Revised on 7 November 2026. Should any information have changed, please notify me and I shall update it.
A home does not possess the environmental control of a museum, nor is it required. The majority of damage sustained by works at home arises from a few avoidable causes: direct light, abrupt fluctuations in humidity, careless handling and well-intentioned cleaning. This guide reviews these factors using the most cited references in preventive conservation, those of the Canadian Conservation Institute.
Light
Light damage is cumulative and irreversible: a faded colour cannot be recovered. It depends on intensity and duration, in direct proportion. Half the light for the same duration produces half the damage, just as the same light for half the duration does.
Museum standards set approximately 50 lux for the most sensitive items: watercolours, drawings, prints, photographs, textiles and dyed works. For oil paintings and other materials of medium sensitivity, higher values are permitted, up to 150 or 200 lux. By way of comparison, the light entering through a window on a clear day far exceeds these values. An inexpensive light meter, or a mobile application for guidance, is sufficient to gain an impression.
Ultraviolet radiation adds damage without contributing to visibility. Quality LEDs emit almost none; sunlight, however, does. Glass or acrylic with a UV filter on works on paper is beneficial.
In practice: place nothing sensitive on a wall receiving direct sunlight; use curtains or blinds during peak light hours; and, if you possess valuable work on paper, rotate it rather than keeping it permanently displayed.
Humidity and temperature
The danger lies in extremes and rapid fluctuations. High humidity leads to mould and stains on paper, and causes the canvas to slacken. Excessively low humidity causes wood to crack and paint on panel to lift. Rapid changes cause materials to expand and contract at different rates.
Consequently, the most unsuitable locations in a home are the obvious ones: bathrooms and kitchens, cold exterior walls, above radiators or fireplaces, or in front of air conditioning units. A low-cost hygrometer will indicate whether a room presents a problem.
Hanging
Two anchor points are superior to one, using hooks or hangers sized for the weight and wall plugs appropriate to the wall type. The rear cord or wire should be inspected periodically. In high-traffic areas, height and positioning prevent impact. Heavy works should be hung by two people.
Handling
Plan the route before moving a work and clear the path. Wash and dry your hands; gloves are not always the optimal choice, as they reduce tactile sensitivity and may snag. Do not lift a painting by an ornamental frame or touch the painted surface.
Storage
Store vertically, supported on blocks, never directly on the floor; separated from one another by cardboard or foam, face-to-face or reverse-to-reverse; away from damp storage rooms or hot attics. Works on paper should be kept flat in folders or boxes made of acid-free materials, with tissue paper between sheets.
Cleaning without damage
Do not use water, glass cleaner or household products on paint. Do not use damp cloths on paper. Do not use feather dusters, which may snag loose flakes. Use a soft, dry, natural-hair brush for dust on an oil painting in good condition, and only if there is no flaking. Clean the glass of a frame by spraying the cloth, never the glass, to prevent liquid from entering the edge.
If you observe flakes, bulging, mould or new stains, do not attempt to repair them: photograph the area, note the date and contact a conservator-restorer.
Emergency
Keep the inventory, a priority list and the contact details of a conservator-restorer at hand. Do not place works under pipes or adjacent to air conditioning equipment. In the event of water or fire, prioritise people; subsequently, do not improvise treatments on wet, burnt or mouldy pieces. For digital work, store copies in separate locations: a drive connected permanently to the same computer is not a backup.
Further reading
- How to read a condition report for a work of art
- Insuring a work of art: from home insurance to nail-to-nail coverage
- How to inventory a collection that mixes physical and digital artworks
On the open conversation
If you work in preventive conservation and identify advice you would qualify, please write to me. This notebook remains open.
Sources
- Canadian Conservation Institute, CCI Notes 13/1, Textiles and the Environment.
- Canadian Conservation Institute, CCI Notes 6/2, Care of Basketry, including lighting and UV values.
- Museums & Galleries of NSW, Light damage and light control.