In last month’s issue of www.chubbcollectors.com, our survey asked the question, “If you were going to ship a piece of fine art, how would you package it?” The responses from our readers varied. To illustrate the advantages and disadvantages of the seven possible packaging methods listed on the survey, www.chubbcollectors.com asked expert art conservator Rustin Levenson to comment on each packing technique. Below is her response.

Too many times, our studios have repaired paintings that were damaged during shipment. To avoid unnecessary harm, a collector should follow a few general guidelines for packing paintings. Firstly, the packing material should not touch the surface of the work. Secondly, the packing system should safeguard the painting from outside moisture, but should not cause condensation. Finally, the work should be protected from vibration and impact. Active flaking on a painting requires consultation with a conservator to minimize the loss of paint during transport. Keeping these guidelines in mind, to follow is my view as a conservator as to the advantages and disadvantages of the packing methods listed in last month’s survey on the Chubb Collectors newsletter.

Packed in bubble wrap (7% of respondents chose this method)

Bubble wrap, a ubiquitous packing product, is not the best choice for paintings. Several times I have seen the bubbles press into the painting and mark the paint layer in a Roy Lichtenstein-like dot pattern unintended by the artist. Also, the air sealed in the bubbles is of questionable purity. A conservation colleague of mine once described an instance where a bubble burst against the paint surface and induced a plume of discoloration. Bubble wrap will protect from moisture, but if it is used without an interlayer of moisture absorbing material (for example, glassine), it can cause condensation. Once a painting is properly wrapped, bubble wrap on the corners is good for protecting the frame from impact.

Wrapped in glassine and mylar or polyethylene (13% of respondents chose this method)

A painting wrapped first in glassine or paper, then in mylar or polyethylene offers the best protection against outside moisture and condensation. The mylar or polyethylene keeps moisture out, while the hygroscopic inner materials mitigate condensation. Dartek, a polyester sheeting that ‘breathes' and allows a moderate amount of moisture to escape, can be used with no inner wrapping for short trips. The frame, canvas, stretcher, and even the oil paint itself contain modest amounts of acid, so for day trips, the wrapping needn't be acid free. For complicated trips, requiring transfers or overnight stays, a cardboard box should be fashioned to further protect the painting.

Collared with cardboard and then wrapped (0% of respondents chose this method)

‘Collaring' with cardboard refers to the creation of a deep L-shaped cardboard frame, which is attached to the back of the frame or stretcher. The depth of the cardboard ‘collar' frame is one to three inches greater than the depth of the painting. When the painting is wrapped with a ‘collar', the cardboard frame holds the packing materials away from the face of the painting. This is especially important if a work is fairly recent or if the surface is at all tacky. Packing materials stuck to the face of a painting cannot always be removed without damage to the art.

Wrapped in a towel or blanket and transported by car (13% of respondents chose this method)

This is not a safe system. However, if you do transport paintings in your car, completely clear the area where the painting will be carried. At the hardware store, you can purchase polyethylene drop cloths. These can be draped loosely around paintings, away from the paint surface, for short trips. On a clear day, with a clean cargo area, I advise collectors not to wrap the paintings at all. This is especially true for damaged works of art, which should ride face up to avoid loss of paint. In Florida, I advise that the car be pre-cooled, to keep the climate surrounding the painting as consistent as possible. In northern winters, the car should be preheated. Paint layers, especially acrylic paints, can become brittle and shatter in cold temperatures. Unless your trunk is climate controlled or it is a perfect day, the work should be in the interior, passenger compartment, of the vehicle. If a framed painting is between the seats, bracket the painting in two pieces of cardboard larger than the work to avoid accidental punctures. If you are moving a painting by yourself, be sure you have adequate help. A gust of wind can sweep you and your painting right off your feet. Plan ahead so you won't be struggling with doors and locks while you are balancing the painting. For all these reasons, a second set of hands is invaluable.

Rolled or folded using a sonotube (0% of respondents chose this method)

Rolling or ‘folding' paintings using a sonotube are two methods used for large works that cannot be accommodated by the doors or elevators of a home. In rolling, the painting is removed from the stretcher and rolled, face out, on a sonotube with a diameter of 12" or larger. For ‘folding', a painting must be on a stretcher that opens at the center of each long stretcher bar. The painting is released along 18"-36" on each side of the stretcher opening. The stretcher is opened, and the painting is ‘folded', face in, around a sonotube. The stretcher bars are stabilized and the painting is moved. Both techniques involve extensive handing of a painting and should be carried out by conservators or professional art movers. Never attempt to send a painting rolled into a small tube.

In a crate (33% of respondents chose this method)

Crates specifically designed for a particular painting are a very safe way to transport works of art. Such crates should be designed and fabricated by a firm with experience in this field. If you are reusing a crate designed for another painting, be sure the packing material is refitted so that the painting cannot shift in the crate during transit. If you are reusing a crate that has been used previously for a painting, check the packing materials to see that it has not deteriorated or become moldy or dirty.

With movers who soft pack or crate the piece and move it in a temperature controlled truck (33% of respondents chose this method)

Using professional art movers and packers is the safest option. They can build a crate for paintings that are to be shipped. Crates are essential for works that are shipped as cargo. For fragile pieces, the crates can be climate controlled. If the works are to be transported by the art movers in a vehicle, it should be temperature controlled with a low vibration "air ride" feature. For long trips, the movers should have a way to leave the truck protected and the temperature controlled during overnight stays. Sometimes movers have new hires or bad days; don't be shy about speaking up if you feel your painting is not being handled correctly.

A few more things to consider:

If you are using old packing material, be sure it is clean and free of mold or mildew. If a painting has had a long trip or if there is a climatic change in its environment, wait 24 hours after its arrival to open the wrapping. If you suspect condensation, you should open the packing right away, otherwise, the 24 hours gives the painting time to adjust to a new climate. This is especially important with works on panel, which are very reactive to changes in humidity.

Before packing a painting, be sure that it is secure in the frame and that there are no loose frame pieces that could cause damage to the work if they become detatched. When handling the painting, hold it by the frame. If the work has a strip frame or is unframed, or you feel you may accidentally touch the paint surface during transit, you should wear white gloves so that you won't cause damage to the painting. Be certain when you hold the painting, that your fingers don't press against the back of the canvas causing deformation.

Treatment of paintings is my specialty and this article refers to their transport. However, the guidelines above can be adapted for works of art other than paintings. Assess the potential dangers before moving any art. Previously damaged art is especially vulnerable. Common sense along with advice from conservation or shipping professionals is your best ally in undertaking safe transport of any work of art.