Proper Way to Handle Art Works
D
ocuments, manuscripts, and works of art on paper, such asprints, drawings, and watercolors, are inherently fragile
but can be easily and effectively protected from damage.
Preservation measures include:
• Proper care and handling
• Storage in protective enclosures, including matting and framing
when appropriate
• Maintaining a suitable environment by
Limiting light exposure
Controlling temperature and relative humidity
Limiting exposure to pollutants and airborne
particulates
Proper Care and Handling
Handle paper objects as little and as gently as possible.When
doing so, be sure that your hands are freshly washed.Window mats
provide maximum protection for works of art on paper because
they allow items to be viewed and transported without direct handling.
Unmatted artwork and documents are more vulnerable.
Transport them in folders and remove individual items with both
hands.
When consulting documents, place them flat and at least three
inches away from the edge of the table on a clean blotter or sheet
of paper. Be sure notepaper does not rest on them and use only
pencil when taking notes. Fragile or frequently used documents
may be placed in polyester sleeves for added protection; surrogate
copies may be substituted for the originals for display or use.
Do not undertake repairs on your own and never apply pressure-
sensitive (self-adhering) tapes to valuable documents or artwork.
Use folders to organize documents rather than attaching
paper clips, staples, or rubber bands which can deteriorate and
cause damage.
Storage
Because paper is damaged by prolonged contact with chemically
unstable materials, the choice of materials for storage and
exhibition is critical. Mats, folders, and storage boxes should be
made of cotton rag or 100% chemically purified woodpulp with an
alkali reserve equivalent to 2% calcium carbonate and buffered to a
pH of 7.5 to 10. Matboard and folders should be rigid enough to
provide adequate support. Store artwork in mats or within individual
enclosures that are larger than the items. Documents in good
condition may be stored in groups within folders; the number of
items per folder depends upon their size, thickness and condition,
and the depth of the folder. Isolate newsprint and other highly
acidic materials by storing them separately; copies on alkaline paper
may be substituted. Individual enclosures offer the best protection
for damaged and fragile items.
Store matted works or foldered items in flat files or in appropriately
sized boxes specifically designed for storing works of art or
documents. Oversized objects should be stored flat whenever possible,
not rolled or folded.They are best kept in the drawers of flat
files (map cases), made of anodized aluminum or powder-coated
steel.
If done properly with sound materials, matting and framing
provides the best protection for art on paper.A brown cut edge at
the window opening is a common sign of poor-quality mat board.
It is essential to choose a framer who uses proper materials and
techniques. Adhesives used to attach the artwork to the mat must
be chemically stable, non-staining, and readily removable.The
essentials of proper matting and framing are described in a companion
AIC brochure,
Matting and Framing Works of Art and Artifactson Paper: A Guide to Preservation
, which is available on the AICwebsite and from the AIC office.
Limiting Light Exposure
Exposure to light can cause fading of media, such as watercolor
and writing inks. Such exposure can also yellow, darken, and weaken
paper. Light damage is determined by the wavelength of the
light, the length of the exposure, and the intensity of the illumination.
Damage is cumulative and irreversible. Because all light causes
damage, display works on paper for finite periods of time. Keep
The American Institute for Conservation of
Historic & Artistic Works
Caring for Your Documents and
Art on Paper
light levels low and eliminate daylight whenever possible. 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 many fluorescent and metal halogen lamps. Incandescent or
tungsten lights are preferred, but because they emit heat, place
these light sources a distance from the artwork. UV filters to screen
out UV radiation may be purchased for fluorescent tubes, windows,
or cases.
Controlling Temperature and Relative Humidity
Keep objects in a cool, dry environment. Maintain a temperature
below 72°F with relative humidity (RH) between 30% and
50%.Warm or moist conditions accelerate deterioration, and
encourage mold growth and insect activity. Keep temperature and
RH within a narrow constant range. Climatic fluctuations cause
papers to expand and contract.This movement, although slight, can
lead to structural weakening of paper, undermine the attachment of
media, and cause distortions such as buckling of paper.
Frames and storage enclosures provide some degree of protection
against daily fluctuations but will not protect paper from longterm
or seasonal changes. Portable dehumidifiers may help control
high levels of RH in summer.To discourage mold growth, use fans
to help circulate air. Lowering heat levels in winter will not only
reduce energy costs, but will also prevent interiors from becoming
overly dry. Humidifiers may be used in areas where extremely low
RH occurs during the winter. Do not store works of art in basements
or attics, or hang them in bathrooms or over heat sources.
Limiting Exposure to Gaseous Pollution and Airborne
Particulates
Pollutants from industrial gases, auto emissions, and heating
sources are readily absorbed into paper and media and may form
compounds detrimental to their stability. Dust, soot, and soil are
difficult to remove safely from delicate, porous paper surfaces.
Sources of indoor air pollution, such as ozone from copying
machines and fumes from new construction materials, paint, new
carpets, janitorial supplies, and wooden cabinets, can also degrade
paper and media. One way to protect paper is to fully enclose each
object in housing made with appropriate materials. Frames must be
glazed and well sealed. Documents and unframed artwork are protected
by storage in folders within containers made of permanent
durable material.
When Disaster Strikes
Most natural or man-made disasters, such as floods or fire,
involve water. Even a small amount of water from a leaky roof or
pipe can do significant damage to a paper collection.When such a
disaster occurs, contact a paper conservator, regional agency, or cultural
institution for assistance. Immediate response within the first
48 hours is crucial to the successful salvage of materials and the
prevention of mold growth.The American Institute for
Conservation can assist by identifying conservators in your region.
When to Call a Conservator
Some conditions require immediate attention.Wet or moldy
materials or those with actively flaking media have high priority. If
you notice pressure-sensitive tapes and labels, brittle matboard, or
changes in condition such as tears, detached hinges, or disfiguring
stains, contact a conservator trained to address the special needs of
works of art and artifacts on paper.The AIC office provides assistance
with its Guide for Conservation Services and a brochure on
how to select a conservator.
Further Reading
Bachmann, Konstanze. 1992.
Conservation Concerns: A Guide forCollectors and Curators
.Washington, D.C.: Smithsonian InstitutionPress.
Ellis, Margaret H. 1995.
The Care of Prints and Drawings.WalnutCreek, Calif.: AltaMira Press.
Long, Richard. 2000.
Caring for Family Treasures. New York: HarryN. Abrams.
The following provide more specialized information:
ANSI/NISO Standard Z39.77-2001.
Guidelines for Information aboutPreservation Products
.Clapp, Anne F. 1987.
Curatorial Care of Works of Art on Paper. NewYork: Nick Lyons Books.
Ogden, Sherelyn, ed. 1999.
Preservation of Library and ArchivalMaterials. 3d ed
.Andover, Mass.: Northeast Document ConservationCenter.
Ritzenthaler, Mary Lynn. 1993.
Preserving Archives and Manuscripts.Chicago: Society of American Archivists.
Prepared by Mary Todd Glaser with assistance from Nancy
Schrock, Elizabeth Kaiser Schulte, and
Hilary A. Kaplan
2003
For more information, contact:
American Institute for Conservation of
Historic & Artistic Works (AIC)
1717 K Street,NW, Suite 200
Washington, DC 20006
Telephone: (202) 452-9545
Facsimile: (202) 452-9328
E-mail: info@aic-faic.org
Website: http://aic.stanford.edu
The American Institute for Conservation of Historic & Artistic
Works (AIC) is the national membership organization of conservation
professionals dedicated to preserving the art and historic artifacts
of our cultural heritage for future generations. Among other
services of AIC is the Guide to Conservation Services, which provides
a free list of conservators in your geographic region.The AIC
brochure,
Guidelines for Selecting a Conservator, will help you makean informed choice.
The recommendations in this brochure are
intended as guidance only, and AIC does not assume responsibility
or liability.