Abstract
Written by a knowledgeable, professionally accredited paintings conservator, this volume helps to bridge the knowledge gap between private (or corporate) art collectors and professionally trained institutional collections care professionals.
Using no-nonsense English without being encumbered by confusing technical or academic jargon, Art as Asset is straightforward and concise at a highly-digestible 38 pages. The book is designed to be easily understood by the non-specialist private art collector. Despite its compact form, the volume contains a wealth of useful information explaining the most common causes of deterioration of artworks, and practical mitigation methods to reduce the risk of damage. This advice will help to maintain both the historical integrity and monetary value of art collections of all sizes for the long term.
The volume begins by discussing the various agents of deterioration, and moves on to highly practical, accessible advice for mitigating potential damage from these through preventive care practices. This includes recommendations for lighting, display, storage, framing, handling, and transportation. There are sections on what to do in the event of a disaster, and practical advice on how and when to work with salvage companies and conservators.
What really stands out and fills a need in the current literature is the clear explanations of the benefits of working with an accredited professional conservator, when to call one, what to expect from them, and the importance of documentation. It demonstrates how appropriate conservation measures can add lasting value to artwork, whether a major monetary investment or an inherited piece with primarily sentimental value.
The book will be of interest to institutional collections care professionals as well, as a means of communicating simple preventive conservation measures and stressing the importance of using a professional, when responding to public inquiries.
The advice and recommended informational resources are written from a Canadian perspective, as the author is Canadian, but would be of value anywhere artworks are collected.
The book is geared heavily toward paintings, which is the author’s specialism, but much of the information is equally applicable to other forms of artwork, artifacts, and ephemera. It may have benefited from further exploration of other forms of artistic expression—sculpture, textile items, family silver, or furniture for example, but that would have been at the expense of the brevity and conciseness that is a strength of the book.
Beautifully illustrated with photos of the conservator at work, examples of what various kinds of damage look like, and simple mitigation methods used by leading museums and private collectors alike, Art as Asset has appeal as a coffee table book as much as a practical how-to guide. It would make a lovely gift for an art enthusiast. The book is available now in both hard and soft cover editions through major book stores and online.
