How to look after fine art prints - with paper conservator Lynn Campbell

When NZ Fine Prints wanted to know what was best practice in taking care of fine art prints we asked leading NZ fine art conservator Lynn Campbell of Campbell Conservation to imagine giving advice to a brand new collector of original or antique prints who knows nothing about how to care for their collection. If you would like to get in touch with her regarding your paper conservation or art restoration needs please call Lynn at Campbell Conservation here in Christchurch on 03 980 4972.

(This article is the second part of our discussion with Lynn, last month we learned about the job of a paper conservator and the course of study and qualifications required to work in the fascinating field of fine art conservation.)

Conservation of art - General Principles

Lynn says "Try to provide conditions that are as stable as possible. High temperatures and humidity levels speed up the degradation of the paper and encourage mould growth. Fluctuations cause distortions and subsequent damage to paper items."

The optimum storage conditions are 18-22°c and 45-55% relative humidity.

These precise conditions are difficult to achieve without specialist air-conditioning systems but it is possible to apply some basic but important principles that will make a difference.  

1. Avoid using an attic or basement as a storage area. These areas tend to be prone to dampness or water leaks and conditions can fluctuate greatly. 
2. Keep away from heaters, fire-places and other sources of heat. Avoid contact with bathroom, kitchen, laundry and external walls, as humidity in these areas fluctuates greatly. 
3. If possible use a storage location in the centre of a building away from external walls. These areas undergo the least fluctuations in temperature and humidity.
4. Keep storage areas clean and well ventilated to avoid pest infestations and mould growth. 
5. Avoid strong light sources and direct sunlight as these will accelerate the degradation and fading processes.

Optimal long term storage for works on paper like prints

Never use sticky tape! 

1. Lay prints flat in archival (acid-free) boxes. Alternatively, use ordinary boxes lined with acid free paper. Valuable or fragile prints should be individually wrapped.  Store artworks in folders or keep them mounted and framed. Artworks on paper similar to prints with fragile or delicate surfaces such as unfixed charcoal or chalk drawings are best mounted to avoid abrasion and smudging.  For long-term protection, mounts should be made from 100% rag, acid-free, alkaline buffered mount board. This is sometimes called “museum board”. The mount should have a window at the front and the item should be hinged to the backboard. Do not use sticky tape to attach the work to the backboard (see picture of damage caused by sticky tape at right). Conservators prefer to use Japanese paper hinges and wheat starch paste because they are stable, long lasting and will not stain paper.  Frames can be fitted with glass or acrylic sheet. Items with loose powdery media should be framed with glass as acrylic has a static charge. In all cases there should be no contact between the item and the glazing.
2. Place boxes off the ground (e.g. on shelves) to allow good air circulation and prevent damage in the event of a flood. 
3. The storage area must be an insect-free environment so inspect well before use and keep it clean. If using pest strips, insect traps and pesticides ensure that these do not come in direct contact with the items as they can cause damage to paper.
4. Ensure that there are no overhead pipes in the area, as these can drip. Placing plastic over the boxes may provide some protection but will restrict air circulation and may encourage mould growth.    
5. Keep frames off the floor. Stand upright on blocks or pieces of foam if shelves are not available. 
6. Avoid rolling oversize prints or maps. If this is unavoidable, roll onto a wide diameter (at least 10cm) cardboard tube, which has been covered with Tyvek™ or acid-free tissue. Wrap the rolled item with Tyvek™ or acid-free tissue.

Best protection for prints on display

The use of stable framing and mounting materials is especially important as even if the prints are being shown only for a short term exhibition they may remain in the frames after the exhibition is over.  

Correct framing is vital if you want to have your prints on display.  

1. Glazing is a must with a works on paper like prints. The glazing should not come in contact with the object. Ultraviolet-filtering glazing is recommended especially if the room has sources of UV radiation. Note, however, that acrylics are not always appropriate for use in frames since these plastics carry a static charge that can dislodge pastel and other friable media. In such cases, ultraviolet-filtering glass can be used. 
2. The mounting materials inside the frame must adhere to conservation standards. Conservators recommend use of pH-neutral or slightly alkaline (buffered) mats or mounts. Hinges or the non-adhesive systems should be used to attach the objects to the mount. If hinges are used, a high-quality, strong paper such as Japanese Kozo should be used with an appropriate permanent, non-staining adhesive such as starch-based paste. The back of the frame should contain backing layers of archival cardboard that are thick or dense enough to protect the object. Frames should be well sealed and hung securely. 
3. Avoid hanging artworks in damp areas such as on un-insulated outside walls, which can be problematic in winter or during periods of high humidity. If it is necessary to exhibit on an outside wall, a moisture barrier of polyester film or Marvelseal™ can be inserted between the backing layers or over the back of the frame. 
4. The frame should be deep enough so that its back is recessed, allowing a space for air circulation between the frame and the wall. Frames can also be held away from the wall slightly by small rubber bumpers or by push pins attached to the reverse of the frame.

Lighting Considerations

Exposure to light can cause discolouration and brittleness in paper and fading of media.

1. Keep lighting to a minimum
2. Tungsten light bulbs provide a less damaging type of light than fluorescent or natural light sources.
3. Do not use frames with clip-on light fixtures. These create 'hot spots' which can dry out the paper.
4. Do not display pictures near sources of heat or moisture.

Cleaning & Handling

1. Check the backs of framed pictures periodically for dirt, dust, signs of mould or insect activity,

   

   Print damaged due to poor handling

   and to ensure that hangers and hardware are secure.
2. Dust frames regularly. 
3. It is important to have clean hands when handling paper based materials because paper easily absorbs skin oils and perspiration – these can cause staining and degradation. 
4. When handling and transporting unframed works of art and documents, use a thick support paper or cardboard underneath or place your item inside a folder. When carrying a framed work, grip both sides of the frame.  
5. If a valuable or fragile print is going to be handled frequently, it might be a good idea to create a duplicate. This way the duplicate can be referred to and the original print stored away for preservation.

And lastly a final reminder that resonates particularly with this writer's experience of the recent devastating earthquakes here in Christchurch - use closed hangers or crimp the hanging hook closed to help prevent the artwork from falling in an earthquake (we wrote in depth about this particular hazard and the lessons we learned in picture hanging advice after the Christchurch earthquakes back in May 2011).

NZ Fine Prints hope to have Lynn Campbell back on NZ Art Print News to talk about specific problems/attacks on paper, their remedies and the process of restoration later in the year.   We are very grateful to Lynn for her help in writing this article and also for her permission to use her photographs as illustrations.

Interview with fine art conservator Lynn Campbell (Part 1)

As part of our occasional series of articles interviewing professionals working in the New Zealand art industry (see for example an industry snapshot of digital fine art printing and last year's interview with Auckland studio photographer Bret Lucas on how to photograph paintings ) this week NZ Art Print News talks to paper conservator Lynn Campbell. A paper conservator's job is concerned with the preservation, cleaning and repair of art works on paper like prints.

Lynn was incredibly generous with her time and sent through some superb background information about her work in art conservation and what is actually involved in training to be an art restorer like her. So in this first article we'll meet Lynn, let you know a bit about her background and describe how you train to be a paper conservator plus try and give our readers an idea of what it's like to work in art restoration.  In our next piece Lynn will then tell us what is best practice for the long term storage and display of artworks on paper such as prints.

Lynn Campbell - Paper Conservator 

Lynn removing dirt from an artwork

When we wanted to find the best advice on how to care for fine art prints there is no better source of expertise than New Zealand's own globetrotting paper conservator Lynn Campbell.  Lynn's company here in Christchurch, Campbell Conservation, offers a full range of paper conservation, alongside fine art works on paper like old prints she also works on repairing and preserving documents, archives and even wallpaper.

Lynn teaches preventative conservation processes including disaster preparedness for collections, good handling, risk mitigation including storage and does conservation surveys of collections along with general care of art works advice for collectors.

Lynn's recent projects

Campbell has just returned from her time as a Getty Guest Scholar at the Getty Conservation Institute (motto "Preserving the world's cultural heritage to advance civil society") where she shared her professional response to the Christchurch earthquakes in the paper An Investigation into New and Recent Methods and Processes Involved in the Salvage of Heritage Collections in an Earthquake Zone. The Getty Institute has a global focus working to advance "conservation practice in the visual arts, …serving the conservation community through scientific research, education and training, model field projects, and the broad dissemination of the results of both its own work and the work of others in the field."

Another career highlight was three trips to Antarctica, as Lynn told us "I was one of the first conservators to travel to Antarctica to work on the three historic huts there. I returned twice after this to continue work on the huts of Scott and Shackleton".

Why did you become a paper conservator?

Antique print prior to restoration (courtesy Campbell Conservation)

We asked Lynn to tell us a bit about her background and how she became an art conservator who specialises in paper.  She told us that she originally came from the UK and initially obtained a BA (Hons) in fine art printmaking.  Lynn says "I was always interested in conservation but it was only after I had finished my degree that I realised there were courses available to train in paper conservation in particular".  Although she had been fascinated by museums as a child it was not until her teaching degree year that she "realised that there were courses in conservation. So I immediately applied to the Newcastle course [the "Post Graduate Certificate in Fine Art Conservation" from Newcastle University] and was accepted the next year".

Post graduate degrees in both teaching and the conservation of fine art led to her first position at the Royal Scottish Museum in Edinburgh. Campbell then returned to teach on the Masters degree course in Conservation at Newcastle upon Tynne and just before she immigrated to New Zealand she taught basic conservation skills to archivists from throughout Africa in Zanzibar. In NZ she worked at what was the then Robert McDougall Art Gallery (now Christchurch Art Gallery) before launching her independant art conservation practice, Campbell Conservation.

What training do you need to work in Fine Art Conservation?

We asked Lynn what is taught at a post graduate course in fine art conservation.  She told us "when studying in the conservation of Fine Art on paper one has to learn a great deal about practical methods and processes including the study of chemistry and physics".   She quoted the fine art conservation course at Northumbria University which states "The ultimate goal of a paper conservator is to stabilise objects to ensure their continual existence. This not only entails state of the art treatment techniques on individual items but extends to the preservation needs of an entire collection."

"The scope of the paper conservators’ work has widened in recent years and they are often involved with issues relating to collections care such as developing and maintaining archival housing standards, exhibitions, advocacy and project management." Paper objects are particularly vulnerable to light, humidity and air pollutants as well as contact with harmful materials such as acidic backboards, pressure sensitive tapes and ill-fitting frames. Deterioration can also occur through improper handling and exposure to active mould spores. "

Next article we look forward to talking with Lynn about how to best preserve your works on paper (such as antique or artists' prints) for long term storage and display. UPDATE 12/4/12: As promised the second part of this article, "How to look after fine art prints", has now been published.