The Florida climate is such that special considerations should be given to our paintings. We are only caretakers of fine art. A properly cared for painting can be enjoyed by the generations to come. Special care should be taken in respect to humidity, temperature and sunlight. Florida has an abundance of each.

An oil painting on canvas is made up of several layers of different materials. At the bottom of the structure is the canvas, then the sizing, then up to three coats of ground, then the paint layer and on top is a layer of varnish. These layers react differently to humidity and temperature. High humidity can cause a lack of adhesion in the ground layer. Fluctuating temperatures can cause the paint layer to expand and contract at a different rate than the other layers causing cracking and separation.

You do not want to display paintings, especially watercolors and color prints in direct sunlight, directly under an AC vent, or near a heat source. The UV rays will cause colors to fade over time. Some color dyes and inks will fade at a dramatic rate over others. I have seen a nice three color art print approximately fifteen years old with the color red completely faded out. The print was just shades of green, only the yellow and blue colors were left. Likewise, care should be taken in moving your paintings from an air conditioned home into a hot car. It only takes two or three minutes for a painting’s temperature to span 20 or more degrees. These are the conditions that you do not want to create. If possible, acclimate your painting slowly to avoid the shock of temperature change. Cover them while outdoors. The older the painting, the more drastic these effects can be.

Paint is in a continual state of drying as is the canvas. Be careful not to cause pressure to the back or front of an old painting. This could cause hairline cracks that can accelerate future condition problems. In all my thirty plus years of painting restoration there were two conditions that I could not correct. One instance was restoring a painting with severe heat damage from a fire. This painting was exposed to so much heat that the varnish fused into the paint layer along with smoke contaminants. I could not dissolve or penetrate any part of that varnish/paint layer. The frame on this particular painting was reduced to charcoal. Some conditions do exist where you have to accept that the painting is lost. The other condition was a layer of varnish that had turned an amber color and needed to be removed. I tried every chemical at my disposal. I could not dissolve it, but could soften it. The time it would have taken to remove the varnish resulted in a cost that was much greater than the value of the painting. Since the painting had no sentimental value to the owner, the restoration work was not done.

Paintings do not come with a past medical history. So, each restoration is a mission of discovery. The older the painting, the greater the chances are of finding past restorations. When an old painting is due to get it’s dark varnish removed, all of the past restoration to the paint surface becomes obvious and also has to be removed. Holes and tears in a canvas are the most common condition problems. Patching, filling, and touching up are routine practices. A torn canvas is nearly always due to an accident. The most common is a painting falling off the wall. Remember all four of the strong points to keep your paintings on the wall.

1. Make sure your wire is strong enough for the painting and frame weight.

2. Make sure the screws are large and long enough to hold the D-rings or eye screws to
the frame.

3. Make sure the wall anchor is secure in the wall and strong enough for the painting and
frame.

4. Make sure the wall is strong enough. Drywall can be a problem for a heavy painting or
mirror. If you can’t find a wall stud, use a heavy-duty anchor made especially for
drywall. If in doubt, use two anchors and space them about six inches apart.

In painting restoration the less you have to do the better. A painting should be kept as original as possible. This goes for all the materials that make up a painting and its frame. If the artist framed the piece, the frame and its painting should be treated as one entity. Many great artists like Whistler, Hassam and Muncha designed frames for their paintings. A great amount of value could be lost by reframing. A painting displays best in a period frame.

There are two ways to value a painting - monetary and sentimental. With research you can likely arrive at a monetary value. A painting of sentimental value is very personal and could be impossible to replace. So when do you call a restorer? If you have a painting that you value and observe a change of some kind like cracking, flaking or any kind of visual change you may be looking at a condition problem that if corrected early could extend the painting’s life and value. You could also need a restorer if you have a work of art that got accidentally broken, torn, scratched or damaged in some way.

To find a professional restorer I would suggest two ways:

1. Search the Internet - using the following search phrases - Art Restoration (for
paintings, sculpture, murals, glass, porcelain, etc.). Paper Conservation (for
watercolors, prints, documents, etc.) National Associations like American
Institute for Conservation.

2. Contact local museums, galleries, and dealers explain what type of restoration you
need and ask who they use. You may be able to see the restorers work first hand.
A museum or prominent art collector is going to know who does expert work.
If you have a fine work of art in need of minor or major restoration and you plan on selling it you may want to let the next owner find a restorer. If you have no desire to let it out of your possession, then by all means find a good restorer and get your painting esthetically pleasing for your enjoyment.

The Florida climate is such that special considerations should be given to our paintings. We are only caretakers of fine art. A properly cared for painting can be enjoyed by the generations to come. Special care should be taken in respect to humidity, temperature and sunlight. Florida has an abundance of each.

An oil painting on canvas is made up of several layers of different materials. At the bottom of the structure is the canvas, then the sizing, then up to three coats of ground, then the paint layer and on top is a layer of varnish. These layers react differently to humidity and temperature. High humidity can cause a lack of adhesion in the ground layer. Fluctuating temperatures can cause the paint layer to expand and contract at a different rate than the other layers causing cracking and separation.

You do not want to display paintings, especially watercolors and color prints in direct sunlight, directly under an AC vent, or near a heat source. The UV rays will cause colors to fade over time. Some color dyes and inks will fade at a dramatic rate over others. I have seen a nice three color art print approximately fifteen years old with the color red completely faded out. The print was just shades of green, only the yellow and blue colors were left. Likewise, care should be taken in moving your paintings from an air conditioned home into a hot car. It only takes two or three minutes for a painting’s temperature to span 20 or more degrees. These are the conditions that you do not want to create. If possible, acclimate your painting slowly to avoid the shock of temperature change. Cover them while outdoors. The older the painting, the more drastic these effects can be.

Paint is in a continual state of drying as is the canvas. Be careful not to cause pressure to the back or front of an old painting. This could cause hairline cracks that can accelerate future condition problems. In all my thirty plus years of painting restoration there were two conditions that I could not correct. One instance was restoring a painting with severe heat damage from a fire. This painting was exposed to so much heat that the varnish fused into the paint layer along with smoke contaminants. I could not dissolve or penetrate any part of that varnish/paint layer. The frame on this particular painting was reduced to charcoal. Some conditions do exist where you have to accept that the painting is lost. The other condition was a layer of varnish that had turned an amber color and needed to be removed. I tried every chemical at my disposal. I could not dissolve it, but could soften it. The time it would have taken to remove the varnish resulted in a cost that was much greater than the value of the painting. Since the painting had no sentimental value to the owner, the restoration work was not done.

Paintings do not come with a past medical history. So, each restoration is a mission of discovery. The older the painting, the greater the chances are of finding past restorations. When an old painting is due to get it’s dark varnish removed, all of the past restoration to the paint surface becomes obvious and also has to be removed. Holes and tears in a canvas are the most common condition problems. Patching, filling, and touching up are routine practices. A torn canvas is nearly always due to an accident. The most common is a painting falling off the wall. Remember all four of the strong points to keep your paintings on the wall.

1. Make sure your wire is strong enough for the painting and frame weight.

2. Make sure the screws are large and long enough to hold the D-rings or eye screws to
the frame.

3. Make sure the wall anchor is secure in the wall and strong enough for the painting and
frame.

4. Make sure the wall is strong enough. Drywall can be a problem for a heavy painting or
mirror. If you can’t find a wall stud, use a heavy-duty anchor made especially for
drywall. If in doubt, use two anchors and space them about six inches apart.

In painting restoration the less you have to do the better. A painting should be kept as original as possible. This goes for all the materials that make up a painting and its frame. If the artist framed the piece, the frame and its painting should be treated as one entity. Many great artists like Whistler, Hassam and Muncha designed frames for their paintings. A great amount of value could be lost by reframing. A painting displays best in a period frame.

There are two ways to value a painting - monetary and sentimental. With research you can likely arrive at a monetary value. A painting of sentimental value is very personal and could be impossible to replace. So when do you call a restorer? If you have a painting that you value and observe a change of some kind like cracking, flaking or any kind of visual change you may be looking at a condition problem that if corrected early could extend the painting’s life and value. You could also need a restorer if you have a work of art that got accidentally broken, torn, scratched or damaged in some way.

To find a professional restorer I would suggest two ways:

1. Search the Internet - using the following search phrases - Art Restoration (for
paintings, sculpture, murals, glass, porcelain, etc.). Paper Conservation (for
watercolors, prints, documents, etc.) National Associations like American
Institute for Conservation.

2. Contact local museums, galleries, and dealers explain what type of restoration you
need and ask who they use. You may be able to see the restorers work first hand.
A museum or prominent art collector is going to know who does expert work.

If you have a fine work of art in need of minor or major restoration and you plan on selling it you may want to let the next owner find a restorer. If you have no desire to let it out of your possession, then by all means find a good restorer and get your painting esthetically pleasing for your enjoyment.

In your search you may find an individual who specializes in a field of conservation and restoration. For example, one who specializes in paper products only. Paper conservation is very different from oil painting restoration. Different equipment and materials and procedures. Or you could find a conservation and restoration service that is staffed by many professionals covering a variety of specialties like paintings, watercolors, prints, marble, glass, murals, etc.

When you find a restorer they will likely be out of your area. You may want to get your work of art appraised before you arrange shipping. Appraisers can also be found by Internet search or by asking local art dealers. Let the appraiser know that you are shipping it and want an appraisal for insurance purposes. It is highly recommended that you insure your artwork when it is out of your possession.
There are companies that transport works of art exclusively. They will come to your door, package it there, load and deliver it from your door to the recipient’s door.

When a work of art is in a restorer’s care any signs of potential problems can be noted. A general health report should be generated for you along with a plan for future care. Have a good dialogue with your restorer and bring up any concerns you may have. Some old paintings are in tremendous physical condition for their age while others need careful handling because of their delicate condition. This is information you should know for the care of your painting. There is no reason why a work of art cannot be maintained in a good state of health with simple care.

If you are a dealer or collector a good restorer’s business card should be in your wallet.