from the permanent collection, by trade and by minor purchases that do not interfere with the development of the permanent collection. The Education Department is responsible for the management, care and location of the educational collections. The collection is not catalogued, but the department is responsible for maintaining a computerized inventory of the objects. 2. The Museum has developed a collection of fine and decorative arts, natural science and anthropology: ART The Museum’s goal is to build a collection of Fine Art from which we can effectively teach the history of western art from the Renaissance to the present. Also, we would not limit ourselves from including representative and the finest examples of objects from other cultures. We strive to build upon the collection of fine art we currently possess and continue to seek out pieces in the regional stylistic tradition of the Cos Cob School. We will not seek to collect any local historical or archival materials. Paintings The Museum has a collection of approximately 220 oil paintings, of which a significant number (approximately 80%) are American and the remainder European. Included in this number are approximately 70 watercolors and mixed media. Over one quarter of the American paintings are works of the Cos Cob school of American impressionism, a specialization that is important to both the community and museum because this nationally—and now even internationally—recognized art movement developed in the Cos Cob section of Greenwich in the 1890s.

The key American and other paintings include a range of eighteenth- to twentieth-century work. Included are eighteenth-century works by Ammi Phillips, Thomas Sully and Pierre-Joseph Redoute; nineteenth-century oils by Eastman Johnson, Carl Rungius, Francis Silva, Daniel Ridgway Knight and William Merrit Chase; and twentieth-century paintings by Emil Carlsen, Childe Hassam, Alfonso Ossario, Kenzo Okado and Jack Beal. European paintings include work by the Belgian artists Eugene Joseph Verboeckhoven and Jan Verhas; the Mexican painter Ruffino Tamayo and the Italian Alessandro Milesi. The Cos Cob painters in the collection include Childe Hassam, George Wharton Edwards, Wilson Irvine, Hobart Jacobs, Elmer MacRae, Leonard and Mina Fonda Ochtman, and Henry Ward Ranger, among others. Acquisition criteria include:

• The object should be a museum quality work that will contribute to an historical overview of American painting. Twentieth-century painting is particularly underrepresented and should be given priority in the collection plan. Works that are not American would be accepted on the recommendation of the director, curator and collections committee.

• The object is consistent with the museum’s mission statement and collection goals. • The object is without restriction by the owner. • Title to the object is free and clear. • The object can be given proper care under conditions that insure its availability for the museum’s

purposes and are in keeping with professionally accepted standards. While the object may warrant conservation and reframing, acceptance of the object should not result in unwarranted future expenses for the museum in conservation or maintenance. The Museum will not accept study collection objects.

• If an entire collection is being offered, the majority of the collection must meet the established criteria for acquisitions.

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Sculpture The Museum currently holds 85 works of nineteenth- and twentieth-century sculpture. The collection includes works by Frederick MacMonnies, Hiram Powers, August Rodin, Lynn Chadwick, as well as sited outdoor pieces by George Segal, Elizabeth Strong-Cuevas and Luis Arata. In addition, it includes various pieces of Native American sculpture (Inuit and northwest coastal regions). Acquisition criteria include:

• The object should be of museum quality and able to contribute to an historical overview of nineteenth- and twentieth-century sculpture.

• The object should be a work by the original artist. If cast, it should be of by a known foundry and executed at a time considered acceptable by standard museum practice. The final determination of this criterion rests with the curator and director.

• The object should meet other requirements as listed in the painting section: it is consistent with the museum’s mission statement and collection goals, in exhibitable condition, offered without restriction by the owner, of free and clear title and without significant, costly conservation and maintenance problems.

Works on Paper The Bruce Museum works on paper collection, numbering approximately 500 objects, is very diverse. It includes drawings, pastels, mixed media and prints (etchings, engravings, lithographs and woodcuts). Individual artists represented include Frank Weston Benson, Joseph Pennell, Childe Hassam and George Bellows, among others. In addition to individual pieces, the Museum owns portfolios of work by Andy Warhol, the American super-realist painters and Native American artists, among others. Acquisition criteria include:

• The object should be of museum quality. • The object should be a work by the original artist. If a print, it should be the best “pull” in terms

of strength and clarity of the image. The final determination of this criterion rests with the curator and director.

• The object should meet other requirements as listed in the painting section: it is consistent with the museum’s mission statement and collection goals, in exhibitable condition, offered without restriction by the owner, of free and clear title and without significant, costly conservation and maintenance problems.

Photography Photography has been the fastest-growing area of art collection in recent years. Since 2002 the Museum has received significant yearly donations of photography from members of a consortium of photography collectors who donate from their collections. The material represents a range of work from the entire history of photograph, from an 1840s salt-paper print by D.O. Hill and Robert Adamson to the most contemporary work of photographers such as Robert Stivers, Michael A. Smith and Patrick Nagatani. Other photographers represented in the collection include Eadweard Muybridge Margaret Bourke-White, Bill Brandt, Henri Cartier-Bresson, Harold Haliday Costain, Jeannette Klute, Leonard, Herman, Leon Levinstein, Aaron Siskind, W. Eugene Smith, Joseph Sudek; and Garry Winogrand. The Museum hopes to maintain and further develop this relationship and elicit other donations to continue to build a world-class collection of photography. Acquisition criteria include:

• Vintage photographs of museum quality, with an emphasis on print quality (including who printed the photograph and when), rarity, and provenance.

• The object should meet other requirements as listed in the painting section: it is consistent with the museum’s mission statement and collection goals, in exhibitable condition, offered without restriction by the owner, of free and clear title and without significant, costly conservation and maintenance problems.

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• The object should not duplicate objects already in the collection. Decorative Arts American Art Pottery; porcelain; glass The Bruce Museum decorative arts collection consists of a broad range of decorative material, including oriental (100 Chinese, Chinese export and Japanese objects), glass (34), Roman glass (15), American art pottery (24), French art glass (15), silver and pewter (23), a small number of porcelain and ceramics pieces and several hundred fully documented pipes and smoking-related materials from the U.S. Tobacco Collection. There are also a small number of objects that don’t fall into the above categories, such as Gothic brass salvers, an English mirror and a group of diverse textiles. Acquisition criteria include:

• Overall quality of the piece • The object should meet other requirements as listed in the painting section: it is consistent with

the museum’s mission statement and collection goals, in exhibitable or near-exhibitable condition, offered without restriction by the owner, of free and clear title and without significant, costly conservation and maintenance problems.

Costume Collection of French and American women's costumes from 1830-1960. The costume collection is exceptional for a museum of our size. It is the Museum’s strongest arts collection, due to the quality of donations from 1920 to the present. The strength of the collection is in French and American women's fashion from 1830 to 1930, though there are individual pieces—such as the magnificent French empire gown from ca. 1810—that fall outside these parameters. The material ranges from simple day attire through elaborate ballgowns and wedding gowns, many bearing couturier labels. The collection includes examples from nineteenth-century French couturiers Worth, Beer and Doucet and several exceptionally fine dresses from the 1910s and 20s, including beaded “flapper” dresses, a gown by Parisienne dressmaker Jeanne Hallee, and an complete ensemble made to be worn at the opening of the Panama Canal. Fine accessories include parasols, fans, hair combs, bonnets and hats, shoes and an excellent collection of Kashmir shawls from the 1840s and 50s. Acquisition criteria include:

• The object should be of the highest quality in terms of design, construction and workmanship. • The object should meet other requirements as listed in the painting section: it is consistent with

the museum’s mission statement and collection goals, in exhibitable condition, offered without restriction by the owner, of free and clear title and without significant, costly conservation and maintenance problems.

• The object should not duplicate objects already in the collection. Supplemental material: The Museum owns a collection of work that supports the painting and works on paper collections. These archival materials include artist’s correspondence, sketches, sketchbooks and notebooks. The Museum holds sketchbooks by American Impressionist artists Leonard Ochtman and Hobert Jacobs, approximately 200 letter and over 130 research photographs by Leonard Ochtman as well as supplemental objects by various other artists. Acquisition criteria include:

• Supplemental materials acquired in the future should be directly related to objects in the collection or artists in the collection.

• Materials should be of archival quality, capable of contributing to a better understanding of artists and objects in the collection.

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• Materials should meet other requirements as listed in the painting section: it is consistent with the museum’s mission statement and collection goals, offered without restriction by the owner, of free and clear title and without significant, costly conservation and maintenance problems.

SCIENCE The science collection consists of natural history specimens. Overall, it is the best collection of this type in the area outside of New York City and Yale University Peabody Museum of Natural History. We do not currently collect scientific instruments or other objects, images or art, or documents associated with the history and development of science apart from items related to former Curator and Director Paul Howes. The Science Department supports management and acquisitions of art related to natural history subjects, and cultural objects made from natural materials; these are managed as part of the respective art and anthropology collections. Minerals and Rocks The Museum has a significant collection of approximately 1,600 mineral specimens from worldwide localities. Acquisition criteria include:

• Terrestrial and extraterrestrial rocks and minerals from classic localities or of local or regional origin

• Overall rarity or for a particular element such as color or form • Currently not represented in the collection and are either common or are examples of a typical

feature (e.g. texture, structure, form) • Precious and semi-precious gem quality specimens • Visual appeal

Fossils The Museum has a collection of approximately 500 fossils, including the historic Havemeyer collection given to Greenwich High School in 1894 and transferred to the Museum in 1932. Acquisition criteria include:

• Fossil material in preference to casts when possible • Identify reputable fossil dealers for purchases since fossils are easily forged or enhanced • Common genus or family, formation or time period not represented in the collection • Classic localities, assemblages or Lagerstätten (e.g. Mazon Creek, Burgess Shale, Solnhofen

Limestone) • Visual appeal (megafauna and –flora)

Vertebrate Collection The Museum’s collection of approximately 1,000 specimens includes predominantly bird and mammal mounts along with models and mounts of reptiles, amphibians and fish. There are exceptional non-local, rare or extinct species such as the duck-billed platypus, mountain lion, the quetzal, the six-wired bird of paradise, Prince Albert’s lyrebird, Heath Hen, pre-DDT peregrine falcons, a local wild turkey from the 1800’s, passenger pigeons and the Carolina parakeet. There is a small collection of study skins representing species for which there is no mount, an important collection of bird nests and eggs that are increasingly hard to acquire, and approximately 76 skeletons and skeletal parts. Acquisition criteria include:

• Mounts of local mammals, birds, reptiles and amphibians or mounts from other localities that at one time were known in this area

• Rare, threatened, endangered, extirpated or extinct species • Skeletons as needed for exhibition of structural form and function, and taxonomic distinctions • Specimens of interest for their evolutionary history, behavior, or comparison to local species

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• Skins of local birds for an accessible study collection Invertebrate Collection: Insects This collection contains approximately 3,000 specimens, most of which date from Paul Howes’ field trips. The seasonal butterfly collection and the Trigonopsis howesi wasp nests have historical importance Acquisition criteria include:

• Local species not represented in the collection • Local species for an accessible study collection

Shells This is an extensive collection of approximately 2,000 shells from worldwide localities. There are freshwater snail shells collected in the late 19th century that are rare and should be assessed by an expert for condition, relevance, and research potential. Corals, Sponges and other marine specimens This is a miscellaneous collection that contains some rare and endangered corals. The Museum houses a collection of live crustaceans, gastropods, echinoderms, and bivalves in the marine tank (on the exhibition level). Acquisition criteria include:

• Beauty, rarity, interesting lifestyle • Local species • Threatened, endangered, or extinct species • Cultural connections

Herbarium The Museum collection contains 500 herbarium specimens collected locally in the early 20th century and donated to the Museum by the Norwalk Bird and Nature Club. There is no plan to acquire more plant specimens unless a specific educational or exhibition need arises. The specimens in the collection are fragile and would rarely be used for exhibition purposes. ANTHROPOLOGY Anthropological artifacts represent every major American Indian cultural group in North America with strength in Southwest, Plains, California and Northeast. Artifacts include basketry, ceramics, beaded leather clothing, Navajo rugs, textiles, beadwork, jewelry and carvings in bone, ivory and horn. Other collections include Pre-Columbian sculpture from Central and South America; Inuit art; Old World antiquities such as Roman glass. ARCHAEOLOGY Archaeolocial artifacts come from 18 sites in Fairfield and Westchester Counties. The Museum is the repository of all archaeological material found on town property in Greenwich and has artifacts from two fully excavated sites in the Greenwich area, one coastal and one inland. AMERICAN HISTORICAL The American historical collection features personal and household objects predominantly used or made by Greenwich area residents. It includes furnishings; quilts, samplers and other textiles; personal artifacts; documents and photographs; tools and equipment; and communication and recreational artifacts; mechanical and still banks.

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V. ACQUISITIONS Objects may be acquired for collections by gifts, bequests, purchases, exchanges, or fieldwork. Title to all objects in the collection, and all additions thereto, is vested exclusively in the Town and are held in public trust (See Appendix A: Section 81a of Town Charter (d), pp. 21). BMI shall have the authority to accept all future additions to the collections of the Museum on behalf of the Town, which acceptance shall be in accordance with the Code of Ethics of the AAM and the best interests of the Town. Criteria When considering the addition of an object to the Museum's collection, the Collections Committee shall review the written recommendation for the acceptance of each gift/purchase prepared by the appropriate staff member for the Executive Director. This recommendation shall justify the object’s relevance to the collection and clearly state any and all restrictions and associated costs (i.e. special installation, storage, conservation, framing, etc.) attached to an object. The Collections Committee and staff will also consider the following criteria: 1. The Museum abides by all federal, state, and local laws as well as any international treaty agreement

concerning the acquisition, use of, and disposal of Museum objects (see Appendix B for list of laws). 2. The object is consistent with the collection goals. 3. The object can be given proper care under conditions that ensure its availability for the Museum's

purposes and are in keeping with professionally accepted standards. Acceptance should not result in unwarranted future expenses for the Museum in conservation or maintenance.

4. The object should have an established and verifiable provenance. 5. The object is intended to remain permanently in the collection, or for as long as it remains useful for

the Museum’s purposes. 6. The object has a reasonable probability of being used in the foreseeable future. 7. An object may not be added to the collection for the sole purpose of exchanging it for another object in

the future. 8. The title to the object is understood to be free and clear. 9. If the acquisition is to be by purchase or exchange, an independent appraisal or outside consultation

shall be sought. 10. The object is without restrictions required by the donor. Should the Museum wish to accept an

exceptional gift with donor restrictions, such restrictions shall be clearly stated on the Deed of Gift and all appropriate accession records, and must be approved by the Collections Committee at the time of the acceptance of the object and signed by the Executive Director. All restrictions shall be monitored by the Registrar and appropriate Curator.

11. Ownership of the copyright shall be established at the time the object is accepted. If the Museum

does not have ownership, any restrictions shall be clearly stated on all appropriate accession records and shall be monitored by the Registrar.

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12. In the event of an entire collection being offered, the majority of the collection must meet the

established criteria for acquisitions. The Collections Committee is required to consider the disposition of those objects not to be accessioned into the permanent collection. Donors or estates must concur with the Committee's decision.

13. The object is so unusual that it presents an exceptional opportunity for the Museum and thus should

be given preferential consideration. Guidelines 1. All gifts with a valuation over $3000 and purchases with a value over $1000 must be formally

approved by the Collections Committee, Executive Director and the Board of Trustees prior to purchase with the exceptions noted below in “Bidding at Auction and Purchases at Mineral Shows”. The Collections Committee recommends acquisitions to the Board of Trustees for final approval.

2. For gifts with a valuation less than $3000 and purchases with a value less than $1000 the Collections

Committee and the Executive Director are the final authorities in their acceptance or rejection. The Board of Trustees will be notified of all such gifts/purchases.

3. Authority to approve expenditures to prepare natural history specimens (e.g. taxidermy, mounting

skeletons) and purchase such specimens with a value less than $1000 is delegated to the Executive Director. These expenditures are still subject to the approval of the Collections Committee and Executive Director for accessioning.

4. Otherwise, the Collections Committee must give their approval of the source of funding for purchases as detailed below.

5. Collections Acquisition Fund: This fund consists of net proceeds from (a) monetary contributions and

(b) the sale of deaccessioned objects. The fund is apportioned into categories of Art, Natural Science, Ethnology/Archaeology, History/Americana and Costume. Proceeds from sales within a category must be used for purchases in the same category.

6. Carey Parshall Mineral Acquisition Fund: This fund consists of proceeds from the sale of non-

Museum quality minerals, and cash gifts to purchase minerals. These monies are to be used to acquire exhibition quality specimens of minerals or fossils for the collections.

Expenditure of monies from any restricted Acquisitions Fund must be approved by a majority vote of a quorum of the Collections Committee and duly recorded in the Minutes. A request to the Finance office to release monies from a specific fund must be signed by the Collections Committee Chairman, Executive Director, Curator and/or Registrar. Year-end Gifts In the event the final meeting of the Collections Committee has taken place, year-end gifts offered to the Museum may be recommended for acceptance to the Board by a special committee. In the event no Board meeting is scheduled to take place before the end of the year, the special committee may, at its discretion, a) accept the gift on behalf of the Board, provided it is unrestricted, b) request a meeting of the Executive Committee to accept the gift, whether restricted or unrestricted. This special committee shall be composed of at least three of the following: Executive Director, Collections Committee Chairman, Chairman of the Board, Collections Committee Board member.

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Bidding at Auction or Purchases at Mineral Shows Acquiring works of art and scientific specimens at auction or at limited time events such as mineral shows requires alacrity and decisive action, but can bring considerable savings over purchasing from a retail source, such as a gallery or dealer. The Museum may bid on an object at auction if the Executive Director, the relevant Curator, the Chairman/men of the Board and the Chair of the Collections Committee all are in agreement on the value of the piece to the permanent collection and a ceiling for the amount to be bid. Their unanimous decision circumvents the usual acquisition procedure overseen by the Collection Committee and formal accessioning by the full Board. The Museum may purchase items at mineral shows if the same individuals agree that the purchaser may use his/her discretion to purchase objects within a certain class or category and with a ceiling for the cost of any one object. In this case, however, formal accessioning must still occur. Field Collecting policy Field collecting requires that permission of the property owner is obtained, and all local, state, national and international laws that may apply are adhered to. Procedures for Documentation and Records The Museum maintains and preserves both hard copy records (accession ledger, accession cards, accession folders), as well as computer records. The Registrar is responsible for these records. Should the status of the object change (i.e. deaccession, loan, disappearance, etc.), it shall be noted on the records. All records should be safeguarded against hazards such as loss, fire, water, and theft. The computer database (Re:discovery) shall be backed-up on a regular basis and duplicate computer records shall be stored off-site. The accession records document the legal status of an object, its source, date of receipt, accession number, restrictions placed by the donor, provenance, description and should include: a Temporary Custody Receipt made upon arrival of the object at the Museum; a Deed of Gift or a Bill of Sale (sometimes both in the case of a partial gift) transferring legal title of the object from the donor/vendor to the Museum; an Accession number; entry in the computer database and the Accession Ledger;; an Accession Folder;. 1. Preliminary Screening: All objects offered to the Museum are initially screened by the Executive

Director or appropriate Curator. In the event that the initial screening is favorable, the Curator shall discuss its acceptance with the Executive Director. After the Executive Director's approval, the recommendation is presented to the Collections Committee.

2. Temporary Custody Receipt: This receipt is filled out when an object is delivered to the Museum for

collection consideration. One copy becomes the owner's receipt; one copy is filed in the Collection Manager's office.

3. Deed of Gift or Seller’s Warranty: Upon final approval, two copies of the Deed of Gift/Seller’s

Warranty are sent to the donor/seller for signature. One copy is retained by the donor/seller for his/her records, while the other is signed by the donor/seller and returned to the Museum. When objects are purchased by the Museum, a bill of sale or invoice must also be secured, and filed in the Accession folder.

4. Letter of Acceptance: This letter will be sent out by the Registrar along with the Deed of Gift, a copy

of which shall be kept in the Accession folder as additional proof of ownership. This letter requests all

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available information and documentation concerning the object's title, history, value, provenance and exhibition record if not already secured at the time of consideration/approval.

5. Letter of Appreciation: The Executive Director or Curator shall promptly send donors a letter of

appreciation following its acceptance by the Committee. 6. Accession Number: Once the decision is made to accession an object, the Registrar assigns a

permanent accession number. The accession number is placed on or attached to the object and remains as the identifying and tracking number for the object for the duration of the acquisition. The number is in three parts, reflecting, in order: year of acquisition, order of acquisition within the year, and order of object within the given acquisition.

95.04 (for the acquisition number of one item) 95.05.01-07 (for the acquisition of multiple items within one gift or purchase) 2000.14.01-03

Prior to 1967, objects were numbered consecutively, as received. Prior to 1990, the Accession number was preceded by the letter G = gift, L = loan, and P = purchase.

7. Accession Ledger: A chronological list of accessioned objects is kept in a ledger. It includes the following information: accession number, object description (including artist, material, culture, etc.), source of acquisition, the date accepted by the Board, and value at the time of acquisition.

8. Accession Folder: This folder is kept in the Registrar's office. It contains all information held by the

Museum on a certain object (catalogue worksheet, copy of the minutes of the Collections Committee meeting at which the object was approved, Deed of Gift or Bill of Sale, documentation, appraised value, correspondence with donor, loan files, exhibition history, photographs, articles, etc.).

9. All information is entered in the computer database, Re:discovery. Appraisals 1. All prospective donors are asked to provide their own validated appraisals for objects to be given to

the Museum. If, in the opinion of the Executive Director, Registrar, or Curator, the appraisal supplied with an object seems unrealistic, another appraisal should be requested.

2. In the interest of objectivity, the staff of the Museum cannot make formal appraisals but may assist

donors by identifying outside appraisers without recommending any. Staff may also identify organizations and publications from which information on appraisers may be obtained (e.g. The Appraisers Association of America, Inc; American Society of Appraisers; artnet.com).

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VI. DEACCESSIONING Museum's Requirements 1. The Management agreement with the Town of Greenwich states "Sale or disposition of objects shall

be as set forth in section 81a of the Town Charter.” (See Appendix XV-A) 2. The Museum must comply with all state and federal laws. 3. The Museum must have a clear and unrestricted title to the object. If the title is uncertain the Museum

should seek professional advice. 4. The Museum must make every effort to preserve its integrity and good standing within the community

and profession. 5. Objects may be disposed of by exchange, donation to another Museum or educational organization,

sale at public auction, transfer to the education department or appropriate waste disposal for items whose condition makes them no longer useful to the Museum .

6. Use of Funds from Deaccession Sales: The Executive Director is charged with the responsibility of

making the proper disposition of funds or property realized from any sale or exchange. Any monies received from the sale of deaccessioned material shall be added to the Collection Acquisitions Fund to be used only to acquire objects for the collections. (See page 7 - Section V. Acquisitions, Guidelines #5). Funds may not be used for any other collection-related purpose nor to defray operating costs (AAM's Museum Ethics, 1991).

Criteria The Collections Committee should consider the following criteria when contemplating deaccession: 1. The object is no longer relevant or useful to the Museum’s exhibition or research programs. 2. The object is redundant within the collection. Other objects may be of more interest, a better example,

or in better condition. 3. It is doubtful that the object can be used in the foreseeable future. 4. The object has deteriorated or been damaged beyond usefulness or repair. 5. The Museum is no longer able to provide proper care for the object. 6. The object has been found to be in the Museum's possession illegally (previously stolen, illegally sold,

illegally imported/exported). In such a case, the Museum shall make a reasonable attempt to return the object to the proper owner/authority.

7. The authenticity, attribution or genuineness of the object has been proven false. 8. The Museum does not have good title to the object. 9. The object has been stolen or lost for more than five years and there is little hope of retrieval.

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10. The Collections Committee should consider the following questions and concerns when determining whether an object should be removed from the collection:

a) Will preference be given to any particular method(s) of disposal?

b) Will scholarly or cultural organizations be preferred as recipients over private individuals or commercial entities?

c) Will community interests be given weight in deciding on the recipient?

d) If donors of items to be deaccessioned are alive, they should be notified of the intent to

deaccession.

e) If the artist or maker of an object to be deaccessioned is alive, they should be notified of the intent to deaccession. Should the artist request the return of his/her work, the Director shall decide with the advice of the Museum's legal counsel and the pertinent staff and the approval of the Collections Committee whether the work may be sold back to the artist or exchanged for another work.

Guidelines 1. The Board of Trustees has the authority to approve the deaccessioning of objects from the Permanent

Collection. The Board's decision follows a formal recommendation by the Collections Committee after their careful study and consideration of the preceding criteria.

2. Recommendations for deaccession of objects may be made during inventories, conservation surveys,

collection assessments or at any other time. 3. Objects recommended for deaccessioning will be presented by the Curator or Registrar to the

Collections Committee. Each object will be accompanied by a Deaccession Recommendation Form, written by the appropriate Curator, outlining the justification for deaccession and intended disposition.

4. After the Collections Committee approval and thirty days prior to a Board meeting, a legal notice shall

be posted in the Greenwich Time, stating that the Board of Trustees will be meeting on said date to consider a motion to dispose of certain items in the collection of the Museum. It shall state that, in accordance with the Town Charter, the public shall have the right to attend and participate at such meeting.

5. An annual report by the Registrar is made to the Town covering all objects accessioned or

deaccessioned. A copy of this report is forwarded to the Finance Office. Procedures for Documentation and Records All documents pertaining to the deaccessioning of an object (sales records, dates, minutes of Collection Committee meetings, method of disposal, etc.) must be filed with the Registrar. These are public records that may be released upon request. Records of all activity are to be kept by the Registrar. 1. The date and reason for deaccession shall be recorded in red ink in the Accession Ledger. 2. The Accession Folder shall be removed from the file, the Deed of Gift and/or Bill of Sale shall be

stamped "Deaccessioned" with the date and reason for deaccession recorded on it in red ink and the

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folder transferred to the Deaccession File. For deaccessions from a multiple gift, the deaccession is noted in red ink on that folder and it remains in the accession files. A new deaccession folder is created for the deaccessioned object and added to the deaccession file.

3. The Accession card is stamped "Deaccessioned,” and the date, reason for deaccession, and Registrar's initials recorded on it in red ink. The top of the card is highlighted in pink and returned to the accession card file.

4. All pertinent information is entered in the computer database (Re:discovery). 5. For objects that were deaccessioned from the Permanent Collection and have become part of the

Education Collection, follow steps one (1) through four (4). In addition, the top of the accession card is to be highlighted in yellow as well as pink.

6. Regarding appropriate waste disposal, the Registrar must make a record of the destruction including any relevant documentation.

7. In the case of objects leaving the collection by other means, including accidental destruction, theft, or

objects which are not able to be found, the Registrar shall mark all appropriate object records accordingly (i.e. "destroyed", "stolen", "missing") and with the date of removal (if known). All losses are to be reported to the Director and Collections Committee. In such cases as above, the objects are not to be deaccessioned.

VII. OBJECTS FOUND IN THE COLLECTION As in many large collections, the Museum possesses objects that lack sufficient documentation to determine how (or if) they entered the Permanent Collection. Generally these are objects known to have been on the premises for some time, but ownership and often the date of arrival is indeterminable. Some of these objects are known to exist, while others may be expected to appear at times of inventory. Care and Documentation 1. Such objects shall retain the Museum's care while in their possession. The objects should be

identified, as much as possible, and labeled by the Registrar to avoid confusion. 2. If the Museum wishes to retain ownership of the object, it may be accessioned into the collection, but

must be designated as a found object by preceding the accession number with the letters "FIC" (found in collection). All usual records for accessioning shall be completed and processed by the Registrar. The Museum recognizes the possibility that the object may be claimed by the rightful owner at a later date and shall return the object, if adequate proof of ownership is given. The Museum's legal counsel will be contacted for advice in such cases.

3. "X" numbers were given at one time to objects in the collection which for one reason or another were

never given a proper chronological accession number, or had lost their original number. The procedures outlined in #2 above should be applied to these objects.

Disposal If the Museum wishes to dispose of a found object after all reasonable attempts to identify its source have failed, it may do so but recognizes the risks involved (subsequent claims by rightful

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owner, inability to sell with a guarantee of title). Found objects may be disposed of only with the same approval process used in deaccessioning (staff, Collections Committee) and with the advice of the Museum's legal counsel. Objects may be given to another party with less likelihood of repercussions to the Museum should the rightful owners make a claim. If a found object is to be sold, it must be sold expressly not warranting legal title. VIII. OBJECTS PLACED IN THE CUSTODY OF THE MUSEUM Objects may be deposited with the Museum on a temporary basis for such purposes as examination, identification, or for possible acquisition through gift or purchase. 1. The Museum does not evaluate objects for the purpose of appraisal. If an opinion as to attribution is

provided, it must be made clear that the curator is expressing an opinion, not a statement of fact. The general public is referred to qualified outside sources, such as appraiser trade associations for information on the monetary value of an object. The Museum will not make a referral to a specific firm or individual.

2. The Registrar shall be responsible for making out the Temporary Custody Receipt in duplicate. The

depositor provides his signature on the reverse of both Temporary Receipts and retains one copy. Each Temporary Custody Receipt is recorded in a separate section of the Accession Ledger.

3. Objects approved as gifts or purchases for the Permanent Collection will be processed according to the

stipulations listed under Section V, ACQUISITIONS. 4. The Temporary Custody Receipt should have a clearly specified termination date, with a maximum

period of ninety days. 5. If an unsolicited object is mailed or dropped off, its method of delivery should be noted on the

Temporary Custody Receipt. Ideally, unsolicited objects mailed to the Museum should be returned immediately with or without the requested information, or a Temporary Custody Receipt should be mailed for signature.

6. The registration method is designed to encourage periodic review of the deposits to ensure expeditious

handling. 7. The authority to accept an object placed in custody is limited to one of the following: Registrar, Senior

Curator of Art, Curator of Science or the Executive Director. IX. OUTGOING LOANS Criteria for Lending Objects from the Collection 1. The Museum may loan objects to appropriate institutions for approved educational purposes. 2. Primary considerations for the approval of a loan are the care and security to be provided by the

borrowing institution, the circumstances of travel and climate change, and the condition and value of the items requested.

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3. The Registrar will determine the need for a Facilities Report from a requesting institution prior to the granting of a loan.

4. Outgoing loans require the approval of the Executive Director, the appropriate Curator, and the

Registrar. 5. Objects of great value or rare or fragile condition may not be loaned out for any reason unless also

approved by the Collections Committee. In such cases, the curators may seek interim approval of the loan from the Executive Director and the Registrar.

6. The Museum does not normally loan collection items to commercial institutions, unless such

institutions are staging exhibitions of notable educational value. Criteria for Borrowing Institutions 1. All outgoing loans are subject to the conditions stated on the reverse of the Museum Loan Form. The

Curators may add or waive special conditions to the printed forms, altering requirements for the loan of a specific item. Borrowers must agree to the terms of the loan agreement before the transfer of an object takes place. The Museum requires that all loans be adequately insured, and the borrower normally assumes both the insurance and shipping/ transportation costs for outgoing loans.

2. All outgoing loans will be for a specific period of time, with options for renewal. 3. The Museum will not agree to indefinite or "permanent" loans except as required by Federal

Government regulation. Procedures It is the responsibility of the Registrar and the Curator to monitor and maintain accurate records concerning all loans: 1. After approval of the loan, the Outgoing Loan Form in duplicate must be signed by the Registrar or

Curator and the borrower before an object can be loaned. One copy remains in the Outgoing Loan File in the Registrar's office, and the other accompanies the object. Upon return of a loaned object, both Outgoing Loan Forms are again signed by the borrower and the Museum, and the Museum's copy is placed in the Outgoing Loan Completed File in the Registrar's office.

2. The loan is noted on the computer database by the Registrar or Curatorial staff member. A physical

marker is placed in collections storage noting the removal of an object for which there is a specific storage location. After the loan is returned, the return is noted on the database.

3. If the Museum does not have a photograph of the object, one should be taken at this time by a qualified

staff member. 4. Prior to packing, the Registrar or Curator shall make a Condition Report of the object to be loaned.

Upon unpacking the returned loan, the Registrar or Curator shall compare the original report with the object's present condition and file it in the object's accession folder.

5. It is understood that objects on loan will remain in the condition in which they are received by the

borrower. They shall not be cleaned, repaired, retouched or altered in any way without written

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permission of the Executive Director. Any damages whether in transit or on the Borrower's premises will be reported immediately by telephone with confirming written documentation to the Museum.

X. INCOMING LOANS Incoming loans are any objects solicited by the Museum for temporary loans and thus are distinguished from Objects Placed In Custody. Museum's Responsibilities On borrowing objects from other institutions or individuals, the Museum recognizes certain responsibilities which are: to assume all costs of the loan including transportation, packing, photography and a courier; provide wall-to-wall insurance; provide handling, installation and storage expected of a professional institution; and others as agreed upon between the lender and the Museum. Criteria for Borrowed Objects 1. Objects requested for loan to the Museum must be in stable condition and be able to withstand travel,

extra handling and climate changes. The lender must have a free and clear title to the object. If ownership of an object changes while it is in the Museum's possession, notification from the previous owner must be received, in writing, for release of the object to the new owners at the close of the loan period.

2. Objects may be borrowed from other Museums or like institutions; commercial galleries; private

collectors; artists; dealers. Procedures and Documentation 1. Incoming loans are approved by the Executive Director, Registrar or appropriate Curator. All loans

have a beginning date and a termination date, at which point the object is returned to the lender or donated to the Museum by the lender.

2. All incoming loans will be itemized on theloan agreement that is prepared in duplicate. This form

specifies the duration of the loan, additional venues, description of the object, insurance coverage, method of shipment and photographic needs. Unless otherwise noted in writing, all incoming loans are subject to the conditions of the loan agreement. Any restrictions required by the lender which do not place an undue financial burden on the Museum and are logistically possible must be approved by the Executive Director, Registrar or appropriate Curator. The form must be signed by both the lender and the Executive Director. All loan forms will be kept in the Registrar's office.

3. The Registrar or Curator shall complete a Condition Report when the object arrives at the Museum and

again before it leaves. 4. The Registrar or Curator shall provide a current Facilities Report as necessary. 5. The Registrar makes all loan arrangements including: insurance; packing and transportation

arrangementsin consultation with the lender. 6. Damage to objects on loan to the Museum or in temporary custody of the Museum shall be reported

promptly to the owner so that insurance reports can be completed and decisions on repairs can be made in accordance with the policy statement in Section IX, Objects Placed in the Custody of the

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Museum and Section XII, Insurance. Repairs are made only with the consent of the lender, substantiated by a written confirmation.

Handling of Loaned Material All loans shall be unpacked and repacked by the Registrar,exhibition curator, Director of Exhibitions, or exhibition preparators. Volunteers never handle loaned materials unless under direct supervision of the Registrar or Curator. All objects shall be repacked in the same manner as they were received, unless the Registrar believes the method is inadequate. In which case, the Registrar consults with the lender. “Permanent” Loans The Museum no longer accepts permanent loans. However, the Museum does hold a few long-term loans from private individuals and governmental and non-governmental institutions.. These loaned objects received a loan number upon entering the Museum's custody. Loan numbers are similar to Museum accession numbers, but are preceded by "L". XI. INSURANCE It is the policy of the Museum to maintain insurance for the protection of the Permanent Collections (or portions thereof) against loss or damage by theft, vandalism, fire, accident or natural disasters; and to protect against loss or damage in the same manner any property of others for which the Museum has assumed such responsibility, and which is not subject to a disclaimer or release from responsibility. The Museum informs the Town of the most recent appraised value of the collections and recommends appropriate insurance coverage. The Town must inform the Museum's Registrar and Executive Director of any changes to the policy and supply the Registrar with a current copy of the policy. Permanent Collection Definition of Permanent: objects ("collectibles") which the Museum owns or which are loaned to the Museum for a period of six months or more and which the Museum is required to insure per the loan agreement. While on the premises of the Museum an object in the Museum's permanent collections is insured for the full appraisal value. An annual report is made to the insurance company covering all objects accessioned or deaccessioned. Outgoing Loans Objects lent to other institutions may be insured under the borrower's policy if the Registrar approves of the borrower's insurance and a certificate of insurance is provided to the Registrar prior to shipment. Museum objects borrowed for display or exhibit become the responsibility of the borrower for the fair market value of each object at the point when, by agreement, the object ceases to be the responsibility of the Museum. Objects lent from the collections shall be insured for their fair market value as determined by the appropriate Curator.

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Incoming Loans Objects solicited for loan by the Museum shall be insured under the Museum's policy or a rider to that policy for fair market value (as determined by the lender) and with no deductible at the lender's expense. If the lender is unable to supply an insurance value for the loan, the Museum may not suggest one (see under SECTION V. ACQUISITIONS-Appraisals). If the lender chooses to maintain his own insurance, the Registrar shall request a waiver of subrogation. Insurance records for incoming loans are kept in the Exhibitions File maintained by the Registrar. Objects Placed in the Custody of the Museum Objects left in the custody of the Museum (unsolicited) will not be insured by the Museum. A “Temporary Custody Receipt” on which the depositor's responsibility for insurance is noted shall be given to the depositor by the Registrar upon receipt of the object by the Museum. Documentation The Registrar records all permanent collection objects and submits an annual report on accessions and deaccessions to the Town and the Museum’s Finance Office. The Registrar also maintains records for outgoing loans. Loss Loss of an object or significant damage to an object must be reported immediately to the Director, Curator and Registrar. The Registrar is responsible for documenting the incident of loss or damage. Current Insurance Program Agent: Maureen O’Brien Agency: Frenkel and Co., Inc. Company: ACE Westchester Fire; XL Insurance Museum Policy No.: I20556924 Insured: The Bruce Museum Policy Period: Term expires July 1st annually XII. CARE OF THE COLLECTIONS The Board of Trustees of the Museum shall endeavor to provide the facilities and funding for the proper environmental and physical protection of all objects in the Museum's collections and exhibition program, as well as the maintenance of the records and inventories of its holdings. Staff Responsibilities The daily management and care of the collections is the responsibility of the Curators. The Registrar is responsible for larger issues that affect the care of the collection as a whole and for oversight of collections without a curator. The decision for major treatment or conservation is the result of discussion among the Curator, the Registrar and Executive Director.

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Object Handling/Transport 1. To prevent structural damage, all personnel involved in handling objects for storage, inventory,

installation, packing or unpacking will be instructed by the Registrar and Curator in the correct procedures outlined in the Museum's "Object Handling Guidelines".

2. The packing and unpacking of objects will be monitored by the Registrar. 3. In the event that an object is being transported by Museum staff, whether by private vehicle or rental

vehicle, under no circumstances will an object be left unattended during transport. Change of Location Inside Museum 1. Curatorial staff must notify the Registrar when objects are moved to other areas in the Museum. . 2. The actual move of an object will be made by the Curatorial staff, Exhibition staff or Registrar. Collections in Storage 1. The Curators and Registrar are responsible for the organization of collection storage, the efficient use

of facilities and the purchase of storage equipment. 2. Temperature and relative humidity in storage and exhibition galleries are monitored daily by the

Registrar with the aid of Hanwell data loggers. These record the temperature and relative humidity at set time intervals and feed the reading into a software program that presents the data in a variety of ways.

3. Integrated Pest Management Program Damage from insects and rodents shall be prevented by a regular program of pest control. Staff members will be notified whenever pesticides are being applied. The Museum is concerned for worker safety and aware of the increased environmental sensitivity in today's society and the reduction in use of traditional pesticides. The Museum shall take a proactive approach to pest problems rather than the reactive method of fumigation for pests after infestation has occurred. Less hazardous alternatives include tightening of the exterior seal on buildings, freezing, placement of monitor traps and staff education. These practices and principles use the pest’s innate behavior and biology to maneuver the pest away from the collections and facilities. Permission to acquire and apply pesticides in collections areas must be obtained from the Registrar and the Curator, and good inventory records of the pesticide applications must be maintained. Collections on Exhibition 1. Objects on display are covered by a smoke detection system, and an alarm system connected to a

central security office. Temperature, humidity and light levels are maintained at levels that are safe and appropriate to the objects located there.

2. Lighting, exhibition and storage materials, and cleaning procedures shall follow environmental

standards.

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3. Food, beverage and social activities shall be limited to areas where appropriate surveillance can be conducted.

4. Loss by theft or acts of vandalism shall be prevented by a trained, highly visible security staff. Highly

valued objects will have special security devices. The building shall be monitored for unsafe conditions and equipment and any unauthorized persons.

5. Objects on exhibition should be checked daily for changes in condition by security guards. The

Registrar makes a periodic gallery check. 6. Reports of damage to, or loss of, an object shall be reported immediately to the Registrar and Curator.. Conservation 1. The Curator or Registrar records an object's need for care based on inspection during inventories and

reports of accidental damage or vandalism. They determine the priority rating for repair, restoration or conservation of objects owned by the Museum and recommend appropriate action to the Executive Director.

2. Monies for such treatment shall be allocated from the Conservation Funds. 3. Treatment will be carried out by an outside conservator unless the treatment is minor in nature and can

be carried out by curatorial staff. Inventories 1. The Registrar and appropriate Curators shall conduct a comprehensive inventory of specific groups or

particularly sensitive or vulnerable objects in the collection or the entire collection at intervals of not less than 7 years, or as deemed necessary. When necessary, the auditors conduct spot check inventories of not less than 20 objects randomly chosen by the Registrar.

2. The inventory consists of an examination of the object noting its condition and location. 3. If an object appears to be missing, the Registrar must be notified and will attempt to locate it. If the

object cannot be located, the Executive Director will be notified and if subsequent searches do not produce the object, the Board of Trustees shall be notified.

4. Records for objects determined to be missing or stolen shall be marked as such and signed and dated

by the Registrar. They shall not be officially deaccessioned. XIII. ACCESS TO THE COLLECTIONS Physical Access to Collection Storage 1. Access to collections storage shall be the prerogative of the Executive Director. The Curatorial staff,

Registrar, and Exhibition staff shall have access in the pursuance of their duties. 2. Other personnel (staff or volunteer aid) may be granted access upon the approval of the Executive

Director, Curator, or Registrar and must be accompanied by an authorized staff member. Facilities management staff have access to the science and art collection areas 1 and 2 only in case of emergencies.

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3. Visitors, including contractors, may be granted access in the company of the Executive Director,

Curatorial staff, Registrar or Facilities Supervisor. Advance appointments with the Curator or Registrar are necessary. Individuals given access to collection items must comply with the Museum's conditions regarding examination, handling, and photography.

4. Denial of access is the prerogative of the Executive Director, Curatoror Registrar. Informational Access 1. Access to collection records is the prerogative of the Executive Director, Curatorial staff, and

Registrar. 2. In-house staff, volunteers, scholars, visitors and interested members of the public may be provided

with requested information by the curatorial staff or the Registrar. Certain kinds of information about collection items--provenance, appraised value, donor identification and location--are considered privileged and therefore may be withheld.

3. Appropriate fees will be charged to cover reproduction costs for non-Museum related research. Photography of the Collection 1. Visitors may photograph objects from the permanent collection for their own personal use only.

Special permission must be given by the Registrar for the use of a tripod. Electronic flashes are not permissible.

2. Loaned objects may not be photographed by the general public or Museum staff without the prior

consent of the lender (except in the case of general installation photographs). 3. Photography for publication/reproduction is normally done only by the Museum's photographer. 4. Requests for permission to reproduce/publish must be received in writing. If approved, either the

Public Relations Director or the Registrar processes the request by completing necessary forms, billing, arranging photography (if necessary), and sending out photographic material.

Use of Gallery Space 1. No food or drink is allowed in the main exhibition space (Love Newmann-Wilds). With the lenders’

permission, food and drink is allowed in the Lecture Gallery and the Arcade Gallery. 2. The temporary exhibition galleries may be used for Museum events such as exhibition opening

receptions and for rentals by corporations and community groups. 3. Educational or social functions must be supervised by at least one staff member as well as security. 4. Smoking is prohibited in all areas of the Museum.

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XIV. REVIEW AND COMPLIANCE The review of the CMP is necessary to maintain its validity and usefulness as guidance for the Museum's staff and the Board of Trustees. The Registrar shall recommend a review of the CMP once every five years, or sooner should circumstances warrant action. After the Collections Committee has reviewed the CMP it goes to the Board of Trustees for final approval. The CMP may be amended at any time by the Board of Trustees at any regular or special meeting with a quorum in attendance and by a majority vote of those attending. The Registrar is responsible for monitoring the Museum's compliance with the CMP and for annually reporting, in writing, to the Executive Director, the Museum's ability to comply with the CMP's mandates.

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XV. APPENDICES APPENDIX A Section 81a of Town Charter (d) Sale or Disposition of Bruce Museum Collection Items Bruce Museum, Inc., through the Director of Parks and Recreation may sell by sealed bid or public auction, transfer, exchange or convey any item in the collection of the Bruce Museum, subject, nevertheless to the following: (i) All of the items in the collection of the Bruce Museum shall be held in trust for the benefit of the

townspeople. (ii) No such item shall be disposed of except by affirmative action of the Board of Trustees of Bruce

Museum, Inc., acting at a meeting of said Board publicly noticed for such purpose. Notice of such meeting shall be published in a newspaper having general circulation in the Town of Greenwich at least thirty (30) days prior to the date of such meeting, and the public shall have the right to attend and participate at such meeting.

(iii) The Board of Trustees of Bruce Museum, Inc., shall act to so dispose of an item in the collection of

the Bruce Museum only upon an affirmative determination by said Board that the continued ownership or possession of such item by the Bruce Museum is not appropriate or necessary in the best interests of the townspeople for the proper operation of the Bruce Museum, either at the time of such determination or in the foreseeable future.

(iv) In the case of a sale or exchange of any item in the collection having a value in excess of $25,000,

Bruce Museum, Inc., shall not dispose of such item without first obtaining an objective judgment appraisal of its value from a qualified, independent appraiser, which appraisal must include an indication of how the determination was made. All funds or property thereupon received by Bruce Museum, Inc., upon the sale or exchange of such item shall be in an amount of value at least equal to the value thereof as so appraised.

(v) All funds received from sale or exchange of any item shall be deposited in an account specifically

designated to be used by Bruce Museum, Inc., to acquire objects to be added to the Museum collection. Any objects received in exchange for items in the Museum collection shall be added to the said collection and held as aforesaid.

(vi) No item or object so disposed of shall be acquired privately by any Museum employee, officer,

volunteer or member of the Board of Trustees of the Bruce Museum, Inc. or other governing body of the Museum or his or her representative unless the item or object is sold publicly and with complete disclosure of its history.

(vii) The Director of Parks and Recreation shall execute all documents of title necessary to affect the sale

or disposition of such items provided that there has been full compliance with the procedures set forth herein.