brittle papers or powdery media, such as pastels, chalk, charcoal, or painted surfaces.
Surface dirt should be removed not only to improve the aesthetic appearance of the piece but also to eliminate a hazard. Dirt is abrasive, it can be acidic, and it holds moisture, which promotes the growth of mould spores. If your work can tolerate a light cleaning, you will need a very soft natural bristled brush, an air bulb (either the type used for a baby’s nose or those sold at photographic supply stores), and a drafting brush.
Wearing white cotton gloves, you should begin by gently blowing away any loose surface dirt with the air bulb. Follow this by brushing lightly with the soft natural bristled brush. Begin brushing from the centre of the object and work toward the edges. Use very light pressure; the paper should not move with your brush strokes. As dirt and dust accumulate around the edge of your artifact and on your work surface, remove it using the drafting brush. Once the surface dirt has been reduced, the artifact can be prepared for storage or display.
Storage and Display
Where items will be stored is as important as the method and materials for storage. Roofs leak, basements flood, and the temperature in attics fluctuates greatly day to night and through the seasons. Careful consideration should be given to the type of artifact to be stored and the conditions of storage. In bad conditions, deterioration can happen rapidly and with heart-breaking consequences.
Once you have determined a location for storage, chose the storage method and materials. Print files or drawers available from office, art, and drafting suppliers are very space efficient. Metal files with a baked-on finish are preferable to wood because wood is acidic and acid contamination can be transferred to your stored artifacts, resulting in damage.
Solander boxes or storage boxes made from acid-free corrugated board, acid-free and lignin-free box boards (TrueCore), or corrugated copolymer (Coroplast) can be arranged within the metal file drawers to help organize your holdings by size, subject, or medium. Ideally, artifacts should be matted prior to storage, but this is very costly.
When stacking matted, mounted, or loose artifacts, place separation sheets between each work. There are many materials that can be used to separate the artifacts: glassine, interleafing tissue, Permalife paper, Melinex (clear polyester film), or PermaDur to name a few. Each has advantages and disadvantages and you should research which is best for your collection. Table 2: Papers and Characteristics offers a limited comparison of some of the archival papers available. Folders made of acid-free stock are another alternative for sorting your collection and separating works within file drawers or boxes.
Damaged items can be protected by placing the items in a folder or an envelope or by encapsulating the artifact between two sheets of clear polyester film (Melinex — see Appendix 5: Encapsulation Process). Do not confuse encapsulation in polyester film with lamination. Lamination is an irreversible process involving heat. No document or artifact should ever be laminated. Never encapsulate artifacts with powdery surfaces, such as pastels, charcoal, or chalk, as the static of the polyester will destroy the image. Static from polyester will also cause additional damage to artifacts with flaking paint.
Table 2: Papers and Characteristics
* Prices quoted are for the smallest size and quantity available for purchase, rolls are more economical.
In preparation for framing or storage, paper and parchment artifacts are often matted or mounted. In many instances, this is done improperly and causes additional damage rather than protecting the work of art. The boards used for matting and mounting are not always up to conservation standards. Just because a framer offers a board, it should not be assumed that it is adequate for your artifact.
Poor quality boards are acidic and can cause matt burn — a darkening where the board touches your artifact. Matt burn weakens the paper and causes it to become brittle. Always specify that you would like an acid-free, 100 percent rag, conservation-quality board. Ask to see the board and confirm the maker and grade.
There are many framer’s tapes, adhesives, and methods of adhering your artifact to the mounting board. Never use pressure-sensitive adhesive tapes, heat-activated adhesives, or “dry mounts” to attach your artifact to the mount board. These methods can discolour or stain your object, cause deformations, result in breakages as your object expands and contracts with environmental fluctuations, cause your object to become brittle, or weaken your artifact. These adhesives are difficult, if not impossible, to remove. Your artifact should never have an adhesive applied completely over the reverse or on all perimeter edges; it should be hinged at the top edge only (see Appendix 10: Matting and Framing Paper Artifacts).
Matts and mounts applied by an artist are historically and aesthetically important. They should be maintained and, if possible, incorporated into the new mounting package. If in doubt, find someone to consult prior to taking action.
When to Call a Conservator
Maintaining a collection means that with time you probably will encounter damage and problems that require the attention of a conservator. It is important to know when you should call on a specialist.
Buckling and Deformation from Plane
When parchment, vellum, and other hides begin to buckle due to high humidity or exposure to moisture, the fibres of the tissue that form the structure are losing their directionality due to a loss of tension. Some buckling is expected and, if it is minimal and does not interfere with the aesthetic appeal of the work, it may not need immediate professional treatment but may need some preventative care at home. If the deformations do affect the visual appearance of the work or are causing the paint or other decoration to flake, you should consult a conservator. The same is true for paper artifacts.
Water Damage: Tide Lines, Mildew, Mould
Tide lines occur as water and impurities are wicked through paper or other support and impurities are left behind as the water evaporates. Tide lines should be referred to a conservator since trying to remove them could result in additional movement of the impurities.
Parchment is extremely sensitive to water and moisture. Therefore any stain removal, cleaning, or repair of tears should be referred to a conservator.
Mildew refers to a specific kind of mould or fungus, usually related to agriculture, that has a powdery or downy appearance. But the term is generically used to refer to mould growth that has a flat profile.
Mould is always present in the air. Given the right environmental conditions, it will begin to grow on any suitable surface: glues; sizing applied to paper or clothes; paper; and invisible oily fingerprints. Mould colonies grow in many colours, from bright pastels to black, and are sometimes hard to detect. Often a musty odour first indicates the presence of mould or mildew. If the mould growth has not progressed too far into the structure, it can be brushed off, but this is not prudent as the spores can enter your lungs and colonize. Mould is a health hazard as well as a hazard to your artifact and should be referred to a conservator.
Tears, Breaks, and Losses
Tear, breaks, and losses should always be repaired by a conservator.
