Placing your precious paintings in storage by Sandy Cosser

There are occasions when it is necessary to place valuable possessions in storage. In these instances, it’s important to see that the storage conditions are conducive to the safety and preservation of your valuables. Works of art, and paintings in particular, are vulnerable to changes in the environment and can be easily damaged owing to excessive handling. Many materials are used when creating an oil or acrylic painting, such as fibreboard support material, preparation layers, various layers of paint, and varnish. Each of these will react differently to handling and the environment, and will contribute to the condition of the painting.

 

Each time a painting is handled there is an increased chance that it can be damaged. Changes in environment can also have an adverse effect on its preservation. In dry environments, such as an attic or household that’s dependent on heating, the paint is particularly vulnerable to cracking. If it’s necessary to transport a painting in cold weather, ensure that the transportation vehicle is heated. The optimum condition for the transport of paintings is moderate temperature and a neither too high nor too low humidity level.

 

Packaging of the painting for transport is extremely important. Wrapping should include moisture and water resistance, and puncture and dent resistance at the front as well as the back. The wrapping should also include insulation against extreme heat, coldness and sudden changes in temperature, and should be cushioned for shock absorption and protection against bumps and accidental drops. After the successful transportation of your painting, you must take the appropriate measures for its safe storage. Try to match the climate conditions of the storage facility as closely as possible to those in which the painting will ultimately be displayed. Airflow is an important factor in the storage of paintings. They should be raised off the floor for maximum airflow and to prevent possible water damage. Cotton sheets should be used as covers, as this will prevent mould.

 

If you are storing many paintings it’s advisable to insert carton dividers between them to avoid undue pressure. Interior walls are best for stacking your paintings, as they are drier than exterior walls. If the storage is long-term, examine the paintings from time to time to check for degradation. On these occasions they should be dusted, and the covers and other means of protection should be changed. Sachets of silica gel, which absorb moisture from the air, can be used to protect the paintings from humidity.

 

Leonardo Da Vinci’s famous painting, the Mona Lisa, is an example of a brilliant work of art showing visible signs of wear and tear. The Louvre, in Paris, has made a relatively controversial decision to not restore old paintings simply because they look old. They believe that works of art should look their age. This is why the sky in the Mona Lisa remains a coppery colour instead of a vivid blue, as it was originally painted. Curators at the museum say that the coppery look has been acquired through the repeated application of varnish over several centuries.

 

The National Gallery in London, on the other hand, follows a different approach. It removes built up, yellow varnish from its paintings and applies a fresh, clear coat. Restorers know that the process will have to be repeated, perhaps in a 25-year cycle, but they believe that paintings should be viewed as the artists intended them.

 

Paintings are often bought, not only for their beauty and aesthetic value, but also as investments. Well maintained works of art can double or triple in value, making them an excellent return on investment. To keep them in good condition, however, it’s necessary to pamper them and treat them as delicate, but temperamental, loved ones. Taking the proper care when displaying, and especially when storing them, could result in a monetary sum that makes the effort worthwhile. Recommended Sites: http://www.preservation.gc.ca/howto/articles/painting_e.asp#top, http://www.sternart.com/article_item.asp?ID=1, http://www.oberlin.edu/alummag/oamcurrent/oam_fall2002/main_conservation_1.htm.