Nothing is more frustrating than, upon examining a work of art on paper, finding that the value of my client’s work has diminished as a result of its degraded condition. On many such occasions, the damage and subsequent further deterioration could have been avoided if the owner had known how to provide good care and a safe environment for the work of art on paper.

Paper is the material on which the majority of artists’ images are produced. The raw material of paper is cellulose, a product derived from vegetable fibers. In order to obtain certain desirable qualities, such as whiteness, these fibers may be combined with adhesives. The strongest and most durable papers come from fibers of linen, flax, hemp, or cotton; often these are obtained from reprocessed rags.

Paper was invented in China in the second century, but the paper-making process did not begin in Europe until the 12th century. It was Johann Gutenberg’s invention of moveable type in the mid-15th century that ushered in the commercial demand for paper. With the expansion of the paper industry in the early 19th century, wood-based papers became a cheap alternative to the costly rag-based papers. Currently, rag-made papers are rarely used for printing but are still a preferred choice for works on paper by artists.

A variety of factors contribute to the degradation of works of art on paper. These include careless handling; poor environment; and improper cleaning, conservation, storage, exhibition and framing. To follow is detailed information about how you can help prevent these common causes of damage.

Handling

Careless handling can lead to stains, creases and tears in artwork on paper. In order to prevent stains, sterile white cotton gloves should be worn at all times. To prevent creases and tears, it is necessary to support the object with a stiff piece of paper or mat board. The mat board must be carefully slid underneath the object before transportation. Therefore, only the mat board, rather than the fragile art, is handled. On a cautionary note, never lift a piece of paper by the edges, as this method can easily cause damage.

Environment

The overall environment in which works of art are stored can have a significant effect upon condition and longevity. Fluctuations and extremes in temperature and humidity levels can be detrimental, especially for works of art on paper. Paper objects should be kept far away from heat sources such as furnaces, fireplaces, warm lights and sunlight. Acceptable temperature and humidity levels in winter and summer are 15 to 200 ^oC with relative humidity of 35% to 50%, and 20 to 250 ^oC with relative humidity of 50% to 55%. The chief cause of damage to works on paper is exposure to high light, and the most damaging element of that is the invisible, high-energy portion of ultraviolet light. Ultraviolet filtering for Plexiglas and windows is readily available and should be used in all circumstances in order to preserve works of art on paper.

Storage & Framing

Proper storage and framing can aid in keeping works on paper free from damage. If unframed, paper objects should be stored in clear plastic (Mylar) envelopes or in acid-free folders. The folders and envelopes should be stored in acid-free storage boxes. In order to provide safe storage of pastels and charcoal drawings, the use of window mats or individual boxes is recommended. All storage boxes, folders and tissue paper should be acid-free, lignin-free and have a neutral pH.

If framed, only high-quality, acid-free, lignin-free materials are recommended. Paper objects should always be framed so that a space is provided between the surface of the paper and the Plexiglas of the frame. The work of art should be attached to the mat board using acid-free paper hinges and the highest-quality adhesives; recommended adhesives are wheat starch paste, methyl cellulose and specialized hinging tape that is made according to archival standards.

Cleaning & Conservation

When cleaning or restoring works of art, it is recommended that you always hire a professional and reputable conservator. This will reduce the risk of there being damage done to your art during these processes. On a cautionary note, collectors are advised to have a conservator examine all works of art on paper that were framed before 1980. Most likely, poor-quality mounting and framing materials have been used. Evidence of degrading condition that requires immediate attention may include:

- overall darkening of the paper

- brittle paper

- localized discoloration of the paper

- fading of colored paper

- mold growth and condensation

- foxing (small circular patches of brownish discoloration)

- extreme overall buckling of the paper

- localized buckling of the paper

- extreme flatness of the paper

- damage from insects and rodents

To find a conservator in your area, contact the American Institute of Conservation of Historic and Artistic Works in Washington, D.C.