Caring for treasured works of art

How to protect the intrinsic value of artistic works

Most works of art have a unique quality that gives them a special value of their own.

While it is, of course, perfectly possible to set a value on art and antiques for insurance purposes, it’s much more difficult to quantify a treasured possession’s real value to its owner.

Indeed, if you have a collection of fine paintings, sculpture or other works of art – or a home that plays host to several pieces of antique furniture – you’ll know how hard it is put a price on sentimental values or the simple appreciation of real beauty.

While insuring your prized collection will obviously protect you against the financial loss associated with the theft or damage of an artwork, there are other ways you can prevent any diminution of the intrinsic value of your most treasured items.

Protecting paintings

Generally speaking, important images – whether they be oils or watercolours, or even fine art black and white or colour photographs – are susceptible to the effects of light.

Not only can colours fade, varnishes can darken and canvases can become discoloured or brittle as ultra-violet light changes their chemical composition. And this is not limited to old paintings. More recent works are equally vulnerable.

Our advice is to hang important images in rooms where the temperature is stable and where they are not exposed to direct sunlight but lit, preferably, by low energy light sources rather than spotlights.

We have already offered advice on the best way of hanging larger scale paintings in our article “The art of insuring fine art”, which you’ll find under The LStA View, above. The precautions mentioned there should limit the possible damage to the image and its frame caused by the failure of the hanging. To minimise this risk – and those associated with light – it may well be best to display a copies of any particularly valuable images, rather than originals.

If you’re having an image framed for the first time, it’s always wise to ask the framer to use acid-free, conservation quality materials for any mounts, and for the frame itself to be free from nails or other metallic fixings that could rust over time.

Caring for sculpture and statues

You can do much to prevent any corrosion and damage to sculpture and statues by, for example, positioning outdoor pieces in a sheltered space away from any water that might drip from a tree. Precautions should also be taken to shield them from mould, algae and lichen that form more readily in our northerly climate. In extremely cold conditions, stonework can split or shatter as the moisture it absorbs expands and contracts.

Sadly, some stone can be irreparably damaged by misguided attempts to clean it. Limestone, sandstone and coadestone, for example, form a weathered crust which, if removed, will expose a vulnerable crumbly surface beneath. If the surface is smooth and hard, you can lightly hose it with water, easing the loosened dirt with a soft brush. Algae and lichen, which do little harm, can be removed from sound surfaces by brushing with a solution of one teaspoon of dichlorophen, which is available from most good garden shops, to one pint of water.

Sculpture that is displayed indoors is usually made from alabaster, marble, bronze and other metals.

Both alabaster and marble are porous and stain easily. Unfortunately, trying to remove stains from any porous stone may force the stain deeper, or erode the surface. Alabaster and soapstone are very soft, easily scratched and broken, and gradually dissolve in water, so they should only be dusted regularly, to prevent a build up of dirt. White marble can be dusted with pure talc, to fill the pores and prevent any dust becoming ingrained.

Major repairs or the restoration of stonework should always be carried out by a qualified professional, if the value of the piece is to be preserved.
The dark or greenish brown patina that forms on bronze statues is highly prized and should be preserved.

Do not use metal polish, water or solvents on any bronze pieces. Dusting alone will enough to keep them clean and retain their value.

Archaeological bronzes or items that have been exposed to salty air may develop what’s known as ‘bronze disease’ – small powdery green spots on the surface. Serious cases should be taken to a conservation specialist or professional restorer for specialist treatment.

Spelter is softer and more brittle than bronze and prone to a corrosion that cannot easily be halted. Figures made from this material are often thinly cast and fragile, so it’s important to hold them at their most solid part. Painted or gilded spelter figures should only be lightly dusted with a soft-haired artist’s brush.

While lead statues are very soft and easily dented or scratched, those displayed indoors should be dusted regularly.

Preserving antiques

We have touched on the care and maintenance of antique furniture in “The art of insuring fine art”.

We would only repeat our warnings about the use of harsh metal and synthetic furniture polishes, both of which can damage wood and other surfaces such as marble.
In the case of furniture, our best advice is simply to dust each piece regularly and polish them at six monthly intervals, using either a pump polish or a highly quality wax polish. It’s also wise to avoid using yellow dusters as they can lift and snap precious wooden veneers and inlaid brass.

Finally, much of the damage suffered by works of art or antique furniture occurs when such items are in transit. Sadly, there is nothing you can do about the way any thieves might handle your prized possessions. On the other hand, if you are planning to move house, it’s advisable to employ the services of a specialist art shipper, if you want your collection to arrive unharmed.