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You’ve taken the time to choose the best pieces for your yacht, but you’re not done yet.
by Mark T. Masciarotte
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06/01/2007
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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.
 Design Showcase: Picture Perfect
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