M. Freddy’s Contemporary Fine Art Care Guide
Below is a short guide to help you care for your collection. In most cases, it comes down to thoughtful placement — choosing the right wall, an appropriate frame, and a suitable place for storage. We have considered both the materials and packaging extensively, so that you can look after your artwork with ease.
Please note, these recommendations are for reference only. They may not reflect the most current or appropriate advice for your particular situation, and we always encourage our collectors to consult professional conservators.
Contents
Quick Guide (TLDR version)
Conservation Issues
General Recommendations
Framing Recommendations
Storage Recommendations
Free Resources for Further Reading
1. Quick Guide (TLDR version)
Works on paper are more resilient than most would think. You may be surprised by how gracefully they age. Consider the notes tucked into your favourite book, written on humble copier paper, or the magazine you have kept for years. Those were never meant to last and yet they have. Some of the oldest surviving works on wood panels date back to 5th century BC. M. Freddy’s artworks are made of fine art materials carefully chosen to support their longevity.
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If there is dust on the painting, gently tap the back of the artwork.
Finding a thoughtful home for your artworks can greatly simplify their long-term preservation. We would avoid letting artworks sit directly on the floor. We also recommend storing and displaying artworks away from radiators, stovetops, AC units, windows, areas with direct sunlight, pipes, and damp walls. Of course, this represents an ideal scenario.
We recommend reaching out to a friendly archivist at a museum near you or attending education events to learn more about how they manage their collections given local climate conditions.
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Always use glass instead of plastic, plexiglass, or acrylic glazing for frames. The static from plastic glazing can lift chalk pastel off the paper.
Always use acid-free, archival materials if it touches the artwork. We provide two acid-free archival mounting cards with works on paper.
Always leave an air space between the glass and the artwork. This prevents moisture from building up.
No adhesives on the artwork. We recommend making photo corners with acid-free archival paper and archival tape. It is very easy to do and it takes 5 minutes: https://www.youtube.com/watch?v=U2PWRVG4uvY
Do not glue the artwork onto a mounting board. This will stop the artwork from naturally expanding and contracting, and it will tear the artwork over time.
Do not leave the artwork exposed. Frame with glass or store the artwork in the archival glassine envelope we delivered the artwork in.
If possible, opt for UV Protection glass.
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Always store upright. Storing artworks stacked on top of each other can trap moisture. Having mounting cards around it can prevent the artwork from curling.
Always use pencil if you are labeling or making marks on the storage container. Inks, even archival inks, can bleed.
Do not write directly on the artwork, even with pencil. We apply fixative on our pencil marks to prevent smudging.
Limit friction and movement on the artwork’s surface.
No post-its, stickers, adhesives, staples, rubber bands, or metal clips. Adhesives, rust, and rubber will leave a stain over time.
If possible, store in steel cabinets rather than wooden ones. Wood can off-gas and release acids. Our works on wood panels have no added formaldehyde to support the work's longevity.
If you have multiple artworks in storage, consider acquiring an archival document box for extra protection.
2. Conservation Issues
From a conservation point of view, chalk pastel artworks have 3 main components: the surface it is drawn on (i.e. paper or wood panels), the media (i.e. chalk pastels), and the finish (i.e. fixative) that protects the surface. In this section, we discuss the conservation needs of each component and share the thinking behind our material choices. We prioritize handmade, non-toxic materials where possible to support sustainable art practices.
For Works on Paper, paper is the support for the artwork. Sources of paper deterioration can be categorized into internal (e.g. pulp, sizing, and residues) and external. Internal sources are determined by the paper supplier. M. Freddy’s original artworks use ArchesPaper Aquarelle, which is 100% cotton, acid-free, and meets the ISO 9706 permanent standard.
For Works on Wood Panel, we use a thick 6mm poplar plywood board from the Panguaneta TUTTO-PIOPPO range. The PureGlue™ Plywood is made with no added formaldehyde. This is important as formaldehyde can cause artworks to deteriorate over time. Poplar panels have been popular in Central Italy since circa 1250. Uzielli’s chapter in The Structural Conservation of Panel Paintings describe poplar as a wood with good dimensional stability (less likely to warp), largely homogeneous (similar properties across time of harvest and knots do not pose a significant challenge to its stability), with low amounts of extractives (less likely to leach colour in high moisture environments). While oil paint or water colour requires a primer to reduce the likelihood of Support Induced Discolouration (SID), we forgo this due to the low moisture content of chalk pastel and the natural stability of poplar. It also allows to natural wood pattern to emerge as an integral part of the composition. Modern plywood boards are more resilient than traditional lumber, due to its cross-lamination structure. In most cases, sources of deterioration are external rather than internal.
From a collector’s point of view, care generally refers to managing external sources of deterioration. Caring for artworks is in some ways similar to caring for your sartorial pieces or evening wear. Some guidelines may seem self-evident — such as avoid smoke, fire, or pests — while others, such as acidity, light exposure, temperature, and humidity, will benefit from more nuanced attention. We elaborate on this later.
Mindful of these concerns, M. Freddy’s artworks are finished with the non-toxic and archival quality SpectraFix FinalFix Advanced Fixative, which is inspired by Degas’ formula. It is quite effective, as the brand demonstrates on Youtube: https://www.youtube.com/watch?v=4tNlu7bqufU. However, even though SpectraFix claims fixed artworks can be cleaned with a damp cloth and framed without glass, we do not recommend this. There is a high risk of smudging the artwork and spreading water soluble pigments.
Acid can discolour the support and make it brittle. Acid migration occurs when materials e.g. poor-quality framing materials, transfer acid to the artwork through contact. Air pollutants such as sulfur dioxide can also cause damage. Depending on environmental conditions, a conservator may recommend the use of an air purifier.
Light exposure, especially in combination with ultraviolet (UV) radiation, can cause colours to fade. M. Freddy’s original artworks use light-safe, non-toxic chalk pastels from Chalk Copenhagen. Nevertheless, we strongly recommend keeping artworks away from direct sunlight.
Frequent and rapid temperature fluctuations can cause the support to expand and contract. Heat can also accelerate chemical reactions that lead to degradation. In practical terms, we recommend placing artworks away from radiators, stovetops, AC units, and windows.
A relative humidity of 40-60% is recommended. With high levels of relative humidity, around 70% or above, supports can become vulnerable to mold, foxing (brown spots), and buckling (warping and wrinkling). In most cases, this means placing artworks away from bathrooms, damp walls, and water pipes. Extra care will have to be taken if you live in tropical and subtropical climates.
3. General Recommendations
If there is dust on the painting, gently tap the back of the artwork. Please do not use brushes, damp cloths, cleaning solutions, or other surface sprays on artworks. Blowing on the paper can introduce moisture and bacteria. Proper storage and framing is key.
Please avoid restoring artworks by yourself. Well-meaning attempts can cause more damage. For example, trying to clean artworks with sliced bread can introduce mold, and the residue from adhesives such as post-its or tape can leave permanent stains. Please consult a conservator if restoration is necessary. In some cases, it may be more economical to leave minor damages as is.
Finding a thoughtful home for your artworks can greatly simplify their long-term preservation. We would avoid letting artworks sit directly on the floor. We also recommend storing and displaying artworks away from radiators, stovetops, AC units, windows, areas with direct sunlight, pipes, and damp walls. Of course, this represents an ideal scenario. Even smaller museums and galleries make compromises. Still, we hope this guidance helps you assess potential risks and make informed choices for your collection.
We recommend reaching out to a friendly archivist at a museum near you or attending education events to learn more about how they manage their collections given local climate conditions.
4. Framing Recommendations
For works on paper, the easiest way to meet the framing recommendations is by searching for “A5 UV protection glass frame with acid-free mount” (or the exact size of the artwork). The window on a pre-made mount may not fit the artwork exactly but it is hassle-free. Rubix Frames in the UK offers one that is 16.99 GBP, handmade to order, A5 size, with an acid-free mount, and AR70 Art Glass that offers 70% UV protection: https://www.rubixframes.co.uk/products/white-wood-grain-a3-a4-a5-frame?variant=42006580003015
For works on wood panels, we recommend finding a frame of the exact same size with a spacer so that the wood panel can sit on the edge of the frame.
For more custom options, you can look for a framer that offers conservation framing. We outline some of the considerations below:
Always use glass instead of plastic, plexiglass, or acrylic glazing for frames. The static from plastic glazing can lift chalk pastel off the paper.
Always use acid-free, archival materials if it touches the artwork. We provide two acid-free archival mounting cards when we deliver your order. If you bring them to a framer, you can ask them to cut a window through one to use as a mount. Place the second mounting card between the artwork and the frame’s backing board to reduce the likelihood of acid migration.
Always leave an air space between the glass and the artwork. This prevents moisture from building up. A mount will give the painting some air space. For additional space, you can also ask the framer for a spacer or a box frame.
If possible, opt for UV Protection glass. For example, UltraVue UV70 and UV92 offers 70% and 92% UV protection respectively.
No adhesives on the artwork. We recommend making photo corners acid-free archival paper and archival tape. It is very easy to do and it takes 5 minutes: https://www.youtube.com/watch?v=U2PWRVG4uvY A good framer will be able to do this for you easily.
Do not glue the artwork onto a mounting board. This will stop the paper from naturally expanding and contracting, and it will tear the artwork over time.
Do not leave the painting exposed. Frame with glass or store the painting in the glassine envelope we delivered the artwork in. The glassine envelope is acid-free and archival. If left exposed, the painting can be smudged or collect dust, which will present conservation challenges.
5. Storage Recommendations
For most casual collectors, it is sufficient to keep the artwork in its original packaging and place the artwork on a bookshelf or in your wardrobe. We placed the artwork in archival glassine, between two archival mounting cards to prevent curling (for works on paper), and tied all of it together with an archival ribbon. The remaining packaging materials are not archival so we do not recommend using them for long term storage.
Always store upright. Storing artworks stacked on top of each other can trap moisture. Having mounting cards around it can prevent the artwork from curling.
Always use pencil if you are labeling or making marks on the storage container. Inks, even archival inks, can bleed.
Do not write directly on the artwork, even with pencil. We apply fixative on our pencil marks to prevent smudging.
Limit friction and movement on the artwork’s surface. This may damage the surface over time.
No post-its, stickers, or adhesives. The adhesive will leave a residue on the artwork and create a permanent stain.
No staples or metal clips. They can rust and leave brown residue on paper.
No rubber bands. They can disintegrate and adhere to the surface of the paper.
If possible, store in steel cabinets rather than wooden ones. Wood can off-gas and release acids. Wood-composite materials such as plywood or particleboard may contain formaldehyde that is corrosive to objects.
If you have multiple artworks in storage, consider getting an archival document box for extra protection. They come in many forms: clamshell box, solander box, etc. If you are unsure, you can look for ones that meet the ISO 18916 Photographic Activity Test standard. This A4/ Letter size box is 6.75 GBP (exc. VAT): https://www.preservationequipment.com/Catalogue/Archival-Storage/Boxes/Document-filing-box-archival This A4 archival portfolio box features a water-resistant Buckram cloth cover and costs 27.00 GBP (exc. VAT): https://www.preservationequipment.com/Catalogue/Archival-Storage/Boxes/Portfolio-Box-10-sizes-Up-to-619mm-x-517mm-24-x-20
6. Free Resources for Further Reading
“Art on Paper: Collections care guide” by the Institute of Conservation in 2011. https://www.icon.org.uk/conservation-hub/caring-for-your-collections/art-on-paper.html
Old Master Prints and Drawings: A Guide to Preservation and Conservation by Carlo et al. in 1997. https://archive.org/details/oldmasterprintsd0000unse_a8o9
The Care of Prints and Drawings by Margaret Holben Ellis in 1987. https://archive.org/details/careofprintsdraw0000elli/
“Interventions on Wood Supports“ by Manfredi Faldi and Claudio Paolini in c. 2000. https://artenet.it/en/interventi-al-supporto-ligneo/
