CONSERVATION TIPS FOR WEATHERING THE RECESSION

The unstable economy and accompanying volatility in the art market have spurred many collectors to reevaluate their collecting strategies. "Uncertain times like these are an opportunity to reassess the artworks you already own and take steps to protect your investment", says Larry Shar, president of Lowy. "Whether you are planning to sell your paintings and works on paper or keep them in your collection indefinitely, our conservation and framing expertise may be just what you need either to spruce them up for sale or ensure that they retain their value over time."

There are a number of visual indicators that can help you identify whether your artworks and frames need to be refurbished. With paintings, for example, you will want to check for structural abnormalities, such as the slackening or buckling of a canvas that has loosened from its stretcher. This often can be easily corrected, but can cause more serious structural problems if left unattended. Surface changes also can be a sign that a painting needs to be conserved. These include dust and dirt accumulation or mold infestation, which can cause discolorations or darkening of the paint layer; cupping, which occurs when the paint layer separates from the canvas, producing small cracks and raised cup-like areas; and even more severe, flaking, in which the paint layer lifts in small flakes from the canvas, creating losses.

Works on paper, including pastels, watercolors, gouaches and acrylics, are particularly susceptible to mold growth or foxing caused by improper conditions and excessive humidity. Foxing can be identified by brown spots either on the recto or verso of the artwork. Moisture also can cause surface distortions of the paper support, as it does with canvas. The type of paper used can make works on paper particularly vulnerable to damage. Most artists use archival, or acid-free, 100% rag paper to prevent deterioration and discoloration that can happen over time to acidic wood pulp papers. But even archival works on paper can be susceptible to discoloration if they are framed improperly with non-archival mats and backboards, from which acids can leach onto the edges or back of the artwork. Because works on paper are especially sensitive to ultraviolet light, which can fade pigments or discolor the paper, they should be framed using either glass or Plexiglas that is made to filter harmful UV rays.

Whether you collect works on paper, paintings or both, overexposure to sunlight, environmental pollutants, water damage, and rapid and extreme fluctuations in temperature and humidity are the primary culprits of undesirable changes to your artworks. Heat produced by excessive spotlighting or close proximity to indoor heaters, fireplaces and stoves also can be harmful. While museums invest heavily in pristine, state-of-the-art climate controlled environments, this option may not be feasible for many collectors. Therefore, you should simply try to display and/or store your artworks in areas that are least susceptible to the above-mentioned conditions.

Depending upon your geographic location, you can take simple measures to reduce potential damages to your artworks. For example, if you live in a damp area such as New Orleans, you may want to use a dehumidifier. If you live in a New York City apartment, you should be careful not to overheat your living quarters and consider using a humidifier during the winter; during humid summers you should keep your home air-conditioned to provide as stable an environment as possible. In traffic-congested urban areas like Los Angeles, try to keep your windows closed as much as possible to prevent pollutants from embedding in your artworks. You also should not hang your paintings or works on paper in direct sunlight, which causes fading. If you use a fireplace or wood-burning stove, be sure that your home is properly ventilated to avoid the build-up of soot on paint surfaces.

Perhaps your artworks have preexisting conditions and have never been conserved; or they may have prior restorations that were not executed correctly. Perhaps your works on paper were framed improperly; they may not have archival matting, UV filtering glazing or proper hinging. Whatever the situation may be, if your artworks show any signs of disrepair, as described, a skilled conservator/framer such as Lowy should examine them and evaluate their condition. For more than a century, Lowy has been offering a full spectrum of state-of-the-art services that adhere to the highest international conservation standards.

Frames, of course, have their own individual conservation needs or issues, which Lowy is equally well equipped to address. Perhaps an artwork was purchased, and the frame was never evaluated. For example, are the wiring and hangers on the verso secure so that the picture will not fall off the wall? We have seen a surprising number of damages to both artworks and frames due to this oversight. Does the frame fit securely on the picture? Is the frame of poor quality, unattractive or of the wrong period and, therefore, not properly complimenting the picture? A good frame can not only greatly enhance an artwork, but also increase its value for future resale. Is the frame a valuable antique that either has fallen into disrepair or been improperly repaired and could use some sprucing up? These are all questions that should be considered. Lowy will be happy to assist you in your evaluation.

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