Fine Art & Antiques Care Onboard

Independent study. xplor is not an accredited training provider and awards no certificate. Nothing here qualifies anyone to clean, treat or restore a work of art.

Included in xplor Interior — All Access

All-access pass

xplor Interior — All Access

€99per year · all-access

40 courses
552 lessons

One pass unlocks every course in the library. Independent study — no certificate is awarded.

ART-CARE-1 · The Collection and the Hostile Environment

4 lessons

ART-CARE-1.1 The Agents of Deterioration at Sea Practice in examiner →

ART-CARE-1.1.1

Why a Yacht Is a Hostile Home for ArtPreview

Sets the governing principle of the course: interior crew practise preventive conservation and documentation, never restoration. Explains why a superyacht is a hostile environment and names the agents of deterioration.

ART-CARE-1.1.2

How Each Agent Attacks the Work🔒

Explains how light and UV, heat, humidity swings, salt, vibration, pests, pollutants and people each physically attack works of art, and the preventive controls for each.

ART-CARE-1.2 What Is Aboard: Materials, Value and Records Practice in examiner →

ART-CARE-1.2.1

Knowing the Collection: Materials and Their Weaknesses🔒

Surveys the kinds of art typically found aboard - paintings, works on paper, sculpture, glass, ceramics, textiles, antique furniture, silver and contemporary mixed media - and the specific vulnerability of each.

ART-CARE-1.2.2

Value, Provenance, Insurance and the Inventory🔒

Explains value, provenance, the insurance schedule, condition reports, photographs and valuations, and why documentation is part of the asset and dissociation is the quiet loss.

ART-CARE-2 · Preventive Care, Cleaning and Handling

4 lessons

ART-CARE-2.1 Environment and the One Rule of Cleaning Practice in examiner →

ART-CARE-2.1.1

Controlling the Environment Around the Art🔒

Covers environmental control around art onboard: stable temperature and relative humidity, the air conditioning as both saviour and enemy, sunlight and spotlights, UV-filtering glazing, and safe positioning.

ART-CARE-2.1.2

The One Rule of Cleaning, and the Products That Destroy Art🔒

States the single cleaning rule for interior crew - light dusting with a soft brush or dry lint-free cloth on sound, robust surfaces only - and the list of products and methods that must never touch a work of art.

ART-CARE-2.2 Handling, Frames and Fixings Practice in examiner →

ART-CARE-2.2.1

Safe Handling: Hands, Gloves, Two People, a Planned Route🔒

Practical handling discipline for interior crew: preparation, clean hands versus nitrile gloves, why cotton gloves are usually a bad idea, two hands and two people, never lifting by an extremity, and planning the route before the lift.

ART-CARE-2.2.2

Frames, Glazing, Hanging Systems and Sea Fixings🔒

Covers frames and gilding, glazing types and why liquids near a glazed work are catastrophic, hanging and security fixings that keep art on the wall in a seaway, and the rule that the interior never removes fixed art.

ART-CARE-3 · Movement, Incidents and the Professional Line

3 lessons

ART-CARE-3.1 Moving, Crating and Storing the Collection Practice in examiner →

ART-CARE-3.1.1

Yard Periods and Passages: De-installation, Crating and Storage🔒

Explains when art is de-installed and stored ashore, that professional art handlers and the art-management company do the work, the interior role of documentation, condition checking, escorting and access control, and the basics of packing, crating and storage.

ART-CARE-3.2 Incidents, People and the Professional Line Practice in examiner →

ART-CARE-3.2.1

When Things Go Wrong: Damage, Fire and Water🔒

The incident protocol when art is damaged - stop, do not touch, never clean or repair, photograph, secure, report immediately and record honestly - plus fire, flood and water ingress, where people come first and salvage is a professional decision.

ART-CARE-3.2.2

People, Confidentiality and the Professional Boundary🔒

Covers guests, drinks, children and contractors around art, confidentiality about the collection, the ethics of provenance and cultural property, and the honest professional boundary between the crew and a conservator.

Aligned to the IAMI GUEST Program framework. Preparatory study only — assessment and certification are carried out by an approved GUEST Training Provider. Official source (GUEST Program).

School