How To: Shipping and Handling

For the experienced or budding collector, the practising artist and museum or gallery professional, there will come a day when artwork needs to be shipped over international or local waters. The Mixed Media team has touched on the issue of conservation of works on paper and paintings in the past. A brief portion was dedicated to the shipping and handling of artwork, however, being a complicated topic, today’s post will explore the different methods of preparing, packaging and transporting art.

Preparation:

One of the first issues to address when preparing artwork to be shipped is whether the individual wishes for the piece to be returned. If this is the intention, the shipper should resume responsibility for this and provide materials for the artwork to be sent back. To make this process easier and more cost efficient, preparing the piece with reusable materials is best. These include, but are not limited to, bubble wrap, shrink-wrap, acid free paper, acid free cardboard, plastic and wood. The shipper should also include instructions as to the proper re-packaging of the piece.

Packaging:

How artwork is packaged depends on the type of piece it is. For new pieces made with paint that can withstand curling, it is sufficient to roll the artwork into a plastic, tube. It is best to place the paintings on layers of acid-free paper, and then roll the artwork into the tube. The paper provides support and protection from the elements. Unframed works on paper should be placed in acid-free boxes, and layered with acid-free paper.

Framed pieces require a bit more handiwork and creativity. Procuring a large cardboard, plastic or metal box is the first step. Shippers are encouraged to line the box with a waterproof substance such as plastic or wood. Secondly, the painting’s frame is taken into consideration. Is it large? Thick? Will the painting itself need extra support? If so, individuals are encouraged to purchase foam cut to the size of the painting. Once cut, the foam is intended to fit perfectly on the back of the painting, between the framed portions. The next step is to wrap the entire piece in foam or bubble wrap and place this into the box. The key to safe transportation is ensuring that the artwork does not have the space to move or slide around.

Shipping:

Choosing a shipping provider can be a difficult one, however, the shipper needs to feel completely comfortable with the service they choose. Cost and shipping time are crucial decisions to be made and can drastically alter the cost. Air transport is typically more expensive, as well as rush delivery. However, these are some of the safest options as they cut down on human interaction and mistakes. Sea transport is acceptable and tends to be cheaper, though it takes longer. It is not encouraged to send works on paper via boat, as the continued exposure to humidity, water and fluctuating temperatures can severely damage the art. Ultimately, the shipper needs to feel comfortable with whatever service they choose. Sometimes, looking for reviews and recommendations are good starting points.   

 

For more information and enquiries on shipping art, advice or tips, feel free to contact the National Art Gallery of The Bahamas at 358-5800/1.

-AK

Works Cited

 Ebert, Bettina. "Simple, Effective Transport Boxes for Paintings." Simple, Effective Transport Boxes for Paintings. Asiarta, 29 Aug. 2011. Web. 12 July 2012.
Powell, Kim. "A SHORT HISTORY OF ART TRANSPORT." A SHORT HISTORY OF ART TRANSPORT. ICEFAT, 2011. Web. 12 July 2012.

How To: The Proper Conservation and Preservation of Paintings

A painting typically constitutes an oil or acrylic medium applied to a surface in a stylistic and artistic manner. Throughout history, artists have applied these mediums to a variety of support materials, the most popular being wood, metal sheets, various boards and canvases. These support materials are often prepped with varnishes and paints and once the painting is done, artists sometimes ‘finish’ the pieces with varnish or other chemicals. As a result, a painting constitutes many materials that react to the environment and each other in different ways.

Damage:

There are many types of damage to paintings. Typically damage takes the appearance of cracks, rips and tears in the paintings surface, frame or base. Parts of the painting can be distorted, discolored, faded or weakened by environmental damage. Paintings can also warp over time, so that the surface appears rippled or twists, adding strain and pressure to the piece. Wooden frames or structures are also susceptible from bugs such as termites.

Storage or Display:
Ignoring aesthetic choices, the placement of a painting is important. The owner must take into consideration certain factors such as, fluctuating temperatures, and the possibility of constant physical contact with individuals, objects or pets, fluctuating humilities and presence of sunlight. If possible, paintings should be displayed securely on walls that can provide insulation. They should also be displayed high enough for individuals to view them comfortably, without being low enough for children or pets to touch.

Avoid storing paintings in basements or attics, as temperatures fluctuate drastically in those areas, and are prone to moisture. Inspect paintings regularly, and if placed on racks, ensure that the racks are as flat as possible or grooves may appear on the surface or frame, depreciating its aesthetic and monetary value.

Shipping or Handling:

Improper handling is easily, one of the major causes of damage to artworks. Before handling or moving a painting, it is recommended that the movers do a cursory check over to make sure that no part of the painting is sticking out, dislodged and to note the current damage on the piece. Try to move painting as little as possible, especially in-between environments of hot to cold, or cool to cold air. These changes in humidity are the fastest way to create cracks in acrylic or oil paint. When deemed necessary to move a painting, avoid touching the paint surface or the back of the canvas. The pressure can also encourage cracks. It is highly recommended that all paintings be wrapped or packaged prior to movement. Make sure that the packaging is moisture and water resistant, sealed against humidity, dent resistant and cushioned and insulated.

Framing:
Not just an aesthetic choice, framing is an important part of a painting. If possible and structurally sound, keep the original frame of the painting. If the frame is deteriorating however, take the painting to professional framers. If not done properly, the frame will do more harm than good to the piece.

Other Resources:

Owners should not try to clean paintings themselves, always leave that to professional art cleaners or conservators. If living in a particularly dusty area, lights dusting with acid-free cloths are permissible, but owners need to be wary of applying pressure.

-AK

Works CitedCCI. "CCI: How to Care For - Works of Art on Paper." Welcome Page | Page D'accueil. Canadian Conservation Institute. Web. 12 Jan. 2012.

How To: The Proper Conservation and Preservation of Artworks on Paper

For the National Art Gallery of The Bahamas, other art galleries, museums, art collectors and appreciators, one’s storage systems are an institutions most important asset (besides the art of course). Without one, collections of priceless artworks and artifacts will deteriorate at rapid rates. Below are recommendations for the proper handling of works on paper.

Storage:
For works on paper, artwork is best stored flat, outside of a frame. Frames are not recommended to store art on paper as the piece can stick to the glass, develop scratches, fade or accumulate dirt or dust. The paper should be placed in a folder of acid-free or archival quality paper. This folder is best if it is similar to a protective slip with only one opening. Regular folders, that open and close, are basic but not recommended as the art can shift and scratch inside them.

Acid-free paper is very important, it is a protective agent and will assist in the blocking of light, dust and harmful pollutants that corrode and fade paper. Only one sheet of paper/piece per acid-free folder is recommended. The folder should be subsequently stored in a folio or drawer where it will be safe from sunlight. UV light is the fastest way to fade and crinkle artwork on paper.

Environment:
The Heating, Ventilation and Air Conditioning (HVAC) are a troublesome area for preservation. For example, for every 14 degrees Fahrenheit rise in temperature, the deterioration rate of paper doubles (Canadian Conservation Institute).

A balanced humidity must be struck in the storage facility. Paper absorbs moisture quickly which crinkles, swells and expands art, thus destroying it. High humidity also encourages mold, mildew and fungal growths. However, a humidity that is too low is also harmful, as it will dry the paper out. Experimenting can be done to find the best humidity but striking a middle ground or purchasing a dehumidifier is a step to controlling the humidity and environment.

Paper is susceptible to heat, so the temperature in the building must be on the cooler side. Avoid storing work in basements where temperatures fluctuate. If displaying art, the pieces must be kept from any heaters or air conditioners where it will be subjected to extremes in temperatures.

Handling:
When handling works on paper, the individual should wear white, pure cotton gloves. Never touch the works on paper with your fingers because our hands are filled with oils and dust that will slowly degrade the piece and destroy it. The piece, when outside of its storage facility should avoid sunlight as much as possible, as well as liquids, pollution, dirt or dust. If displaying the piece for a short period of time, the piece is best propped on a wooden or metal frame that has been cleaned.

Shipping:
Works on paper that are shipped are best done so flat. If possible, avoid shipping by boat, as the humidity, sea spray and possible heat or cold will severely damage the work. Seawater will completely ruin the piece. If this is unavoidable the pieces should be shipped in an airtight box where it can avoid sunlight and water. Packing surrounding the box or the pieces is encouraged as things have a tendency to shift in transit, which can potentially damage the piece significantly. Wrapping with bubble wrap, cloth (acid-free, lint free) or any soft material is encouraged. The less moving around and shifting in transit, the better.

Framing:
When framing works on paper, they can be taken to professional framers. The owner must make sure that the framers use acid-free backing, acid-free tape and acid-free matte (if matte is desired) to support the piece. Regular glass can be used. Framing is particular to the desires of the owner but if using a paper/plant based material in the framing process make sure it is acid-free or “archival” quality always.

No matter how an individual chooses to care for their art, proper conservation and preservation must be maintained the entire step of the way. Without it, we would not have our precious historical artifacts and the National Collection at the National Art Gallery of The Bahamas. For more information and inquiries on the proper care and handling of art, feel free to contact the National Art Gallery of The Bahamas at 358-5800.

-AK

Works CitedCCI. "CCI: How to Care For - Works of Art on Paper." Welcome Page | Page D'accueil. Canadian Conservation Institute. Web. 12 Jan. 2012. .