LIMIT LIGHT. UV rays in both natural and electric light cause fading and sometimes cracking, so UV-protective glass is essential. Los Angeles paper conservator Robert Aitchison points out that "in a room with bright, light walls, even artwork only indirectly lighted by the sun can be damaged by ultraviolet light bouncing off walls. UV glazing begins to lose its effectiveness after 7 to 10 years, so keep track of its age and reglaze when necessary." Katja Zigerlig, collections underwriting manager at AIG, suggests, "Check the placement of your artworks throughout the year. A wall without sunlight in the summer may be in direct light in the winter."
 
Although it is not always possible, it’s prudent to hang your art in windowless areas or rooms only dimly lit by indirect sunlight. Consider using UV-filtering film for your windows, especially if your home has a lot of exterior glass.

"Artificial light can be destructive," says Vivian L. Ebersman, director of art expertise at AXA Art Insurance Corporation. "Don’t illuminate a work on paper with a picture light attached to the frame, as both the light and the heat of the bulb are harmful."  Beware of halogen lamps, which emit high levels of ultraviolet light; if used, they should be fitted with a UV filter. Recessed lighting is good. If it’s feasible, rotate artworks in and out of storage every few months to limit the cumulative effects of light exposure, as many museums do.
 
STORAGE. Even if they’re not hanging on the wall, works on paper require care. Store unframed artwork horizontally, separated by acid-free paper. Erica Hartman, writing for the Chubb Collectors Newsletter, suggests storing the works in clear Mylar envelopes or in acid-free folders placed in acid-free (pH neutral) storage boxes. Never store artwork in the places where people usually store things, such as garages, basements and attics, unless the space is climate-controlled. In short, apply the same care and caution as with a framed piece.
 
This may sound like a daunting list of dos and don’ts, but most of these prescriptions and proscriptions come down to common sense and moderation. Los Angeles paper conservator Mark Watters reminds us that "optimal care of works on paper is really a matter of variables and degrees, and we can’t always control all the factors. But the more you can, the safer you are." High-quality paper, controlled temperature and moisture, the reduction of acid and ultraviolet light, the help of a good framer and conservator—each step will help preserve your art.

Roberta Maneker, an Art&Antiques New York correspondent for more than 10 years, has held executive positions at Christie’s and Phillips de Pury&Company.
 
AIG Private Client Group
aigpcg.com
Aitchison & Watters Inc., Los Angeles
323.957.1700
AXA Art Insurance Corporation
212.415.8414
Chubb Personal Insurance
chubbcollectors.com
Martina Yamin, New York
212.532.6957
Museum Conservation Institute, Smithsonian Institution, Washington, DC
301.238.1240 si.edu/mci
The Chicago Conservation Center
800.250.6919 chicagoconservation.com