UV protection for artworks — why it matters more than you think
UV radiation destroys works slowly and irreversibly. No drama, no marketing — just physics. Here is what it does and what protection actually costs.
What UV does to a work
UV radiation breaks down organic pigments, paper and textile alike. Watercolours fade fastest, photographs at roughly the same rate, oils slowest. A poster exposed to sunlight for three years is often 30–40 % more faded than the original.
The process is irreversible. No remounting and no restorer will undo it.
What needs protecting most
Watercolours. Photographs (inkjet and colour especially). Posters and prints made with unstable inks. Pastels. Paper documents — birth certificates, diplomas, a concert ticket with sentimental value.
Oils and acrylics are more resistant, but even they lose contrast after thirty years in harsh light.
The options
Three layers: placement in the room (avoid direct sun), UV glazing over the work, a UV filter on the window. Combining all three is the most effective — but UV glazing alone solves 70–99 % of the problem.
For ordinary residential conditions UV70 is enough (it blocks 70 % of UV). For harshly lit spots or valuable works I recommend UV99 (Tru Vue, Artglass AR99).
The percentages — UV70, UV90, UV99
The number says how much UV the glazing blocks. UV70 stops 70 % and lets 30 % through. UV99 stops 99 % and lets 1 % through.
The price difference: UV70 runs at roughly 1,800–2,500 CZK/m², UV99 at 4,000–6,000 CZK/m². For private clients UV70 is usually sufficient — UV99 I recommend to institutions and galleries.
How to choose by placement
A wall facing a window, south or west: UV99, otherwise you will see marked fading within five years. An interior wall with no direct sun: UV70 is enough. A room with halogen lighting (gallery, exhibition space): UV99 — halogens emit more UV than daylight.
Bathroom, kitchen: UV70 plus a dehumidifier sachet — moisture is the bigger problem there than UV.
Marek Homolka
Third-generation framer · RDH Rámy, Přísečná
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