As if the deleterious effects of salt air weren’t enough, life at sea for fine works of art becomes even more intolerable due to a number of other factors such as heat, humidity and sunlight, as well as aerosols produced by the vessel’s mechanical systems.

To protect art against all of these predators, careful thought needs to be given to the installation and maintenance of works, no matter the medium. Heat from infrared (IR) and ultraviolet (UV) light—ever-present in the yachting environment—can cause fading, cracking and decomposition of many of the materials used in works of art and, if at all possible, should be dealt with during the initial design stages of a yachtbuilding project.

Harriet Irgang, director of Rustin Levenson Art Conservation Associates, suggests that UV-inhibiting glass or film be employed for glazing and that extreme care be taken in the design of HVAC systems to ensure that temperature and humidity are maintained and that salt is not introduced into the interior. Dangerous, too, are unexpected vibrations that, for example, can cause irreparable damage to works done in pastels.

Vivian Ebersman, director of art expertise at AXA Art Insurance Corporation, cautions that not only do IR, UV and salt air create problems, but in the smaller spaces found on many boats, the ramifications of entertaining can result in accidental damage. She also notes that without good air conditioning, the airborne particles that carry odors can affect textiles, including fine rugs. Ebersman also suggests that, especially in cases where rare works—including books—are displayed, the environment be constantly monitored for temperature and humidity, as is done in museums.

Keeping artwork clean is another subject that deserves mention. Ann Souder, art consultant and principal of True North Partners, says common sense is key. Handling is verboten because interaction with humans can transfer dirt, natural oils or, worse, suntan lotion. When practical, pieces should be covered and curtains closed in spaces that are not being used. Souder also notes that crewmembers should be taught the value of the pieces and should be instructed in their care and maintenance. Furthermore, the captain should keep an inventory that includes the name of each work and its artist, a photograph of the work, its last appraised value and an inventory number that will correspond to a number placed on each piece. If works are rotated off the boat, the inventory should be immediately updated.

All three experts report that to increase security and lower insurance premiums it is not uncommon for collectors to commission exact copies of various works in their collections. These pieces—generally slightly varied in size from the original and clearly marked with the name of the copyist—are then displayed in areas that could be too risky for the irreplaceable works they mimic.

Expert Advice

» Have a conservator observe the works at least annually.
» Rotate the works regularly.
» Observe the works constantly to see if there are any changes. Photos will aid in ensuring that changes can be identified.
» Use experts in each specialty (painting, sculpture, etc.) to assess the condition of works and provide recommendations. Yard periods are the best for this work, and the pieces should be removed and housed in climate-controlled, secure storage.