When should a collector be encouraged to use one of these materials in a frame? Any work of art possessing color should be assumed to be light sensitive, and therefore would benefit from having U.V. filtration in the frame. In addition, photographs, textiles and modern cream colored are all sensitive to exposure to U.V, But, the collector must be reminded that this filtering does not eliminate the need of low light levels and avoidance of exposure to sunlight. Some few exceedingly fugitive pigments – seen in watercolors, Japanese prints, 19th century photograph and some textile dyes – are quite susceptible to fading even with filtration, and must be especially guarded from all light. Other pigments used in these works, and the paper or fabric supports for these objects will certainly benefit from the filtration, however.
Works of art are deliberate in their visual effects. Any change must be lamented as it removes an object from the intent of the artist. Although any particular object may retain aesthetic significance despite the change, it loses some of the magic it once possessed as a deliberate achievement by a remarkable human being. If our obligation to the artist isn’t sufficiently convincing, one might also consider the difference in market value for similar objects in different conditions.
Responsible and cautious owners with frame sensitive artworks under ultraviolet filtering materials, to slow the effects of exposure to light – fading embrittlement and discoloration – and dim the light of all types falling on their framed artworks by lowering blinds, using incandescent lighting and keeping daylight and fluorescent light away from the objects. In this case, an ounce of prevention in cautious framing and display is worth considerably more than a pound of cure, since the prevention is relatively easy and the cure simply does not exist