The Conservation Center

Check Out Shia Kapos' just-released Crain's Chicago Business feature on our work and our new space

Tue, 31 Jul 2012 16:59:27 GMT

Take a look at the newly released article by Shia Kapos in Crain's Chicago Business featuring Heather Becker and The Conservation Center.

Art Conservation Resource Links

Sat, 31 Dec 2011 22:42:26 GMT

Check out our list of recommended art conservation links, categorized by:

General Conservation Links
Object Conservation Links
Photography Conservation Links
Building, Historic Site, and Grounds Preservation Links
New Media
Conservation and Art Research Related Links
Insurance Industry Links

More Resources

Sat, 31 Dec 2011 18:55:00 GMT

Though obviously here at the Center we like to think that we dispense some of the finest information you can find on art conservation, we’re not jealous of the excellent knowledge provided by other conservators and industry professionals. Here’s a sample of what we’ve wanted to share lately:

AMIEN, connected to the Intermuseum Conservation Association (ICA), is an resource concerned with presenting unbiased information on artists’ materials. If you’re an artist, this kind of well-kept information is invaluable. If you’re a conservator, you thank your lucky stars as well: it’s the easiest way to ask what exactly is in that art world darling’s preferred random medium. And, of course, if you’re artistically minded and perpetually curious, the science behind the art is incredibly fascinating.

In a less substantive vein, there’s always Recent Setbacks in Conservation Online, where devotees of the prestigious profession scribe research articles on conserving the Journal of the American Institute for Conservation, for example, or the effects of volatile materials on museum artifacts — said materials being perfume and aftershave. Entries are requested to be “irrelevant and irreverent,” making for entertaining reading.

Of interest to WPA mural aficionados might be another well-written fiction, this time from a hometown blogger who goes by Chicago Guy. Though he’s praising the writing portion of the New Deal’s impact on this country’s humanities majors, so to speak, you’ll note from his accompanying illustration that art and storytelling go hand in hand.

And finally, an article that correlates the philosophies behind old works of art and old forms of yoga: what convinces some that “the original” or its closest approximation, is what we need in the modern day, and what convinces others that the yellow patina or modified positions should remain?

Further Education

Sat, 31 Dec 2011 18:52:06 GMT

Chances are that if you’re here, you possess at least a moderate interest in the practice of conservation. Whether this is merely a general curiosity, or researched with a personal treasure in mind, there are a few additional scholarly resources that might pique your interest. Obviously, those who are interested not just in the practice of conservation, but in the field itself, will be acquainted with these universities, but for the rest of the audience, here are some blogs from graduate students in Conservation:

Queen’s University (Ontario): Student Blog
UCLA: Archaeological and Ethnographic Materials: Program Blog

University of Delaware’s Student Blogs:
Class of 2013
Rose Daly
Caroline Roberts
Steven O’Banion
Chris Cole
Amanda Norbutus

Granted, these are not the only institutions with Conservation graduate programs, simply the ones whose students are updating the internet public with their activities and progress. For a more complete list of Conservation degrees awarded in North America, please visit the AIC’s Conservation Training Resources page.

Safe Packing and Shipping

Sat, 31 Dec 2011 18:40:40 GMT

Before packing a painting or work of art, be sure that it is secure in the frame and that there are no loose pieces that could potentially damage the art while in transit. Ensure that glassine is not touching the surface of the painting to avoid adhesion to the varnish layer. It is best to wrap paintings in glassine or paper first, which will help to ward off any condensation that might occur from moisture exposure, followed by a protective layer of Mylar or polyethylene. Dartek, a polyester sheeting that “breathes”, can be used with no inner wrapping for short trips.

Do not allow packing material to touch the surface of a painting or work of art. If need be, create a shadow box. Wrap the corners or other exposed surfaces in a thick layer of cardboard followed by a layer of bubble wrap. If a frame seems unstable, remove it and wrap it separately with cardboard and bubble wrap. Paintings should be faced with cardboard.

Do not wrap a painted surface directly in bubble wrap. Put a layer of moisture-absorbent material between the item and the bubble wrap, and apply the bubble wrap with the bubbles facing away from, rather against, the surface. This will prevent the bubbles from denting the item. The outwards-facing bubbles will also be able to better protect the item during transport and prevent the bubble from causing a “honey-comb” effect to a painting’s varnish layer. If you are reusing packing material, make sure that it is clean and free of mold, mildew or debris. It may be worth the small investment to purchase new, clean materials for each move.

For longer trips requiring transfers or overnight stays, painted works should be further packed in a cardboard box or, preferably, a custom-designed crate built by a company specializing in this field. These can even be climate-controlled for fragile pieces. Crates that are being reused, particularly if designed for a different painting, should be closely inspected to make sure that the packing material is adequate to its new task and that it has not deteriorated over time.

Try to ship artwork at the start of the work week versus the end of the work week to avoid over handling. Standard carriers will often store or pile items in a warehouse during weekends. Never roll or fold a painting using a tube. Both techniques require extensive art-handing experience and should only be carried out by conservators or professional art movers.

For short trips it may be tempting to simply wrap a painting in a towel or blanket, but this is generally not a safe method as the surface of the wrapping can scratch the surface of the painting. This is particularly true for items with loose or flaking paint, which should ride uncovered face-up. If the item must be wrapped, it is best to drape it loosely with a polyethylene drop-cloth, available from a hardware store.

If traveling by car, clear the area where the painting will be placed of any items that may come loose and either damage the item or prevent it from riding safely. In warm and humid climates, the vehicle in which the art will be transported should be pre-cooled in order to keep it in a stable environment; in northern areas, it should be preheated.

If a painting has had a long trip or if there is a climatic change in its environment and you suspect that condensation may have occurred, it should be unwrapped as soon as possible. The safest option is to hire professional art movers and packers who use climate-controlled vehicles fitted with a low-vibration “air ride” feature to transport art. During long trips the movers should ensure that the truck is protected and the temperature controlled with alarm systems for overnight stays. If you feel that your painting is not being handled correctly, let the company know of your concerns. It is recommended that professionals entrusted with your collection have had employee background checks which should be routine policy.

Maintaining the Safety of your Collection

Sat, 31 Dec 2011 18:38:50 GMT

It is always best to display items on interior dividing walls rather than on outer perimeter walls that experience greater climatic variations.

Items should also be kept away from fireplaces (where they can be affected by not only temperature changes but also smoke and soot), air conditioning or heating vents, and bathrooms or other areas with warm running water.

Display your artworks away from any direct light source, including sunlight and picture-frame lights, which can heat the item unevenly and cause fading, burns, or discoloration. UV light is particularly destructive to paper artworks and should be reduced as much as possible. The rule of thumb is, the bluer or “cooler” the light, the more UV it contains.

Indirect sunlight, recessed lighting, ceiling-mounted spotlights and tungsten lamps are the preferred method of illuminating artworks in museum and gallery settings. Keep curtains and shades drawn and shut all lights when the room is not in use. If possible, install UV-filtering film on widows and halogen lights or around fluorescent tubing and halogen lights that lack a UV-filter to further reduce the impact of harmful radiation.

As the effects of light exposure are cumulative, it is best to rotate the artwork on display every three to six months. This is the annual exposure time adopted by many museums.

It is best not to place your artwork in high-traffic and seating areas where accidental damage can easily occur.

Framed paper items should only be mounted and matted with museum-standard acid-free materials, which have are neutral or alkaline (have a pH of 7 or above). Items in contact with acidic materials can experience mat burns, tape stains, and general darkening. Works of art on paper should also be framed behind UV-filtering glazing to reduce the impact of light exposure.

Ensure that your items are properly framed to museum standards with a protective paper backing to block environmental stresses and proper hanging hardware, attached to the frame rather than to the item’s structural supports. Hang items from picture hooks, rather than nails, and always make sure that there are enough in place to properly support the weight of the item. If in doubt, a professional art installer can assist you in determining the best display and hanging system for your collection.

Artwork, particularly paintings, should only be cleaned every four to six months after a close inspection to make sure that there is no loose or flaking paint, and only with soft, white-bristle Japanese brushes, sable brushes or badger-hair brushes. Feather dusters can scratch the surfaces, while liquid or commercial cleaners can irreversibly damage the integrity of the image layer.

Artworks should be kept clear from pesticides, foggers, air fresheners and furniture sprays. They should be removed from any area where painting, plastering, wallpapering or steam cleaning will occur, and returned only after the walls and floors are completely dry.

When moving artworks, ensure that the pathway is clear of all potential obstacles. Hold the item by the sides, with the flat of your hand, and carry it facing towards you. Remove any items of jewelry or clothing that could accidentally scratch the surface. And always make sure that you have the necessary assistance to properly support the item’s weight. For longer moves, it may be best to contact a professional art handler.

Items should be stored in interior closets or similar spaces, wrapped in archival materials as necessary. Preferable is a designated “art closet” fitted with horizontal racks and a locked door. Artwork should never be stored in attics, basements or garages, which can all experience extreme temperature changes and are susceptible to water damage.

Framed artwork should be stored vertically back to front, with a stiff board protecting the image surface.

Stored works of art on paper should be wrapped in neutral glassine or tissue or slipped into folders made from acid-free paper and then placed into archival storage boxes. They should never be wrapped in cellophane, wax paper or newspaper, stored against wood or cardboard, or curled inside tubes. These materials can either cause moisture condensation or acidic materials to come into contact with the artworks or cause creasing.

For Art Collectors, and Skeptics

Sat, 31 Dec 2011 18:29:28 GMT

For those collectors reading this blog, ACE has an informative paper outlining the strategies one should take upon realizing their hobby has become a full-time investment. It discusses not only the tribulations of damaged artwork and strategies for protecting your investments, situations we at The Conservation Center handle daily, but additionally artwork valuation, the schematics of investing and the problems of verifying a piece’s authenticity. While just a brief introduction to any of these weighty matters, it remains a solid reference for the uninitiated, and a point from which the curious can uncover further information.

From Passion to Investment: Asset Protection Strategies for Collectors (pdf)

For those of you who read the previous paragraph with skepticism and dismay, telling yourself that surely you could never be one of them, an “Art Collector”, well, we have an article for you too. Diasporal Rhythms is an art collecting group from the South Side of Chicago, and one of their messages to you is that you shouldn’t sell yourself short! As Lisa Gaines McDonald says, “We are reluctant to identify ourselves as collectors because we have been ingrained to think of traditional mainstream collectors with these huge collections, and to believe that you have to have certain marquee name artists, as opposed to what you like.”
The Center met the group because they attended a tour of our conservation facility, but we want to share them with you because they have some very astute words to say about collecting art, living with art, why art matters, and why you–yes, you–can be a collector too.

A Second Skin: A Conversation with Diasporal Rhythms

Long Term Care For Your Collection

Fri, 20 Jan 2012 12:53:35 GMT

Temperature & Humidity

Two of the most important considerations for the preservation of an art collection are the temperature and humidity of the environment where they are stored and displayed. Rapid fluctuations in either variable can cause items to expand and contract, destabilizing support structures. Conversely, consistent temperature and humidity levels can help preserve your collection for generations to come. Keeping humidity within a moderate range can help to prevent mold growth and deter insect infestations, while cooler temperatures can minimize the process of aging and deterioration. With that in mind, the following guidelines area a recommended starting point for establishing a proper environment for a collection:

Many types of art respond well to relative humidity levels of between 40 and 60 percent, and temperatures of between 55 and 75 degrees Fahrenheit. These average temperatures are maintained by most museums that house art in a variety of media but are not appropriate for all collections. For example, some photographic prints, negatives and slides (especially acetate and nitrate plastics and glass plate negatives) begin to deteriorate with a relative humidity above 30%; whereas, other papers, parchment or leather items may be taxed at such a low humidity. Many different ratios of temperature and humidity have been experimented with for the storage of sensitive materials. If your collection contains sensitive materials, it is best to consult a conservator with expertise in storage issues.

Many thermostats can be imprecise, you may want to consider installing a compact digital thermohygrometer in areas where art is stored or displayed:
A dehumidifier may be necessary in damp areas, especially during summer months.
An evaporative humidifier may be necessary during the winter and in dry climates.

Location

When planning to display art, choice of location is a key factor in minimizing damage caused by climatic changes, light exposure and accidental injury.

In general, display items on interior dividing walls rather than on outer perimeter walls that can experience greater climatic variations. If art is to be installed on exterior walls, placing rubber spacers on the back of the frame can allow air to circulate and minimize harm.

Though the hearth may be a tempting focal point of a room, the vicinity of a fireplace is often exposed to elevated temperatures, soot, and rapidly fluctuating humidity levels. Heating and cooling vents should be avoided for the same reasons.

Artwork should never be hung in bathrooms, below pipes or near any exposed water sources.

Display of three-dimensional and framed art in high-traffic areas can invite accidental damage. Items in hallways and dining rooms, in particular, should be hung high enough to avoid impact with handbags, chair backs, or doors.

Light

Controlling the amount of light art is exposed to is also critical to the long-term preservation of an art collection. Damage from light can cause deep, irreversible damage to art. It is particularly harmful to works of art on paper, such as photographs, water colors, pieces with colored inks and any type of negative. Light damage is also cumulative and the subtle changes that occur may not be immediately detectable. UV exposure may manifest itself as brittleness, darkening, bleaching, yellowing, general fading or the change of only certain colors.

Here are some general guidelines that may be helpful:

Artwork should always be kept away from direct light, whether from sunlight or artificial sources.
Picture lights mounted to frames should be avoided. They can create “hot spots.” They can also cause damage to the work if they fall or break.
Fluorescent light and sunlight contain high levels of UV radiation.
Keep curtains or shades drawn and lights off when the room is not in use.
UV protective film can be installed on windows where necessary.
Museums rotate pieces every three to six months. Try giving art work on display a break: put it in storage in exchange for something that has not been displayed in a while.
The eye can be deceiving and should not be trusted with measurement of light. In the United States, the illumination an object receives is measured in foot-candles. Foot candles of light can be measured in several ways. A handheld light meter, such as one might use when measuring light for a photographic exposure, can be used to measure light falling on your art work as well. This method, however, does not measure UV radiation. A meter for UV may be worth purchasing if a large art investment is in need of protection.
In general, 5-10 foot candles of light are the maximum recommended light level for the temporary exhibition of printed materials, certain photographs, certain paintings and textiles. Though, up to 15 foot candles may be a safe exposure for many oil paintings, gelatin silver prints and wood objects. Certain other objects claim to be virtually unaffected.
Know your art: certain pieces will fade in only a few foot candles of light. In these instances, the above listed measures may not be sufficient. Identifying these pieces is most important and should be done with the assistance of art professionals.

Framing

Framing materials are not only a lovely compliment to a work of art. Framing can offer structural support and protection against minor environmental hazards. More importantly, inappropriate framing media can cause serious damage. Follow these general guidelines for maintaining a frame that is in good condition:

Framed paper items should only be mounted and matted with museum-standard acid-free materials, which are neutral or alkaline (have a pH of 7 or above). Un-matted items can become permanently stuck to the glass, particularly when exposed to high humidity levels. Direct contact with glass can also cause surface changes in the work.
Items in contact with acidic materials can experience burns and general darkening. Spray mounts, rubber cement, laminating or tapes can cause irreversible staining, rippling and creases.
When choosing a glazing, make sure that it offers UV-filtering protection to reduce the impact of light exposure. While plexiglass can be a more shatterproof alternative to glass for many framed works, powdery or loose material such as pastels or charcoal drawings should only be framed under glass. Acrylic materials can cause a static buildup that can lift these pigments away from the paper surface.
A protective dust seal backing should be applied to avoid contamination by dirt, dust and insect pests.
Proper hanging hardware should be attached to the frame rather than to the item’s structural supports. Hang items from picture hooks, rather than nails, and always make sure there are enough to properly support the weight of the item.
A professional art installer can assist in determining the best display and hanging system for your collection.

Handling

Overhandling is an easily preventable potential source of unintended creases, stains and tears – especially for materials weakened by age or damaged by improper storage or non-archival matting and framing materials.

When handling is necessary, always use archival gloves to handle art or valuable paper materials. Simple contact with oils, perfumes, lotions or sweat present on human skin can cause discoloration.

Papers and documents that are regularly accessed can be photocopied or archivally framed so that they can be read without being handled unnecessarily. While photocopying does expose papers to a short intense burst of UV radiation and is not recommended for art pieces, this can be less harmful to documents than regular manipulation.

Never affix notes or paper clips to valuable documents. Tape or sticky notes can leave behind residues that are detrimental to paper; and, metal clips can cause creasing, corrosion and staining.

Storage

Items in your collection that are particularly delicate or taken out of general display should be securely stored in an inner closet or other similarly protected environment with stable climatic conditions. Care should be taken in choosing a proper storage location. Ideally, a closet or room should be designated for art storage and fitted with horizontal racks, flat files and a locked door.

Art work should not be stored in attics, basements, garages or other areas that can experience extreme temperature changes or are susceptible to water damage.

Framed pieces should be stored vertically, separated by stiff boards to protect the image surfaces. Paintings that are improperly stacked can become dented or torn if the corners of one frame push into neighboring canvas surfaces.

As with items on display, art that is stored should be archivally secured using appropriate acid-free conservation materials. Textiles and unframed paper items should be stored in acid free storage boxes or placed in individual acid free folders. Separate each item with sheets of an archival storage medium. Protective window mats can also help to avoid direct contact whit the image surface. Place archival storage sheets inside each exposed window area of a mat.

Items with high acid content, such as photographs or natural textile fibers, should be wrapped in unbuffered materials. The boxes themselves should be stored horizontally to avoid stress on the outer edges of the material.

Lightweight collectible garments with strong shoulder seams may hang on padded wooden hangers (not wire or padded plastic hangers) and stored in muslin garment bags. Heavy, fragile or beaded material should be stored flat in an archival storage box with padding placed below seams or creases. Large flat textiles can also be wrapped with acid free material, rolled onto archival tubes and stored on a secure horizontal support. For more information on quilt storage, visit http://www.hollingermetaledge.com/.

Avoid mothballs and cedar chests for textile storage. They can expose items to harmful off-gassing, and do not offer proven protection from insect infestations.

Also, avoid poster storage tubes, unprotected wood or cardboard, cellophane, wax paper, newspaper, and dry-cleaning bags. They can cause acid burn, off-gassing, residues and stains – especially in a closed environment.

Photographs should not be stored in self-stick photo albums. The adhesive can cause staining. Non-archival photo sleeves can expose materials to harmful vapors and may encourage moisture buildup.

Store items at least 4 inches above floor level and make sure that there is adequate air circulation.

If you have questions about appropriate storage systems, contact a professional conservator for advice and assistance.

Cleaning

Keeping your collection and storage areas clean is important for its preservation. If done improperly, however, cleaning can actually cause damage. Over-cleaning, for example, can cause foreign materials to become embedded, and loose or powdery surfaces can be lifted off.

Artwork, particularly paintings, should only be lightly dusted every four to six months after a close inspection to make sure there is no loose or flaking material.

Use only delicate cleaning materials such as soft brushes for exposed areas. Feather dusters should not be used as they can scratch and snag surfaces.

Over-cleaning can cause more damage. Foreign materials can become imbedded. Loose or powdery surfaces can be lifted off.

Never use liquid or commercial cleaners. They can react with the art media or expose the art to harmful fumes – this applies even for items under glass.

Vacuums with HEPA filters can remove most environmental particulates from the area around an art collection. Be sure to reach the top shelves and corner areas as well as the floor. This is often where insects reside in dust deposits.

Clean and replace heating and cooling unit filters regularly.

The safest way to ensure the long-term care of your collection is to leave all but routine dusting to a professional conservator.

Pests

Humidity, warm temperatures, dust and food particles are all invitations for rodents and insects, which are naturally attracted to the cellulose fibers in many items and the adhesives used to mount them. When they are not consuming your valuables, they may be tunneling, nesting, laying eggs or secreting harmful substances – these can all cause permanent injury to valuables.

Infestations should be handled by a conservator in conjunction with a pest elimination professional. The art objects themselves will need to be cleaned in order to eliminate re-infecting the area with insects. Some insects, such as firebrats and silverfish, have larva and young that are nearly invisible to the eye. They can live for up to two years and go for extended periods of time with absolutely no sustenance.

Signs that you may have a pest problem include:

Holes
Grazed surfaces
Droppings
Hairs
Skin flakes
Bugs/Larva
The presence of spiders (which consume insects)
Keep potted plants away from art or art storage areas. They can attract insects. Trim hedges and flowering borders away from art and storage areas.

Care of New Art Acquisitions

When introducing new items into your collection, it is important to have them cleaned, repaired and stabilized by a professional conservator. Even light dirt films and other small, seemingly unobtrusive marks, can quickly degrade materials. The presence of particulates can attract pests. Weak or torn areas can also threaten the structural integrity of the piece in the long-term. A conservator can address these issues and make sure that new acquisitions are free of insects, mold, and other potential contaminants that could spread to other pieces in your collection.

Other Environmental Hazards

Art should be kept safe from environmental pollutants such as pesticides, cleaning fumes air fresheners, foggers, laminates, furniture sprays, cigarette smoke and heavy perfume.

Additionally, art should be removed from any area where painting, plastering, wallpapering carpet installation or steam cleaning will occur. All of these can create harmful fumes, which can degrade the surface of art works. During any home improvement project, make sure that your collection is safe from debris. If the project is large-scale or long-term, you may want to move your art to a temporary storage facility for safe keeping. Return art only after the walls and floors are completely dry and chemical fumes have been cleared from the air.

Understanding the Materials and the Construction of Fine Furniture

Fri, 20 Jan 2012 13:23:01 GMT

When a piece of furniture is made, definite features influence the original cost. The quality of construction materials, crafting techniques, and the number of decorated surfaces contribute to its original value, and have considerable influence on the current market price, as well.

Many furniture pieces are made of more than one type of lumber: the primary wood is usually selected for its beauty and decorative features, and the secondary lumber is chosen generally for its stability, ease of workability, and suitability to structural demands. Lower orders of furniture tend to use lower grades of lumber in the construction of the less-visible surfaces of the object. For example, the sides of a dresser may be a less expensive painted or stained softwood surrogate; whereas valuable Mahogany may be used for the front. For higher end pieces, the highly figural and rare lumber and veneers were combined with artistic prowess to create beautiful and highly sought-after furniture pieces.

Fine veneers are used to expose grain that would not be structurally suitable unless supported on a structurally sound secondary frame or core. These highly polished linings are seen on some of the most prized and sought-after furniture and decorative objects. Veneers also make it possible to mirror match or “book match” exotic patterns over large surfaces that would not be possible with a thicker solid material. Veneered furniture demonstrates sophistication and an advance in technology and building practice.

Specific construction techniques, including the types of joints, fasteners and methods of fabrication can provide clues to age. Hand-cut dovetails, for example, usually indicate a piece was made before the late 19th century, as machine-made joints did not come into common use until that time. This idea refers generally to production pieces; today’s traditional cabinetmakers still use time-honored joinery methods. Uneven saw marks on board backs or drawer bottoms may show hand-cut lumber; whereas uniform or parallel saw marks can indicate modern power feed sawing machines. These construction markers, when not faked, are often the most reliable clues to detect production pieces made prior to the industrial revolution.

As wooden furniture ages, the moving parts wear, and the surfaces that are exposed to the environment change their shape and color. Restoration of the wear surfaces does not detract from the value significantly, but compromising the time induced color (or “patina”) can have a negative influence on the value of an antique. A liquid stain or pigment will often be applied to an original piece of furniture to enhance this oxidation color, but this practice does not help the value. On raw wood, such as a drawer bottom or on the back of a cabinet, lightly dragging the back of a fingernail will easily dislodge the oxidation layer to reveal the un-oxidized shade of the lumber. It will not be so easy to dislodge an applied stain.

Stamps or labels on a piece of furniture can give clues as to the maker or studio of origin, but these labels alone are not entirely reliable, unless a collector is knowledgeable about the appearance and characteristics of an authentic mark.