Managing Mold on the Monet

Remember that it has only been in the last few decades that air conditioning has become widespread, which is an invaluable tool in controlling mold, while the history of art goes back centuries. Clearly, mold has not suddenly become the Grim Reaper of art as some alarmists claim. The real questions are how to determine when a legitimate problem is present, and what treatment is appropriate. To understand how to assess the circumstances, we need to know a little more about mold.

It is important to recognize that mold spores are virtually everywhere. They are outside in the unpopulated countryside and in the most densely populated cities. It is inside commercial buildings and in all of our homes. Mold is in the air of every breath we take. Even under ideal climatic conditions, it is on your clients' artworks, on their paintings and etchings, on photographs and textiles. Consequently, it is important to make a distinction between the potential for mold problems and the actual presence of it. Even though spores are everywhere, mold does not become a problem unless the spores begin to grow and multiply.

Unfortunately, favorable conditions for mold growth often develop after a hurricane strikes. Hurricanes generally occur during summer months in coastal areas with high temperatures and relative humidity. When electrical power that supplies air-conditioning systems is interrupted, the temperature and humidity in most homes begin to rise. Although there is no absolute time frame, mold can start to become visible in as little as two days if conditions are ideal. The longer the conditions for growth are favorable, the more likely the mold will become visible.

Knowledgeable owners living in areas vulnerable to hurricanes or other natural disasters will have backup electrical generators so that they can continue to control the environment where their art is stored or displayed. Those that cannot control the climate will face the potentiality of a mold problem. This is why it is important for the collection's owner, or his insurance carrier, to have an established working relationship with a reputable art conservator who can arrive on-site promptly after a storm has passed. The conservator will be able to advise all parties on a variety of emergency response measures to limit additional damage to the art, as well as to what action is necessary to prevent mold from growing. They also can assist in making arrangements to have the collection moved to a more suitable environment, if necessary.

Conservator Value

Obviously, choosing the right conservator is very important. If you or your client has worked with someone in the past that you trust, that is a good place to start. If not, the American Institute for Conservation of Historic and Artistic Works (http://aic.stanford.edu) has a member search and referral feature categorized by geography and type of art. The organization has a stringent code of ethics and membership requirements. Conservators found here should be both ethical and professional. Local respected art museums near the client's collection also could provide quality referrals.

No matter where you find your conservators, you should ask for and contact client referrals, preferably from the past two or three years. Ask if the work was completed satisfactorily, on time, and within the estimated budget. Keep in mind that not all specialists display professional ethics, and that, too, is a valid reason to seek a second opinion if you have questions or doubts.

Also, unfortunately, some conservators will take advantage of the fears of art owners and either magnify the magnitude of the mold problem, or worse, identify a non-existing problem and then recommend a very expensive — and unnecessary — procedure for remediation.

For example, let's assume a painting definitely has visible mold. It's likely that the frame, any matting, and backing also has mold. The mold must be professionally removed from the painting and the matting and backing must be replaced. The frame, however, almost always can be cleaned. It does not have to be replaced at great cost as some conservators may recommend. In fact, original frames may add to the financial value as well as historic context of an artwork, which is why many conservators feel there is a potential conflict of interest in offering conservation services with the sale of frames.

Some rare and antique frames sell for tens or hundreds of thousands of dollars (the record price for a frame is $947,000 auctioned at Sotheby's in 1991), and even replacement frames often cost several thousand dollars or more. This can make a significant difference in unnecessary costs when solving your client's legitimate mold issues.

Professional conservators will provide a written condition report addressing 1) what the problem is, if any, 2) a treatment proposal specifying the action to be taken, and 3) the cost of the treatment. If a claim adjuster has questions about the existence of a problem or the recommendation and costs to address it, it might be prudent to solicit a second opinion from another respected conservator for an analysis only of the problem, without asking for treatment proposals or cost estimates. This separates the problem identification process from the award of a contract, which keeps your and your client's options open.

Although some experts will equate the potential for mold with a five-alarm call for action, this is not always necessary or even in the best interest of the art. The best way to determine whether a meaningful mold problem exists can usually be done with a simple visual examination. As simple as it sounds, the truth of the matter is that if you cannot see mold on an artwork, you probably do not have a mold problem. Look for hairy or fuzzy growth in any of a multitude of colors. In fact, the New York City Department of Health and Mental Hygiene has issued the widely accepted Guidelines on Assessment and Remediation for Fungi in Indoor Environments, which states, "A visual inspection is the most important initial step in identifying a possible contamination problem." Simply put, if you do not see mold, you probably do not have a mold problem.

Some owners of fine art, however, will press for a mold evaluation and subsequent remediation in spite of the lack of any indication of its presence. Depending upon the insurance company's policies and the importance of retaining a good client relationship, you may want to solicit a professional conservator's opinion. Even though their services require the payment of professional-level fees, a bill for the mold evaluation will be minimal in comparison to the potential loss if there indeed is active mold, or the loss of a significant piece of business.

If an owner is concerned about mold even when none is visible, the underlying concern is usually one of potentialities. It is in the mutual interests of both the insured and insurer (to say nothing of the art!) to address those potentialities by treating the environment, not the art. This usually is not too difficult.

Certain conditions must exist for mold to grow. Although mold prefers warm, dark, still air, for it to grow two conditions must be present: a source of nutrients and relative humidity in excess of 70 percent. Most artworks are made of materials that are virtual feasts for mold, such as the cellulose in paper and canvas, the oils in leather, various pastes, glues, gums, waxes, etc. Nothing can be done about the materials used in the artworks, but the second requirement for mold growth, the humidity, can be controlled.

Drop the humidity to below 70 percent and you stop mold growth. The fuzzy, dusty mold colonies will shrivel and compact, the spores will become dormant, and the pernicious effects will cease. Keeping humidity in check is by far the best way to address and control nearly all cases of mold. Carefully vacuuming or cleaning of surfaces should be sufficient to address almost any mold problem once the growth cycle has been halted.

Remember, and also mention to your art owner clients, that one of the greatest causes of damage to fine art is transportation from one location to another, and that professional conservation ethics, common sense, and the marketplace all agree that any treatment of an artwork carries risk and is to be avoided. Having their artworks moved to a conservator's studio for unnecessary mold treatment, even if owner has convinced the insurance carrier to pay the bill, increases the risk to the art.

Stop the Bleeding

It is clear that dealing with mold issues and fine artworks can be somewhat complex. The best way to avoid mold problems is to keep the art in a controlled, cool climate with low relative humidity. If disaster strikes, and the environment where the art is located begins to get warmer and wetter, there are some temporary actions you can take (depending upon the size and weight of the art objects) that will minimize the threat of mold.

First, determine the source of the higher humidity, such as wall or roof leaks, and repair them as soon as practical. Reseal the area where the art is stored and take steps to again control the environment. Portable generators, operated away from the art in well ventilated areas, can provide temporary power. If window air conditioners can be fitted, do so. If not, dehumidifiers can lower the humidity and portable fans will keep the air moving. Tungsten lights will brighten the areas. Do whatever possible to disrupt the conditions favorable to mold growth. Obviously the generator and temporary fans, lights, and air-conditioning units should be closely monitored. An electrical fault that starts a fire amid the collection would be worse than any mold problem.

If it is not possible to seal the area and make temporary arrangements to control the climate, move the art to a dry place. If the power is out and the house is uniformly damp, place it outside in the sun and breeze and let air move around it. This may take some courage if the collection is of great value.

If resealing and controlling the environment for an extended period of time is not possible, it may be wise to move the art to a different location. Remember to weigh the pros and cons, however, because this is how most art is damaged. If you decide to proceed, ask for referrals. Your client probably used a reliable firm to transport the art to its current location.

Although the possibility of mold growing on fine artworks after a natural disaster can raise a formidable challenge for claim adjusters, some basic knowledge, forethought, and preparation can prevent not only the mold from growing, but also carriers from paying for costly unneeded services.

James Swope is founder, owner, and chief conservator of Fine Arts Conservation, Inc. in West Palm Beach, Fla. He has been adjunct conservator at the Norton Museum of Art since 1991 and is a professional associate of the American Institute for Conservation of Historic and Artistic Works.