Fine-Art and Collection Storage in Johannesburg

Why storage matters for art and collections

Most damage to artworks and collectables is gradual rather than dramatic. Fluctuating temperature and humidity, light, dust, pests and repeated handling slowly affect paint layers, paper, textiles, wood and photographs. Knocks and poor packing during moves account for much of the rest. Good storage addresses these risks quietly and consistently, so that a work leaves storage in the condition in which it arrived.

People look for professional storage for many reasons: a move or renovation, a collection that has outgrown the walls, works awaiting sale or exhibition, an inherited collection, or a gallery's stock between shows. The principles are the same in each case.

Climate and humidity: the general principles

Many materials in artworks respond to moisture in the air. Canvas, wood panels, paper, bone, leather and textiles absorb and release moisture as relative humidity changes, which makes them swell and shrink. Over time, repeated movement can crack paint, warp panels, cockle paper and loosen joints. High humidity encourages mould and insect activity and can speed up corrosion in metals, while very dry air can leave organic materials brittle.

Conservation guidance generally places more weight on stability than on any single ideal figure. Gradual, limited change is usually less harmful than rapid swings, and suitable conditions vary by material. Photographs, metals, works on paper and mixed-media pieces may each have different needs, and some objects need specialist advice.

Johannesburg's Highveld climate is generally dry in winter, while summer thunderstorms can raise humidity quickly. Homes, garages and outbuildings can also warm up and cool down considerably between day and night. Those swings are one reason collectors consider a controlled environment for works that are not on display.

Knox's safe custody storage rooms have been upgraded with temperature control.

Light is the other major factor. Ultraviolet and visible light cause fading and discolouration in works on paper, textiles, photographs and some pigments, and the effect is cumulative. Dark storage between periods of display helps to preserve them.

Condition reports and documentation

A condition report is a written and photographic record of an object's state at a particular time. It is usually prepared when a work enters storage, when it leaves, and whenever it is moved or lent. If something changes, the report shows when, and helps to establish what happened.

A typical condition report records:

• the artist or maker, title or description, medium, dimensions and any inventory number;
• the frame, glazing, mount, stretcher or base, and their condition;
• existing damage such as cracks, flaking, tears, stains, foxing, scratches or losses;
• labels, inscriptions and marks on the back or underside; and
• overall and detail photographs, including the reverse.

A condition report is not a valuation or an authentication. It records what can be seen; a detailed technical assessment is a conservator's work. Keep your own copies of condition reports alongside provenance documents, invoices, certificates of authenticity and valuations.

Knox confirms the dimensions, handling requirements, condition-recording process, transport requirements and applicable storage arrangement before intake.

Handling: fewer touches, more care

Every time a work is handled there is some risk, so the aim is to handle only when necessary, to plan each move before lifting, and to use enough people for the size and weight of the object.

• Clear the route and the destination before moving anything.
• Carry framed works upright and one at a time, with one hand beneath the frame and one at the side, never by the top of the frame or the hanging wire.
• Use clean, dry hands or suitable gloves, depending on the material; some gloves reduce grip, which can be a risk in itself.
• Avoid touching paint surfaces, photographs or gilded frames directly.
• Keep works off the floor on padded blocks or racks, and do not lean works face to face without protection between them.
• Let packed works acclimatise before unpacking after a significant change in temperature.

Transport: packing, vehicles and responsibility

Moving a work is often when damage is most likely, so transport deserves as much planning as storage. The right method depends on the object's size, fragility, value and destination.

• Packing. Soft-packing may be enough for a short local move of a robust framed work. Fragile, valuable or unusually shaped pieces may need a custom crate. A barrier layer, such as glassine or acid-free tissue, should sit between a sensitive surface and any plastic wrap.
• Vehicles and crews. Experienced art handlers, padded and secured loads, and vehicles suited to the size and value of the consignment reduce the chance of damage.
• Responsibility. Confirm in writing who is responsible for the work at each stage, from collection to placement in storage, and how it is insured in transit.

You are responsible for packing your items and for your own storage trunk and locks; Knox can arrange a trunk at an extra charge with one week's notice. Large items can be delivered to or collected from Knox Monday to Friday, between 09:00 and 16:00.

Insurance for stored art

Fine art is usually insured under a specialist fine-art or collections policy, or as specified items on a broader policy. Collectors commonly look for cover that applies while works are on the wall, in transit and in storage, sometimes described as nail-to-nail cover.

A few points are worth checking:

• whether the policy is on an agreed-value or a market-value basis, and when valuations must be updated;
• whether storage at a particular facility, and transit to and from it, must be notified to the insurer;
• any conditions about packing, handlers or the storage environment; and
• how damage that develops gradually, such as from humidity or pests, is treated, because some policies exclude it.

Insurance arranged by a storage provider may cover the provider's own liability rather than the owner's interest in the works, and it is subject to its own limits and exclusions. Do not assume that one policy replaces the other.

The box insurance covers items of intrinsic value such as jewellery, coins, bank notes, securities and certificates, but cash is covered only up to the amount in the policy schedule. Insurance for items held in safe custody outside a safe deposit box (such as art, trunks and large items) works differently: it is based on the potential value of each item, so Knox confirms the cover for your items before intake.

Access, viewing and confidentiality

Stored art is still part of a living collection. Owners may want to view works, show them to a buyer, adviser or conservator, photograph them for a catalogue, or retrieve them for display or loan. Ask in advance how access works: who may attend, whether an appointment is needed, whether there is a suitable space for viewing or examination, and how much notice is needed to retrieve a large or crated work.

Yes. Art, antiques, collections and other items too large for a safe deposit box can be held in safe custody, either in trunks kept in the Category 5 vault or in a private access-controlled storage room.

You do not need an appointment to access your safe deposit box during opening hours. Collection of purchased Krugerrands is by appointment only, visits to items in safe custody need at least 24 hours' notice, and cash-in-transit visits must be approved in writing at least 48 hours in advance.

Consider who else may need access. An adviser, gallery representative or family member can usually be authorised in writing, within the provider's procedures. Discretion matters too: limit who knows what is stored and where, and keep inventories and valuations confidential.

Shared storage or a private room

Two broad models are common for larger items and collections.

Shared storage places your items in an access-controlled area that holds items for several clients and is managed by the provider. It suits smaller volumes, items that are not needed often, and clients who are content for the provider to manage placement and movement. Charges for shared storage are typically based on the volume occupied.

Safe-custody trunks are stored together with other clients' trunks in the Category 5 vault. Only Knox staff retrieve trunks from the vault, and you view your items in the safe custody area. Clients supply their own trunk and lock, or Knox can arrange a trunk at an extra charge with one week's notice.

A private room gives one client exclusive use of a dedicated space, often fitted with racking suited to the collection. It suits larger collections, clients who want to arrange and reach their own items, and businesses that need a defined, private area.

Private storage rooms are available. Each room is in an access-controlled area, is not shop-fitted, and can be customised by the client, who supplies and controls the lock.

Whichever model you choose, ask how items are labelled and located, who can enter the area, and how access is recorded.

Estate and gallery storage

Estates. When a collector dies, the executor becomes responsible for the collection until it is distributed or sold. Neutral storage keeps works safe and unchanged while the estate is administered, while valuations are obtained as at the date of death, and while beneficiaries decide what they wish to keep. A condition report on intake and a signed release for each work protect the executor and the beneficiaries. Access and release are normally controlled by the executor, whose authority comes from letters of executorship issued by the Master of the High Court.

Galleries and dealers. Galleries often need secure space for stock between exhibitions, works on consignment, and holdings managed for artists or their estates. Clear records of ownership and consignment, condition reports at each movement, and agreed procedures for collection by gallery staff or couriers keep responsibilities clear. Insurance for consigned works should be agreed between the gallery and the owner.

Other collections. The same principles apply to rare books, archives, ceramics, textiles, sculpture and furniture, although each material has its own needs and some may call for a specialist conservator's advice.

Practical checklist

• List the works or items to be stored, with dimensions, weight, medium and any special requirements.
• Gather provenance documents, invoices, certificates and current valuations.
• Ask for the environmental specification of the storage area and whether it suits your materials.
• Agree how condition will be recorded at intake and at release, and keep copies.
• Confirm packing, transport and handling arrangements, and who is responsible at each stage.
• Check your insurance for storage and transit, and notify your insurer of the new location.
• Choose between shared storage and a private room based on volume, access needs and privacy.
• Agree who may access, view or collect works, and put authorisations in writing.
• For estates and galleries, keep clear records of ownership, consignment and release.

Key takeaways

• Stable temperature and humidity, protection from light and minimal handling matter more for most works than any single ideal figure.
• A condition report at intake and at release records a work's state, but it is not a valuation or an authentication.
• Transport is often when damage is most likely, so agree packing, handling and responsibility at each stage in writing.
• A storage provider's insurance may cover its own liability rather than the owner's works, so check your own policy for storage and transit.
• Shared storage suits smaller volumes managed by the provider, while a private room suits larger collections and clients who want their own space.