It would be insufficient to discuss the art market without examining the areas that, although essential, are peripheral to said market. In practice, these areas require as much of the amateur’s attention as buying and selling, in order to enable the amateur to protect his finances.

insurance

preservation and restoration

prevention

framing

Preservation and restoration

A painting in bad condition loses a part of its value. From a purely economic point of view, however, before incurring the smallest expense, one must always ask oneself if the restoration will increase the object’s value. It is not worthwhile to restore any work of art under any conditions. Restoration expenses must be proportional to the value of the work, regardless of whether or not this value is more or less objective (commercial, artistic or historical value) or more or less objective (sentimental or family value).

However that may be, as a result, an ounce of prevention is worth a pound of cure and specialists rightly emphasise the importance of respecting certain principles of good art preservation. Observance of a few very simple rules will therefore enable you to avoid or to postpone a major restoration. Restoration itself will not affect the work’s commercial value, unless, however, it is reasonable: a painting that has been ‘redone’ obviously does not have the value as a work that is almost intact.

The supports (wood or canvass), which are particularly sensitive to variations of humidity in the surrounding air, dilate or contract based on these variations, which can lead to changes in the pictorial layer. As a result, they must be protected from any sudden change in climate. It is for this reason that it is recommended to maintain these objects in relative humidity of between 50% and 65%. Similarly, one must make sure that the lighting for the painting does not exceed hundred 150 lux, while attempting to minimise the ultraviolet rays in the lights (natural or artificial).

Given that, in general, a house is not a museum, it is of course not realistic to expect that these recommendations will be followed to the letter. However, there are rules that are simply a matter of common sense: one does not place a painting above a source of heat (chimney or radiator), in the same way as one does not expose a painting directly to the rays of the sun. Finally, one should not hang a painting against a cold or humid wall.

Under no circumstances should one attempt to clean a work oneself, because only a professional should clean a work of art. The results of certain attempts to clean a painting with a potato, an onion or even worse, with any type of solvent (white spirit, turpentine, etc.) can be scary. Moreover, it is wise to avoid certain ‘miracle products’ sold in stores. At most, one can gently remove the dust from a painting, provided, however, that the pictorial layer is not raised as a result.

Cleaning a painting consists of ‘reducing’ the varnish that protects it to varying degrees: i.e. it means partially or completely removing it, even removing paint bumps, and subsequent additions, which themselves are often old restorations. In general, it is possible to identify two schools of thought. The first recommends a total removal of the layer of varnish and systematic removal of paint bumps, thereby leading to a smarter appearance and colours that shimmer more. The second recommends a more measured cleaning effort, one that leaves a thin layer of old varnish, while being discriminating in removing paint bumps. In this case, the painting deserves a ‘shine’ that muffles its colours and reflects the uniformity of its ageing. In general, museums and collectors (at least from Continental Europe) prefer this solution, as there is a danger that the first option may eliminate part of the painting’s epidermis. The big question is therefore how far to go in order to avoid going too far. This is why it is particularly important to select a serious professional.

Where preservation efforts have not succeeded in protecting a work from the ravages of time or from an accident, the owner must consider restoring the work. The person whom you will choose to carry out this work will certainly be the most competent to provide you with the optimal solution. However, you must know that there are often several ways of restoring a work. The prevailing trend in continental Europe these days is in favour of the most modest restoration possible. This position is guided by the desire to make the work identifiable without ever replacing the artist. Imagine a gap, i.e. a place where the material has disappeared completely. If this gap is small, the restorer should find it easy to recreate the missing space. However, if a large part of the work has been destroyed, it is quite possible that the restorer will ‘invent’ part of the composition. This is difficult to reconcile in terms of the work’s authenticity: in this case, there would be two artists, the creator and the restorer. If the restorer is skilled, he could also go beyond the surface of the gaps, thereby concealing a part of the initial work. By exaggerating his efforts in his way, the restorer would reduce the work’s value proportionally. Hence the importance of restoring with ‘reversible’ products, i.e. products that can always be removed.

The list of potential blunders is very long, from the lining of the canvass that crushes the pictorial layer to the use of aggressive solvents that harm the colours or erase the signature. Accordingly, the choice of restorer is very important: a bad choice may lead to a loss of money. However, there are few national laws that recognise the title of restorer. Thus, one can find both serious professionals and amateurs. However, the only thing distinguishing the two groups is, of course, competence! So you should never go to an amateur...



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		It would be insufficient to discuss the art market without examining the areas that, although essential, are peripheral to said market. In practice, these areas require as much of the amateur’s attention as buying and selling, in order to enable the amateur to protect his finances. insurance preservation and restoration prevention framing Preservation and restoration A painting in bad condition loses a part of its value. From a purely economic point of view, however, before incurring the smallest expense, one must always ask oneself if the restoration will increase the object’s value. It is not worthwhile to restore any work of art under any conditions. Restoration expenses must be proportional to the value of the work, regardless of whether or not this value is more or less objective (commercial, artistic or historical value) or more or less objective (sentimental or family value). However that may be, as a result, an ounce of prevention is worth a pound of cure and specialists rightly emphasise the importance of respecting certain principles of good art preservation. Observance of a few very simple rules will therefore enable you to avoid or to postpone a major restoration. Restoration itself will not affect the work’s commercial value, unless, however, it is reasonable: a painting that has been ‘redone’ obviously does not have the value as a work that is almost intact. The supports (wood or canvass), which are particularly sensitive to variations of humidity in the surrounding air, dilate or contract based on these variations, which can lead to changes in the pictorial layer. As a result, they must be protected from any sudden change in climate. It is for this reason that it is recommended to maintain these objects in relative humidity of between 50% and 65%. Similarly, one must make sure that the lighting for the painting does not exceed hundred 150 lux, while attempting to minimise the ultraviolet rays in the lights (natural or artificial). Given that, in general, a house is not a museum, it is of course not realistic to expect that these recommendations will be followed to the letter. However, there are rules that are simply a matter of common sense: one does not place a painting above a source of heat (chimney or radiator), in the same way as one does not expose a painting directly to the rays of the sun. Finally, one should not hang a painting against a cold or humid wall. Under no circumstances should one attempt to clean a work oneself, because only a professional should clean a work of art. The results of certain attempts to clean a painting with a potato, an onion or even worse, with any type of solvent (white spirit, turpentine, etc.) can be scary. Moreover, it is wise to avoid certain ‘miracle products’ sold in stores. At most, one can gently remove the dust from a painting, provided, however, that the pictorial layer is not raised as a result. Cleaning a painting consists of ‘reducing’ the varnish that protects it to varying degrees: i.e. it means partially or completely removing it, even removing paint bumps, and subsequent additions, which themselves are often old restorations. In general, it is possible to identify two schools of thought. The first recommends a total removal of the layer of varnish and systematic removal of paint bumps, thereby leading to a smarter appearance and colours that shimmer more. The second recommends a more measured cleaning effort, one that leaves a thin layer of old varnish, while being discriminating in removing paint bumps. In this case, the painting deserves a ‘shine’ that muffles its colours and reflects the uniformity of its ageing. In general, museums and collectors (at least from Continental Europe) prefer this solution, as there is a danger that the first option may eliminate part of the painting’s epidermis. The big question is therefore how far to go in order to avoid going too far. This is why it is particularly important to select a serious professional. Where preservation efforts have not succeeded in protecting a work from the ravages of time or from an accident, the owner must consider restoring the work. The person whom you will choose to carry out this work will certainly be the most competent to provide you with the optimal solution. However, you must know that there are often several ways of restoring a work. The prevailing trend in continental Europe these days is in favour of the most modest restoration possible. This position is guided by the desire to make the work identifiable without ever replacing the artist. Imagine a gap, i.e. a place where the material has disappeared completely. If this gap is small, the restorer should find it easy to recreate the missing space. However, if a large part of the work has been destroyed, it is quite possible that the restorer will ‘invent’ part of the composition. This is difficult to reconcile in terms of the work’s authenticity: in this case, there would be two artists, the creator and the restorer. If the restorer is skilled, he could also go beyond the surface of the gaps, thereby concealing a part of the initial work. By exaggerating his efforts in his way, the restorer would reduce the work’s value proportionally. Hence the importance of restoring with ‘reversible’ products, i.e. products that can always be removed. The list of potential blunders is very long, from the lining of the canvass that crushes the pictorial layer to the use of aggressive solvents that harm the colours or erase the signature. Accordingly, the choice of restorer is very important: a bad choice may lead to a loss of money. However, there are few national laws that recognise the title of restorer. Thus, one can find both serious professionals and amateurs. However, the only thing distinguishing the two groups is, of course, competence! So you should never go to an amateur...

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