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Although works of art on paper such
as prints, drawings, and watercolors are inherently fragile, they
can be easily and effectively protected from damage and deterioration.
Preservation measures include:
PROPER STORAGE AND HANDLING
Works of art on paper should be touched as little as possible. Be
sure that your hands are very clean, or wear white cotton gloves.
Better yet, mat, frame, or store the works in a manner that permits
viewing and transporting without direct handling.
Because paper is damaged by prolonged contact with acidic surroundings,
the choice of storage and mounting materials is crucial. Mats, folders,
and mounting adhesives must be chemically stable, nonstaining, and
permanent but reversible. Although framers are more knowledgeable
today, some are still unaware of the importance of using preservation-quality
materials. It is essential to find one who does. A paper conservator
or a major museum can refer you to such a framer. If your works
on paper were framed commercially before 1980, poor-quality mounting
materials may have been used. One common sign of poor mat board
is browning of the cut edge of the window opening. If you are unsure
of how to identify the material in your framed artwork, consult
a paper conservator.
THE ESSENTIALS OF PROPER FRAMING ARE:
- a mat window and backboard made of 100% ragboard or the lignin-free,
alkaline-buffered matboard especially for preservation purposes
- attachment of the artwork to the mat or mount by hinging with
high-quality Japanese paper and a permanent, nonstaining, reversible
adhesive. Homemade starch paste is the choice of conservators.
Avoid commercial tapes, including those advertised as archival.
If you want to try to do your own matting, a paper conservator
can advise you about sources of supplies.
- protective glazing, either glass or rigid acrylic. The artwork
must not be in direct contact with the glazing material. Ultraviolet
filtering products, available in glass as well as plastic, are
recommended to protect against the most destructive component
of light. Note that acrylics carry a static charge and must not
be used with pastels, charcoal, or other powdery or flaking medium.
- an additional protective layer of sturdy, lignin-free cardboard
at the back of the frame. The frame should also be well sealed
to discourage entry of air.
Unframed works of art must have individual protective enclosures.
Although matting is preferred, sturdy individual folders are an
acceptable alternative. Like matboard, these folders must be made
of lignin-free, buffered stock that is rigid enough to provide adequate
support. To protect the edges of the artwork, folders should be
somewhat larger than their contents. Objects in folders or mats
should be stored flat in lignin-free boxes such as heavy-walled
Solander boxes, the traditional choice of museums. Oversized works
of art are best kept in the drawers of flat files (map cases). These
files should be made of metal rather than wood since wood gives
off acidic gases. Wood files can be used if the interior of the
drawers is sealed with a water-based polyurethane coating and lined
with a suitable barrier material such as lignin-free board or 5-mil
polyester film (Mylar). If you purchase storage drawer units, anodized
aluminum or powder-coated steel are recommended.
PROTECTION FROM LIGHT
Light causes fading of certain media, especially watercolor, pastels,
and many drawing inks. It can also darken or embrittle paper. Light
damage is cumulative and irreversible. Because all light will cause
damage, conservators recommend that no work on paper be permanently
displayed.
The best display conditions are those with low light levels and
no daylight. Block windows with shades, blinds, or curtains. Light
sources containing ultraviolet (UV) rays are especially harmful.
UV is found in all daylight, most abundantly in sunlight, and in
the emissions of certain artificial lights, such as most fluorescent
and metal halogen lamps. Ordinary household bulbs (incandescent
or tungsten lights) contain negligible UV and are therefore recommended.
These bulbs give off heat, however, and should not be placed near
the artwork.
Special filters are available to screen out UV radiation. Inexpensive
plastic sleeves can be purchased for fluorescent tubes. Windows
or cases can be covered with stick-on UV-absorbing films, or rigid
sheets of UV-filtering plastic or glass can be used in frames or
windows.
PROTECTION FROM UNSAFE TEMPERATURE AND RELATIVE
HUMIDITY CONDITIONS
Because warm or moist conditions accelerate deterioration, temperature
and relative humidity (RH) should not exceed 70¡F and 60%,
respectively. High temperature and RH also encourage mold growth
and insect activity. Very low RH, below 25%, is believed to be less
damaging but may cause paper to become brittle.
Temperature and RH should remain constant. Climatic fluctuations
cause expansion and contraction, which can lead to structural damage
in paper, weaken the attachment of media, and cause distortions
such as rippling of paper. Frames and storage enclosures may provide
some degree of protection against daily fluctuations but will not
protect paper from long-term or seasonal changes.
Temperature can usually be controlled by heating and air conditioning,
but more expensive equipment may be necessary to keep the RH constant
all year. Lacking such equipment, some control can be maintained
by using portable dehumidifiers in summer and by lowering the heat
in winter.
During periods of high humidity, use fans to circulate air and help
discourage mold growth. Above all, do not store works of art in
basements or attics. Do not hang them in bathrooms or over heat
sources. Unless the building has excellent climate controls, do
not subject art on paper to seaside locations or other damp areas.
PROTECTION FROM GASEOUS POLLUTION AND
AIRBORNE PARTICULATES
Dust and soot will soil delicate, porous paper surfaces and are
difficult to remove safely. Ubiquitous pollutants from industrial
gases, auto emissions, and heating compounds are readily absorbed
into paper, where they form harmful chemicals that discolor or embrittle.
In addition, sources of internal air pollution, such as copying
machines, new construction materials, paint fumes, new carpets,
janitorial supplies, and emissions from wooden cabinets, can attack
paper.
Controlling air quality is often difficult. Probably the most practical
way to protect art on paper is to enclose each object in protective
housing made with appropriate materials.
WHEN DISASTER STRIKES
Although hurricanes and earthquakes may be rare, water accidents
are common. Even a small amount of water from a leaky roof or pipes
can do significant damage to a paper collection. If objects get
wet, call a paper conservator or a museum immediately. It is important
to dry paper right away before mold sets in. Wet objects in frames
with glazing must be removed from their frames. If you are hesitant
to handle the damp paper, expose the object by removing the backing
from the frame. If the collection is too large to dry right away,
freezing may be necessary. Speak with a conservator first.
FURTHER READING
American Institute for Conservation. Matting
and Framing Works of Art on Paper (leaflet). Washington D.C:
American Institute for Conservation of Historic and Artistic Works
(FAIC), 1994.
Clapp, Anne F. Curatorial Care of Works of
Art on Paper. New York: Nick Lyons Books, 1987.
Ellis, Margaret H. The Care of Print and Drawings.
Nashville, Tenn.: American Association for State and Local History,
1987. Reprint Walnut Creek: Calif.: Altamira Press, 1995.
Ellis, Margaret H. Works of Art on Paper. In
Caring for Your Collections, ed. Arthur Schultz, pp. 40?51.
New York: Harry N. Abrams, 1992.
Ogden, Sherelyn, ed. Preservation of Library
and Archival Materials. Andover, Mass.: Northeast Document
Conservation Center, 1994. See chapters on storage of paper, storage
furniture, matting and framing, and how to make mats.
Perkinson, Roy L., and Francis W. Dollof. How
to Care for Works of Art on Paper. Boston: Museum of Fine Arts,
1985.
"Caring for Works of Art on Paper" The American Institute
for Conservatio of Historic and Artistic Works. <http://aic.stanford.edu/treasure/paper.html>
Accessed Wed Aug 21 05:28:21 US/Central 2002 ].
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