Condition is among the most significant components in determining the value of a work of art, and it is the only physical factor that changes even when the work stays where it is. The natural ageing of materials, fluctuations in temperature and humidity and exposure to light gradually alter the structure of the work; inadequate packing and transport can damage it suddenly. The condition report exists to monitor and set down these changes in writing.
Professional competence for drafting
The full report must be prepared by a conservator qualified in the specific type of work, since the skills required for paintings differ from those required for works on paper, photographic materials or bronze sculpture. Whoever manages the collection organises the examinations, identifies the appropriate professional, files the reports in the object file and compares successive versions over time, without taking the place of the conservation specialist. The appraiser, for their part, examines the condition of the work as a determining factor in its economic value, but the appraisal does not replace the conservator's examination.
Content and structure of the report
The report records the inventory number of the work, the date and place of the examination, the name of the person who carried it out and the lighting used, such as natural light, raking light or a Wood's lamp (ultraviolet light). There follows a description of the materials and technique, together with an analysis of the state of the support, the paint layers or surface, and the frame or base. Each alteration is marked with its position and dimensions on the photographs or on diagrams, covering craquelure, lifting of the paint layer, losses, deformations, oxidation, retouching and previous restoration, together with a note of any degradable or unstable components and instructions for preventive conservation, storage and handling. Generic judgements are not enough: adjectives such as "good" or "fair" do not describe the physical reality of the work and do not allow responsibility to be established in the event of damage. An analytical description, detail photographs and diagrams are required. For contemporary art, the report also states whether changes in the materials reflect a specific intention of the artist. The condition report describes the physical state of the work: it says nothing about its authenticity or attribution, which remain the subject of separate checks.
Frequency of examinations
The frequency of examination is set according to the nature of the materials, the environmental conditions and the importance of the work. Checks need to be closer together for works on paper, photographs, textiles, synthetic materials and works kept in environments without climate control, and may be less frequent for stable materials. There is no universal interval; there is the need to keep the report up to date, since an old condition report describes the work's past state, not its present condition.
Checks on movement
Preparing a condition report before and after every movement is a fundamental rule. Before the work is packed for transport, a museum loan, restoration or storage, a report is drawn up attesting to its condition. On return, or on arrival at its destination, a second document is prepared in the presence of the receiving party. This movement report may be shorter than the full condition report, but it is signed by the party handing over and the party receiving. Comparing the two makes it possible to detect any alteration that has occurred during the movement and to establish who is responsible. Without an outgoing report, damage found on return has neither a date nor a defined responsible party. The practical arrangements and the cover for damage in transit are a matter for the insurance broker.
The condition report is placed in the object file together with the identification record and the photographs. It is made available to the appraiser when the valuation is updated, since any restoration or damage affects the economic value of the work.