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Common Culprits of Art Damage: Causation and Prevention 101

By THE CONSERVATION CENTER

Collectors take great pride in the quality of artwork in their collections, and often ensure they obtain proper insurance coverage to protect their assets against catastrophic events such as flood or fire. While that is certainly a necessary step in the protection of a collection, it may surprise you to know that some of the most common causes of damage are latent culprits linked to how we choose to display and frame our artwork. Luckily, with proper foresight and preparation, most of this damage is preventable.

Within the dialogue of proper display and framing, archival materials reign supreme. But what does archival really mean? In 1869, the method of mass-producing paper changed dramatically. The pulp source used for making paper materials shifted from cotton or linen to wood pulp. A century later, an American chemist and paper conservator by the name of W.J. Barrow published the first studies that cited acid as a significant cause of paper deterioration. Since then, conservators have been actively avoiding the use of acidic and non-archival materials in display and framing. Note that something that is archival will be acid-free, but something that is acid-free may not always be archival.

What happens when non-archival framing materials are used? "Acid burn is a type of damage seen in various forms of paper-based substrates in which the acidic content of framing and housing materials comes into contact with a work of art on paper that in some cases may or may not contain trace evidence of acidity itself. What we commonly see in works of art on paper that have been poorly framed in the past is certain trace elements of yellow and brown stains that have migrated into the sheet. This is due to the acidic content within the framing materials coming in direct contact with the work of art," says Brian Kapernekas, Senior Conservator of Works of Art on Paper at The Conservation Center.

"In some cases light strike may exacerbate the situation. This is a term used to describe the effects of ultraviolet (UV) rays passing through unprotected non UV filtered glazing causing some inks and pigments to fade and paper to darken in appearance. This essentially assists in breaking down the pH levels in the paper, thus increasing the levels of acid content within the poorly framed housing materials," states Brian.

Glazing is the first line of defense when it comes to blocking out environmental factors such as dirt, dust, and harmful UV rays, and it is generally recommended that works on paper are framing behind proper glazing. It is important that spacers be installed so that the glass (or acrylic glazing) does not come in contact with the art. Improper distance from the glazing may potentially cause off-gassing or adhesion. Paintings are not generally displayed with glazing, but there are some exceptions, for example a particularly delicate paint layer, or putting a painting on display in a high traffic area. Painting techniques have a tendency to be more three dimensional than paper pieces and glazing “can sometimes distract the viewer from the immediate aesthetic nuances of the paint layer, but it is important to determine with a conservator or framer what the best and safest option is your specific painting” according to Senior Painting Conservator Amber Schabdach at The Center.

Mat and mount boards are used to act as an “inner frame” for the artwork, and while the mat and mount serve an important purpose, hinges are what actually secure the artwork in place. When hinging works on paper, Kozo tissue, a very thin but strong Japanese paper should be used whenever possible. The hinge is best applied with reversible adhesives such as wheat starch paste or methylcellulose, both of which are water-based. Non-archival tapes and irreversible adhesives will damage the works, prompting skinning, tears, or staining to the paper support. Other non-invasive options are photo corners or sink mats because they are easily reversed and do not physically alter the artwork.

Backing boards protect the back of the artwork and provide rigidity and support inside the frame. Paintings that are unframed should have a backing board as a precautionary measure to protect the back of the piece from impact as well as dust and debris. A preferred material for backing is Coroplast; which is a corrugated polypropylene board that is rigid, resistant to puncture and moisture. Other appropriate materials include archival 8-ply mat boards and archival corrugated blue boards. Non-archival materials such as foam board, cardboard, and wood are harmful and should be replaced.

As frames are typically made out of wood, they should be sealed so that the natural acidity of the wood does not leech into the framing package. Ideally, the inner rabbets of the frame should be isolated so that the wood is not in direct contact with the art. The artwork should be safely secured within the frame with the appropriate spacing implements and depth so that both the artwork and the frame have the ability to expand and contract from climate fluctuations in the environment.

The next important element is hanging hardware, a practical and basic element which is often overlooked. "I have fixed many frames that have fallen off the wall because of poor hanging hardware. When was the last time the hardware on your artwork was checked? Has it been years? I have seen stereo wire, clothes hangers, and twine to hang a piece of art, sometimes very substantial paintings. If the hardware and wire are too weak or not properly secured to the frame, it will fail; it’s just a matter of when. This can lead to damage of the frame as well as the work of art. Proper hanging hardware is a simple fix that can prevent damage." says Josh McCauley, Senior Gilding and Frame Conservator at The Center. In addition to the hardware on the piece, the hardware installed on the wall is critical to safe display of your piece.  Art handlers can advise on the proper hooks, anchors and mounts as well as aesthetics of the location of the installation.

The Center advises that any piece of art that was framed 15 or more years ago, should be re-examined to ensure it is housed with archival materials and UV protective glazing. It takes years of experience to learn the various nuances constantly changing and adapting as research and technology continue to inform our field every year. We all strive to learn more about improving our approaches, methods, materials, and techniques within the vast and ever-changing field of art preservation. Taking the proper precautions will extend the longevity of your art and heirlooms, allowing them to be available for generations to enjoy and appreciate.

 

Top image: This piece has faded over time from improper glazing.

 

If you need professional help, contact a professional conservator or someone at the Conservation Center 

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