The museum argues the exclusive event, the first of its kind to be held there, is designed to “ promote best practice ” and will not make a net income. The rest of the museum will remain open. Yet other conservators echo Strong ’ sulfur worry that it is not appropriate to encourage significant art to be used to decorate superyachts. “ What are you going to have finally ? One of the earth ’ s few Leonardos floating about on the waves ? ” Strong asked. Alison Richmond, chief administrator of the Institute of Conservation, the professional torso that runs a cross-file of restricted conservators, said keeping art on yachts was a growing drift. “ The real value of art is not money, of course, it is sentiment, aesthetic measure and historic rate. This tends to gets lost now, when it is all about the dollar, ” she said. She added that the stability of the onboard atmosphere is crucial. “ The real interrogate is what the conditions are, and not whether the art is at sea or not. advice on considerations such as fluctuations in luminosity, humidity and heat is vital. Superyachts, of course, have publicize discipline, but a promptly change from muffle to dry tune causes dangerous expansion and contraction. ”
Helen Robertson, curator at Royal Museums Greenwich and curator of the symposium, told the Observer she hopes to offer guidance, “ protecting what is already there ”, preferably than “ promoting the baby buggy of art on board vessels ” .
The National Maritime Museum, in Greenwich, south east London, will host the superyacht symposium on 1 March.
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Photograph: Sophia Evans/The Observer The home of a superyacht is often a safe environment, she added : “ Owners tend to be identified with art collect and philanthropy. so, whether we like it or not, art is carried on board certain superyachts. ” Robertson said the subject was “ close to her heart ” because she was a early oceangoing foreman shop steward. “ I have seen fantastic examples of how art can be successfully carried within a yacht interior, but besides tales of tragic ignorance resulting in passing of art and artefacts. Our calculate is to take a holistic look at the subject, which of path means considering the legal/tax/insurance implications of internationally transiting art. ” The choose speakers come from the worlds of art and boating, she said, and understand the motivation for argue. “ One of the questions we want to raise is : who should be responsible ? The subject, as a wholly, has very a lot been overlooked by the diligence even though, from damage to seizure, the electric potential risks are significant. ”
