Historical Painting Shipping

COMERCIO INTERNACIONAL Y ADUANAS
SECOND UNIT
INTERNATIONAL LOGISTICS
I N G. S E R G I O O L V E R A S A N T A N A
TRANSPORTATION OF A HISTORICAL
PAINTING
LITZY ESMERALDA DIAZ GARCIA
MELISSA MONSIVAIS VALDEZ
CIA 7A
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INTRODUCTION
Historical painting is a genre in painting defined by its subject matter rather than artistic
style. They usually depict a moment in a narrative story. It was generally understood to
depict an importance event or action involving several people.
This events could be historical, religious, mythical, etc. It was considered to be the
highest genre of painting.
Each artwork that leaves a gallery to be exported international requires constant
supervision, care, materials, professionals in artwork in order for it to arrive in the best
conditions trying to avoid damage since they are very gentle.
The transportation of a product requires a lot of cares starting from the shipping
environment, regulations of temperature, the transportation, the design
recommendation, including the package, type, freight, etc., the shipping container, and
the labeling.
Historical paintings are very gentle, they can easily get damage with several factors
such as weather, humidity, wrapping material, shipping containers, light, moisture,
insects etc.
It is necessary to know all the requirements, advantages and disadvantages of
the different wrapping materials in order to choose the best option at the moment of the
transportation of the artwork. Even if the transportation is local or international.
As well, depending if the artwork is framed, unframed or if it is just a sheet, it is
necessary to know the container at the moment of shipping. If is going to be a
cardboard, a cage or a tube.
This document has full information and all the things necessary for the transportation of
artwork, since the ways of how artwork is damaged, from packaging advice, wrapping
materials and the mode of transportation.
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INDEX
DAMAGING ELEMENTS ............................................................................................................5
Mositure Damage .......................................................................................................................5
Acid Damage...............................................................................................................................5
Light Damage..............................................................................................................................5
SHIPPING ENVIRONMENT ........................................................................................................5
Aircraft .........................................................................................................................................6
Trucks ..........................................................................................................................................6
Rail Transport .............................................................................................................................6
Ship Transport ............................................................................................................................6
Warehouses ................................................................................................................................6
TRANSPORTATION HAZARDS .................................................................................................6
Local Transit, Trucks and Depots ............................................................................................6
LONG-DISTANCE TRAVEL........................................................................................................7
Trucks ..........................................................................................................................................7
Rail Transport .............................................................................................................................7
Aircraft .........................................................................................................................................7
Ships ............................................................................................................................................7
VIBRATION FRAGILITY .............................................................................................................7
DESIGN RECOMMENDATIONS ................................................................................................7
Foam Inserts behind the Painting ............................................................................................7
Stretcher Lining ..........................................................................................................................7
Polyethylene ...............................................................................................................................8
Bubble Wrap ...............................................................................................................................8
Glassine.......................................................................................................................................9
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Kraft Paper ................................................................................................................................ 10
Inner Packing Case .................................................................................................................. 10
PACKING CASES ..................................................................................................................... 11
Pack unframed paintings ........................................................................................................ 11
Pack framed paintings ............................................................................................................. 12
CASE LABELS .......................................................................................................................... 12
TIPS TO SHIP ARTWORK ........................................................................................................ 13
CONCLUSION ........................................................................................................................... 15
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HISTORICAL PAINTING
Gathering the pieces of an exhibition is a very sensitive job. They are works of art so
valuable and unique that the packaging and transport of each of them is responsibility of
specialized companies and technicians.
Each sculpture or painting that leaves a museum to be part of an exhibition requires
constant and personalized attention.
When works of art cross borders, companies expedite procedures: in the airports, the
personal is responsible to look for privileges to access to the plane and supervise the
loading or unloading of the art work, the maritime ports count with a connection to the
customs department, minimizing paperwork and permits. (Velarga, 2017)
DAMAGING ELEMENTS
Mositure Damage
Any framed document or piece of work is vulnerable to damage if moisture from the aire
is absorbed into the paper. This can wrap the paper and encourage mold growht. It
causes a sheet of paper to expand more in one direction than another, creating a wavy
appearance.
Acid Damage
Acids are found in certain marboards and in peper itself. Over time, they will eat away
the cellulose in paper, making it brittle and causing it to turn yellow.
Light Damage
Light damage on art work is the most pervasive and difficult to avoid. Light causes
fading, color changes, chemical alterations in paper and paint, and degrading cellulose.
(Voves, Church Hill Classics´, 2017)1
SHIPPING ENVIRONMENT
Research has shown that damage to paintings can be result of moisture loss in drying
and cold temperature. The climatic variations deviate severely from the benign
environment of the climate-controlled museum, which is usually maintained at about
23°C and 50%-60% relative humidity.
1
Lucie Voves. (2017). Damaging Elements to Framed Documents and Artwork. 2017, de Curch Hill Classics´ Sitio
web: https://www.diplomaframe.com/chc-blog/damaging-elements-to-framed-documents-and-artwork/
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Aircraft
Aircraft flying at high altitudes are exposed to very cold temperatures. The median
outside air temperature at 10,000 meters is approximately -40°C. The temperature
inside the aircraft, including the cargo hold, is heated and will usually be maintained at
reasonable levels. While it is unlikely that the temperature will fall below 5°C,
temperatures above 10°C are typical.
Trucks
The greatest temperature extremes occur in trucks when they are stationary in the hot
sun. Solar radiation can substantially increase the heat in noncooled trucks. Parked
trucks can become very hot inside, therefore avoid having paintings left for long periods.
Rail Transport
The environment control for cargo railcars can be very similar to trucks.
Ship Transport
This mode of transport is used extremely large and heavy objects such as sculpture.
Make sure that the sea container is kept in the cargo hold, not on the deck.
Warehouses
Due to the heavy traffic of loading equipment into and out of the warehouse, large bay
doors are often left open causing variations in temperatures.
TRANSPORTATION HAZARDS
Local Transit, Trucks and Depots
Properly packed paintings are normally protected from accidental shocks and drops
while loading them onto and off the trucks used as transport to airports and terminals.
The vibration levels are, however, relatively low in magnitude and random in nature.
Unless resonant conditions develop, the truck vibration levels are low compared to
critical levels that may cause direct damage to paintings.
On the other hand, vibration can damage paintings that are slack on the stretcher and
able to slap against the stretcher bars. Modern paintings having objects and artifacts
glued or otherwise attached to the canvas represent a potential problem due to vibration
if the objects are not secured from movement.
Vibration can also cause abrasion of the frame and painting edges if improperly packed.
Painting cases should ride on edge whenever possible. Depots and terminals use
mechanical equipment to move cargo and working conditions can be crowded. The
greatest hazards are case puncture from forklifts and topple from accidental collisions.
(Velarga, 2017)
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LONG-DISTANCE TRAVEL
Trucks
The general cargo long-distance trucking industry can be roughly broken into two
categories. One, the overland motor freight companies used to haul heavy cargos; they
tend to use equipment without air-ride suspension. The other are moving companies
that haul high-volume, light cargos, such as household goods, which tend to use air-ride
suspension.
Rail Transport
Vibration levels in railcars can be summarized that are lower than trucks. Although
coupling shocks may not affect the contents of a properly designed package, the shocks
are long in duration and may result in high compressive forces on shipping cases that
are surrounded by inadequately braced cargo.
Aircraft
Vibration levels from aircraft have higher frequencies than trucks and railcars. Since
high-frequency vibrations are easily reduced by common case cushioning materials,
there is little problem to works of art.
Ships
Ship vibration while it is under operation is mainly low frequency. The maximum shock
is typically due to slamming of the bow after rising into.
VIBRATION FRAGILITY
For there to be a serious possibility of damage due to vibration, three factors must exist.
The painting has a natural frequency in the range of the frequencies produced by the
transport vehicle. The vibration of the transportation vehicle must contain frequencies
that may cause the painting to resonate. The magnitude of the resulting vibration must
be high enough to cause damage large waves.
DESIGN RECOMMENDATIONS
Foam Inserts behind the Painting
During handling and transport, slack canvases on large
paintings can strike the crossbars of the stretchers.
This can be avoided by attaching pieces of foam to the
backboard.
Stretcher Lining
Is a procedure developed to reduce the vibration of a
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canvas painting, it involves attaching to the reverse of the original stretcher a new piece
of fabric, preferably a thin but exceptionally stiff fabric.
Polyethylene
Polyethylene is a type of polyolefin. It is used in several
forms of flexible protective packaging including shrink
wrap and stretch wrap. (Roberge, 2019)2
Advantages
-
Polyethylene wrapped around a painting encloses very small volume of air. It will
establish a relative humidity in the enclosed air that is at the same level the
painting has been exhibited or stored.
-
Can help protect the painting if it has been placed in a wooden packing case that
has been stored for several months.
-
Polyethylene is waterproof. If water leaks into a packing case, this will not get
wet.
-
The painting is visible through polyethylene.
-
It has very smooth surface, reducing the possibility of abrasion.
Disadvantages
-
Increases the risk of condensation when paintings are packed in uninsulated
cases.
-
Some polyethylene has an oil residue on the surface that could soil a painting.
Bubble Wrap
Bubble wrap protects items during shipping and for
storage are in different types and sizes. This depends on
the size of your artwork, and as well as the level of
cushioning protection needed.
Advantages
-
Easy to use
2
David Roberge. (2019). Shrink Wrap: The Differences Between PVC, Polyolefin, And Polyethylene. 2019, de
Industrial Packaging Sitio web: https://www.industrialpackaging.com/blog/pvc-polyethylene-polyolefin-thedifferences
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Multiple use
-
Elastic and strong
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Moisture resistant
-
Good insulation properties
-
Protecting surface against abrasion
-
Light weight
-
Transparent, which is visible to see the artwork.
Glassine
Glassine is a smooth, translucent paper made from a
manufacturing process called supercalendering. The
paper pulp is beaten to break down the fibers
producing a very smooth, enamel-like and acid-free
surface. (JBM PACKAGING, 2019)3
Advantages
-
There is a small risk of condensation.
-
The painting is slightly visible through glassine.
-
Glassine has a smooth surface, reducing the possibility of abrasion.
Disadvantages
-
Glassine is permeable to water vapor.
-
Is not waterproof
-
Easily torn
-
Difficult to see the painting through glassine
-
Can develop creases that are hard enough to scratch a delicate varnish.
3
JMB PACKAGING. (2019). Glassine Outshines Ordinary Packaging. 2019, de JMB PACKAGING Sitio web:
https://www.jbmpackaging.com/products/glassine/
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Kraft Paper
Kraft paper is a packing material that gets a
great tear resistance and high degree of
stiffness, all without being thick. (Velarga, 2017)4
Advantages
-
Kraft paper is absorbent, so there is very
small risk of condensation,
-
It is inexpensive
-
Readily available
Disadvantages
-
Kraft paper is permeable to water vapor.
-
Is not waterproof
-
Is easily torn
-
Not visible through Kraft paper
-
Can develop creases that are hard enough to scratch a delicate varnish.
Inner Packing Case
Wrapping the inner packing case with polyethylene is
recommended before placing the inner packing case
in the outer case.
Advantages
-
If the inner packing case is made of wood or
paper, there is a small risk of condensation.
-
It encloses a very small quantity of air around
the painting it will establish a relative humidity in
the enclosed air that is appropriate for the
painting.
4
Mark Velarga. (2017). Kraft Paper and Why it is a Popular Choice. 2017, de PAK Factory Sitio web:
https://pakfactory.com/blog/what-is-kraft-paper/
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it wrapped in polyethylene it will protect the painting from inappropriate
environment that may be created by the outer packing case.
-
If the inner packing case is wrapped in polyethylene, the packing will be
waterproof.
-
The inner packing case reduces the possibility of abrasion on the frame.
Disadvantages
-
If the packing case is stored in an inappropriate environment, the painting will be
exposed to an undesirable relative humidity.
-
Additional work is required to construct the inner packing case.
-
Increases the size and weight of the outside packing case.
PACKING CASES
For a packing case to be fully effective, it must fulfill a variety of functions.
-
Support the painting, insulation and cushioning foams.
-
Protect the contents from impact.
-
Maintain a sealed environment.
-
Protect against rain and snow
-
Provide handles for lifting and moving
Pack unframed paintings
-
Try not directly touching art work. Use tissue paper or photography white cotton
gloves.
-
Wrap the piece in acid free tissue paper. For additional protection against
moisture, wrap the art work with plastic.
-
Use acid-free tissue paper, these help secure the piece to a strong backing
material.
-
Place a few layers of cardboard on both sides of the newly secured piece.
-
Take two pieces of corrugated cardboard, place the piece in between them and
securely tape all sides.
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Pack framed paintings
-
Use a box that can fit the piece, with 3 inches of space available on all sides of
the frame.
-
Wrap the artwork with acid-free tissue paper.
-
Wrap the piece in bubble wrap, ensuring adequate coverage on the corners.
-
Place layers of foam on the packaging material of choice in the box.
-
Pack all open areas surrounding the piece with packing material.
For both methods, remember to properly insure the piece if necessary and to clearly
mark the box as fragile. (SAATCHI ART, 2017)5
The size of the case depends on the size and number of the paintings to be packed,
thickness of thermal insulation, and thickness of the cushioning materials used.
Plywood has inherent advantages. It has a high strength-to-weight ratio, provides some
insulation, relative humidity buffering, relatively inexpensive and no special tools or
equipment needed to construct a case.
Handles must be included, since it is very difficult move large packing cases. There
exist several options for handles such as: metal chest handles that are easily attached
to packing cases with screws or bolts; and wooden handles that must be attached with
glue and screws. (Mervin, Mecklenburg, & Merrill, 1997)6
CASE LABELS
-
Fragile
-
Keep dry
-
Face up
-
Remove screws
-
Remove artwork
-
Do not remove this box
5
SAATCHI ART. (2017). How to Package Your Artwork. 2017, de SAATCHI ART Sitio web:
https://www.saatchiart.com/packaging
6
Mervin, Richard; Mecklenburg, Marion F.; Merrill, Ross M.;. (1997). ART IN TRANSIT. Washington DC: Janice
Gruver.
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Save all packing materials
-
Lift out
-
Lift tape tags
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Remove lid
-
Lift lid
-
Remove tape carefully
-
Pull off tape from lid
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Open folds
-
This end up
-
Do not turn
TIPS TO SHIP ARTWORK
1. Measure your art work. Measure the length, width and height of your artwork in
order to select an appropriately sized box of shipping tube.
2. Select an appropriate shipping container. Ship unframed artwork that is larger
than 48 by 48 inches, and framed pieces that are larger than 18 by 24 inches, in
a wooden crate. Ship smaller artworks of art in double-wall corrugated box that
will minimize movement and offer adequate space for padding.
3. Prepare your artwork surface. Be gentle with your new piece of art. Pad your
work surface with a protective material like cardboard, foam, bubble wrap or cloth
to avoid scrapes and scuffs.
4. Cover unframed artwork with glassine paper. Wrap canvases completely
acid-free, archival-quality glassine paper to help protect against dust and
moisture.
5. Protect the corners. Protect framed-and unframed mounted art with cardboard
protectors.
6. Wrap your artwork in bubble wrap. Protect the surface of the painting by
wrapping all pieces in two to three layers of bubble wrap.
7. Sandwich your wrapped artwork between foam boards. Position your bubblewrapped artwork between two pieces of foam board that are at least ½ inchT U E S D A Y, F E B R U A R Y 4th, 2 0 2 0
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8. Fill voids in your shipping container with additional bubble wrap. When
shipping artwork, movement and friction are the enemy
9. Seal your container with heavy-duty, high quality packing tape. Cover all
seams on the top and bottom of the box or tube completely with strong, pressuresensitive poly (Writer, 2019)7 tape.
7
Staff Writer. (2018). How to Ship Artwork. 2018, de Quick Start Sitio web:
https://www.ups.com/us/en/services/knowledge-center/article.page?kid=art16661d4e63a
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CONCLUSION
One of the most important things at the time of send or export a product are the
requirements that are needed in order that the product will be in perfect conditions. The
appropriate packing is necessary to protect the product a packing of bad quality
probably will have bad results. The materials should be select according the product in
this case it has to take in count that the product is very fragile so the packing needs to
be of specific materials.
The type of material used for transport depends on the product, the type of transport
(land, air or sea) and the final destination.
For better security, the following is recommended:
-
The package must be correctly placed in a strategic part of the container to
prevent it from moving.
A platform must be selected in order to be the one that best suits the package.The marks on the boxes should be minimal. No trademarks or product
descriptions should be placed. Marks should go with waterproof ink on three
sides of the container. All warning signs must appear in the language of the
country of origin and destination, as well as the international graphic
manipulation symbols.
In conclusion in this document we can see the importance that should be given to a
product, in this case a historical painting at the time of wanting to transport it and how
fragile they can become and besides that there are rules that must be followed to not
damage the product.
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Bibliography
JBM PACKAGING. (2019). JBM PACKAGING. Obtenido de
https://www.jbmpackaging.com/products/glassine/
Mervin, R., Mecklenburg, M. F., & Merrill, R. M. (1997). ART IN TRANSIT. Washington: Janice Gruver.
Roberge, D. (6 de June de 2019). Industrial Packaging. Obtenido de
https://www.industrialpackaging.com/blog/pvc-polyethylene-polyolefin-the-differences
SAATCHI ART. (2017). SAATCHI ART. Obtenido de https://www.saatchiart.com/packaging
Velarga, M. (18 de January de 2017). PAK Factory. Obtenido de https://pakfactory.com/blog/what-iskraft-paper/
Voves, L. (13 de October de 2017). Church Hill Classics.
Voves, L. (13 de October de 2017). Church Hill Classics´. Obtenido de
https://www.diplomaframe.com/chc-blog/damaging-elements-to-framed-documents-andartwork/
Writer, S. (9 de October de 2019). Quick Start. Obtenido de
https://www.ups.com/us/en/services/knowledge-center/article.page?kid=art16661d4e63a
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