Maybe it was a framed etching, but backed by acidic cardboard. Maybe it was mixed media utilizing various types of paper, but they hadn’t been sealed. Maybe it was a sculpture composed of various metals that would begin corroding in five years because of metallic incompatibility. Repeatedly I’ve seen instances of this, and couldn’t carry the works because I can’t sell art that is at risk for deterioration.

What happens if you don’t pay attention to these details? You’ll get a reputation for shoddy work. Galleries will drop you. Clients will drop you. Clients may demand refunds. Career on a downhill slide.

So yes, it’s important to understand archival process, though I realize it’s a little boring. Is it complicated? Not once you know the basics.

And very simply, here are a few of them:

Shot of a sculpture we installed at the Spring Center where we had to use archival methods. We secured the piece with copper collars mated to stainless steel cable. All metals used here are either stainless or copper. You can't use aluminum collars on stainless or corrosion will occur.

UV Glass for Works on Paper. It’s your choice whether to use UV glass or not. Sure it costs more, but you’re protecting the client’s investment, since they may hang it in a bright room (unless they live in England). Regarding the additional cost, we just always add that into the retail price. Why? The client is paying you to take care of their investment, which is how we always explain it.
Works on Paper. I know this seems obvious, but I often encounter it, so: Always make sure that the image doesn’t touch the glass after framing, and that only acid-free materials are used. If you’re a pastelist, I advise you to apply fixative before framing, or flaking may result within a
few years.

Stretchers. Whether you paint in oil or acrylic, please make sure that you use dried poplar — or some similar wood — for your stretchers. Why? I’ve seen painters use pine that they dig out of some bone heap, and it invariably warps as it dries. Another solution is to buy pre-manufactured stretchers if you like standard sizes. There are many inexpensive resources
for these.

Varnishing Paintings. Naturally, varnish protects oil paintings against moisture and dirt. If you like working with it, try to make sure it’s applied after the oil has cured. If this means going to the client’s house, great: That opens the door to renewed contact, and possibly further acquisitions.

Metal Sculpture. When you sculpt or install, please make sure that the metals you choose will not cause galvanic corrosion over time, owing to incompatibility. Hence you cannot mate aluminum to stainless steel, bronze to mild steel, aluminum to mild steel, etc. Any metallurgist or metal supplier can advise you. Me? I have a tendency to utilize some Missouri welders who do my fabricating — flawlessly — and don’t charge for advice, except the odd latte. Yeah, welders drink lattes around here.

Warning Labels. Believe it or not, on occasion clients still hang works in direct sunlight. To help inform them, I advise putting a label on the back of any piece that can be damaged by UV rays, stating that the work should be hung in an appropriate location. I realize this seems obvious, but not everyone gives thought to these issues.

As a gallery owner, I’ve never had a client complain about a piece, its assembly or fragility. This is because I advise my artists on approaches to take, if they haven’t considered same. An artist is so consumed with creation that sometimes these details elude them. But one reason I keep getting referrals to new clients is because we pay attention to these details. If you do this as well, your reputation for professionalism will only broaden. That’s a fancy way of saying you’ll make more, and have more time for pursuing your passion.
Bonne Chance.

Copyright © 2008 Paul Dorrell. Paul Dorrell founded Leopold Gallery in 1991. As an art consultant, his clients include H&R Block, the Kauffman Foundation and Warner Brothers. He’s also the author of the acclaimed guidebook for artists, Living the Artist’s Life. His blog can be found at www.PaulDorrell.com .

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