How to Care for Original Art at Home

Most damage to art at home is slow and avoidable. Sunlight fades a watercolour over a few summers; a radiator dries out a panel; a well-meant wipe with a damp cloth lifts paint. A handful of simple habits will keep your collection looking as it should for decades, and none of them requires special equipment.

Light: the slowest and surest damage

Light, and ultraviolet light in particular, is cumulative and irreversible. Works on paper, watercolours, photographs, textiles and anything with fugitive pigments are the most vulnerable, but oil paintings are affected too.

• Never hang art in direct sunlight, even for part of the day. Watch how the sun moves across a room before choosing a wall.
• Use UV-filtering glazing for works on paper and photographs. It costs a little more and protects a great deal.
• Draw blinds or curtains in rooms that get strong sun when you are not using them.
• Rotate light-sensitive works, giving them periods in storage or on darker walls.
• Choose lighting with care. Modern LED picture lights produce very little UV and heat, but keep any lamp at a sensible distance from the surface.

Temperature and humidity: keep it steady

Most materials in artworks, from canvas and wood to paper and glue, absorb and release moisture. They expand and contract as humidity changes, and repeated swings cause cracking, warping, cockling and flaking. Moderate conditions matter, but stability matters most.

Avoid hanging works:

• above radiators, heaters, fireplaces or wood burners
• near air-conditioning vents or in the path of heating outlets
• in bathrooms or kitchens, where steam and grease are constant
• on exterior walls that are cold or damp, where condensation can form behind the frame

A small gap between the back of a frame and the wall, made with felt or cork bumpers on the lower corners, lets air circulate and helps prevent damp from building up.

Hanging securely

• Use two hooks rated for well above the weight of the work, rather than a single nail, so the work hangs level and the load is shared.
• Check the fixings on the back of the frame, such as D-rings or a hanging wire, and replace anything worn or rusted.
• Choose the right fixing for your wall. Plasterboard, masonry and older plaster all need different fixings for heavy works.
• Hang at eye level. Galleries commonly place the centre of a work at roughly 145 to 155 centimetres from the floor, which is a good starting point at home.
• Keep heavy or glazed works away from doorways and busy corridors where they can be knocked.

Handling

When you need to move a work, plan the route first and clear the way. Handle it with clean, dry hands or clean gloves, and carry it vertically by the sides of the frame, with one hand underneath. Never lift a painting by the top of the frame, the stretcher bars or the hanging wire, and never press on the front or back of a canvas. Large works are a two-person job.

Cleaning: less is more

• Dust frames gently with a soft, clean brush or a microfibre cloth.
• Never clean the surface of a painting with water, household cleaners or cloths. Dust on a stable paint surface can be lifted very lightly with a soft brush; anything more is a job for a conservator.
• Clean glazing by spraying the cloth, not the glass, so liquid cannot run down behind the frame onto the work. Use acrylic-safe cleaner on acrylic glazing, which scratches easily.
• Leave sculpture finishes alone unless you know exactly what the surface is and how it should be cared for. Patinated bronze, wax and painted surfaces each need different treatment.

Framing works on paper

A good frame is the best protection a work on paper can have. Ask your framer for conservation framing: acid-free mounts and backing, the work hinged rather than glued, UV-filtering glazing, and a mount or spacers so the work never touches the glass. Acidic materials in older frames cause the brown lines and staining described in our guide to reading a condition report.

Storing works you are not displaying

Store art upright, separated by padding or card, off the floor and away from external walls. Avoid attics, basements and garages, where temperature and humidity swing widely. Wrap works to keep dust off, but use breathable materials rather than sealing them in plastic for long periods, which can trap moisture.

When to call a conservator

Some signs need professional attention: paint that is flaking or lifting, tears or holes, mould, water damage, insect activity, or a canvas that has gone slack and is rippling. Resist the urge to fix these yourself, as well-meant repairs can cause permanent damage. Professional bodies such as the Institute of Conservation in the United Kingdom and the American Institute for Conservation in the United States maintain directories of accredited conservators.

Keep the records

Photograph each work when it arrives and every few years after, and keep the photographs with its invoice, condition report and any documents. A simple record makes changes easy to spot, supports any insurance claim and becomes part of the work's history. If you have just received a new work, start with our guide to what to do when a work of art arrives.