Luxury Care & Interior Technical
Fine Art & Antiques Care Onboard
- Modules
- 3
- Lessons
- 11
- Questions
- 55
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.
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). Preventive conservation and documentation.
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-1.1.1Why a Yacht Is a Hostile Home for ArtSets 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.PreviewART-CARE-1.1.2How Each Agent Attacks the WorkExplains 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.Locked
ART-CARE-1.2 What Is Aboard: Materials, Value and Records
Practice in examiner ↗ART-CARE-1.2.1Knowing the Collection: Materials and Their WeaknessesSurveys 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.LockedART-CARE-1.2.2Value, Provenance, Insurance and the InventoryExplains value, provenance, the insurance schedule, condition reports, photographs and valuations, and why documentation is part of the asset and dissociation is the quiet loss.Locked
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-2.1.1Controlling the Environment Around the ArtCovers 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.LockedART-CARE-2.1.2The One Rule of Cleaning, and the Products That Destroy ArtStates 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.Locked
ART-CARE-2.2 Handling, Frames and Fixings
Practice in examiner ↗ART-CARE-2.2.1Safe Handling: Hands, Gloves, Two People, a Planned RoutePractical 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.LockedART-CARE-2.2.2Frames, Glazing, Hanging Systems and Sea FixingsCovers 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.Locked
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-3.2 Incidents, People and the Professional Line
Practice in examiner ↗ART-CARE-3.2.1When Things Go Wrong: Damage, Fire and WaterThe 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.LockedART-CARE-3.2.2People, Confidentiality and the Professional BoundaryCovers 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.Locked