the case against works on paper...

[Robyn McMullan]

Hi to all, just interested in thoughts on this topic

Earlier today I had a brief conversation with a friend and gallery owner here in Sydney.
She has been in the business for a long time and mentioned that a number of their clients won't buy Works on Paper because not only the general belief that they are less valuable but also because here in Sydney we have major issues with humidity.

I frame a lot of works on paper, and give advice to people on how to keep them safe especially if they are irreplaceable or valuable items.

 

[Kai Vanuffelen]

The problem with many homeowners is, that they do not have air-conditioning, heating, dehumidifiers and insulation.
People who live in modern, well ventilated and insulated houses have less problems than those in a century old Victorian or Edwardian villa. Keeping the home to a low relative humidity is important for the well-being of framed art on paper.

With busy lifestyles, husband and wife both working, it is difficult to keep windows open ajar during the daytime as that will encourage burglars. Heat transfer systems are another good solution. This transfers warm air from the loft to the rooms during winter-time and generally circulates air within the house. Stagnant, damp air results in fungal growth.

 

[Michael Mintz]

I'm located in coastal South Carolina where all the aforementioned issues (heat, humidity + old homes) come into play. Value (or not) aside, the facts of life are that art on paper is the only way many people can afford to purchase art at all.

 

[Jim Miller MCPF GCF]

Paper can be a durable material if it is handled properly, but suffers greatly in harsh conditions. Since paper is hygroscopic, the fibers respond to temperature and humidity changes by expanding and contracting.

If the ambient changes of temperature and humidity are rapid and radical, the expansion and contraction cycles can literally tear the paper's fibers apart, especially over time. That causes cockling and changes to the surface texture. Also, light and heat accelerate the degradation of fibers by acid formation, which causes discoloration and makes the paper brittle. I guess we have all seen these permanently-destructive effects, and it is fair to say the paper has been abused - usually by accident, carelessness, or ignorance of the custodian.

On the other hand, if exposure to light is minimized, airborne contaminants are avoided, and ambient changes are gradual and controlled, the expansion/contraction cycles are slow and occasional, and fiber damage can be minimized. Paper can last centuries in such favorable conditions, as demonstrated by the almost-new condition of pages in centuries-old books, and old documents stored in boxes covered by several inches of insulating materials.

A significant benefit of a tightly-closed picture frame is that it slows the rate of ambient changes inside the frame, thereby reducing the frequency and severity of expansion/contraction cycles and lessening the degradation of the paper's fibers.

Trouble is, if the frame's interior becomes very moist, mold & mildew can grow. So, it's a good idea to include desiccant material properly condition to low moisture content, close the frame as tightly as possible, and check regularly for any evidence that moisture has invaded the frame. A precautionary maintenance would be to open the frame, recondition the hygroscopic materials to low moisture content (dry them out), and reassemble.

With reasonable care in selection of the display area and routine maintenance, framed paper can retain its full collectible value, and might endure indefinitely.

 

[Randy Parrish CPF]

She has been in the business for a long time and mentioned that a number of their clients won't buy Works on Paper because not only the general belief that they are less valuable

Humidity concerns aside, there are many people that only collect works on paper and art galleries specialize in it or they go strictly high end originals. All depends on the niche the gallery finds itself able to grow under. Many collectors like them because they can purchase works from well known and respected artist at a much lower price.

An original by Robert Rauschenberg might cost in the hundreds of thousands whereas you can buy a print in the thousands, and also expect it to go up in value.