Protecting Paper
March 2008
Watercolors, prints and photographs are among the most popular collecting categories in the United States, if not the world. Prices range widely, but works on paper are very approachable at the lower end and are, from a cost perspective, easy entry categories, in the jargon of the art world. They are easy to buy and easy to enjoy, but need special care to prevent damage from the quotidian hazards of light, humidity and acid. They are more vulnerable than works on canvas or panel, and are most frequently and beneficially framed under glass. A good framer and a good paper conservator should be in your address book. Following is some expert advice on how to properly maintain your works on paper.
FRAMING PROTECTS. Protect your art on paper by framing it under light-filtering UV (ultraviolet) protective glass, which is available at any good framing shop. Some collectors opt for the lighter weight of UV-resistant clear acrylic, which can take a blow without shattering (good if you live in an earthquake zone) and will offer more protection in a fire than glass, which will heat-shatter quickly and expose the art. However, glass should always be used to frame pastels or charcoals because the build-up of electrostatic charges in acrylic will eventually disturb the powdery mediums, which don’t bind well to paper.
Mat boards, by providing separation, prevent the artwork from adhering to the protective front glass or acrylic, which can happen in very humid environments. The sealed back is a barrier against pipe-bearing or outside walls that convey moisture and transmit temperature changes. "To prevent the frame itself from resting directly on the wall, especially an outside wall, buy spacers at a hardware store or—a trick I suggest to my clients—slice a wine cork into quarter-inch discs and attach one to each back corner with Elmer’s glue," says Martina Yamin, a New York–based conservator of works on paper. Whenever possible, hang works on paper on interior walls.
ACID CONTROL. Ordinary paper contains acid that will eventually cause discoloration and brittleness. Art on paper should always be mounted on and matted with acid-free backing paper or four-ply museum board (which is acid-free cotton rag). "Because glues will likely damage the paper," says Yamin, "the preferred adhesive for attaching the art to the backing is archival hinging tape or archival paper hinges, which are made of Japanese paper with soft edges. These are attached with wheat starch paste, which creates a strong bond." David Chandler, chief conservator of works of art on paper at the Chicago Conservation Center, reports that conservators cook—literally—and strain this paste several times to make it very fine, smooth and malleable. It provides high adhesion yet is removable. For collectors who want nothing attached to their art, the alternative is Mylar photo corners, which are acid-neutral and won’t discolor.
TEMPERATURE AND HUMIDITY. Recommended guidelines suggest maintaining room temperature between 68 and 70 degrees Fahrenheit (up to 75 degrees is tolerable), and humidity in the range of 40 to 50 percent (up to 55 is acceptable, but is still less than ideal) to help deter mold, mildew and foxing—those stubborn, unattractive rust-like spots. Consider using dehumidifiers in damp environments and humidifiers in drier settings, alternating seasonally if necessary.
For these reasons, do not hang art over a fireplace, a heating or cooling unit, or in bathrooms or kitchens. If your art should be soaked by a storm, immediately blot off moisture with a paper or cloth towel. Carefully disassemble the frame and move the art to a space that is light and air-conditioned or that has fan-circulated air. Then get it to a professional conservator as quickly as possible.
The important thing is consistency. "Because paper reacts greatly to changes in both temperature and humidity, aim for as little fluctuation as possible," says Chandler. "Photographs are perhaps the most susceptible to humidity changes. They can warp and even shift position in the frame under the most dramatic circumstances."
FRAMING PROTECTS. Protect your art on paper by framing it under light-filtering UV (ultraviolet) protective glass, which is available at any good framing shop. Some collectors opt for the lighter weight of UV-resistant clear acrylic, which can take a blow without shattering (good if you live in an earthquake zone) and will offer more protection in a fire than glass, which will heat-shatter quickly and expose the art. However, glass should always be used to frame pastels or charcoals because the build-up of electrostatic charges in acrylic will eventually disturb the powdery mediums, which don’t bind well to paper.
Mat boards, by providing separation, prevent the artwork from adhering to the protective front glass or acrylic, which can happen in very humid environments. The sealed back is a barrier against pipe-bearing or outside walls that convey moisture and transmit temperature changes. "To prevent the frame itself from resting directly on the wall, especially an outside wall, buy spacers at a hardware store or—a trick I suggest to my clients—slice a wine cork into quarter-inch discs and attach one to each back corner with Elmer’s glue," says Martina Yamin, a New York–based conservator of works on paper. Whenever possible, hang works on paper on interior walls.
ACID CONTROL. Ordinary paper contains acid that will eventually cause discoloration and brittleness. Art on paper should always be mounted on and matted with acid-free backing paper or four-ply museum board (which is acid-free cotton rag). "Because glues will likely damage the paper," says Yamin, "the preferred adhesive for attaching the art to the backing is archival hinging tape or archival paper hinges, which are made of Japanese paper with soft edges. These are attached with wheat starch paste, which creates a strong bond." David Chandler, chief conservator of works of art on paper at the Chicago Conservation Center, reports that conservators cook—literally—and strain this paste several times to make it very fine, smooth and malleable. It provides high adhesion yet is removable. For collectors who want nothing attached to their art, the alternative is Mylar photo corners, which are acid-neutral and won’t discolor.
TEMPERATURE AND HUMIDITY. Recommended guidelines suggest maintaining room temperature between 68 and 70 degrees Fahrenheit (up to 75 degrees is tolerable), and humidity in the range of 40 to 50 percent (up to 55 is acceptable, but is still less than ideal) to help deter mold, mildew and foxing—those stubborn, unattractive rust-like spots. Consider using dehumidifiers in damp environments and humidifiers in drier settings, alternating seasonally if necessary.
For these reasons, do not hang art over a fireplace, a heating or cooling unit, or in bathrooms or kitchens. If your art should be soaked by a storm, immediately blot off moisture with a paper or cloth towel. Carefully disassemble the frame and move the art to a space that is light and air-conditioned or that has fan-circulated air. Then get it to a professional conservator as quickly as possible.
The important thing is consistency. "Because paper reacts greatly to changes in both temperature and humidity, aim for as little fluctuation as possible," says Chandler. "Photographs are perhaps the most susceptible to humidity changes. They can warp and even shift position in the frame under the most dramatic circumstances."
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