Objects

Determining the suitability of an object to go on tour is an exercise in risk management. The travel/movement, repeated packing and unpacking and additional handling that objects are subject to, as a result of touring, means that they need to be carefully assessed, to ensure the risks of damage are not sufficiently significant to warrant the work unsuitable to tour. A detailed condition check will enable the exhibition organiser to make an assessment of the objects proposed for inclusion in an exhibition. Risks can be mitigated by object appropriate conservation, packing, display conditions and handling for the duration of the tour.

Accurate and regular condition checking is a key requirement of best practice as a touring exhibition originator or hirer, because of the high frequency of packing and unpacking, movement, different personnel and often separate insurance policies.

Objects (and where appropriate exhibition build and equipment) should be condition checked whilst planning the exhibition, then before and after each movement, to identify damage, deterioration or infestation. The condition of objects should be recorded in a consistent way throughout the tour, to minimise misunderstanding between lender, organiser and venue, and to enable the quick and timely reporting of any condition change or damage.

The loan of an exhibit should not result in deterioration of its condition or damage, and so requirements are frequently attached to an agreement to lend, and subsequently to the hire agreement with venues. These can be as simple as handling guidelines and packing needs, or can be potentially more complicated issues, such as the provision of certain environmental conditions reflecting the exhibit’s normal housing, requiring couriers, and/or particular technicians to assist with installation and deinstallation. When negotiating a hire, it is the responsibility of both organiser and hirer to agree that it will be possible to provide appropriate conditions for an object at all times. The UKRG Facilities Report assists with making this assessment; for more information see the Environment Chapter. Specific object or exhibition requirements such as this should be clearly outlined in the hire agreement, together with the reporting procedure should a change in condition or damage occur.

Condition Check Docket: The Condition Check Docket (CCD) brings together all information relevant to the well-being of an exhibit. One CCD should exist for each exhibit. Several objects might be recorded on one CCD where they are mounted to be displayed and transported as one unit, e.g. small drawings in one frame or a set of ceramic tiles.

A standard CCD can be used for most objects, whether they be two or three-dimensional. Having the same form for all exhibits means that each venue has only to deal with a single format and will consequently be better able to record condition in a consistent way. A draft CCD should be sent to each venue in the tour, so that they will be familiar with the format before the exhibition arrives. The organiser should provide lenders with one copy of its CCD for each exhibit being lent. Part of the CCD is an initial condition check for the exhibit. This is a record of its condition prior to loan. The success of the condition check procedure will rely heavily on the quality of this first record, because all subsequent reports will be compared with it. If the lender does not carry out a detailed and accurate check prior to collection of the exhibit, then this task must be carried out on the organiser’s premises or at the first venue, whichever is the earlier.

Each CCD should be kept safely for the duration of the tour. If the organiser or a courier wishes to report a change of condition to the lender, then this should be by way of a photocopy of the CCD. The original CCD can be returned with the exhibit to the lender at the end of the tour, to join its documentation on the object.

The following list of contents provides a check list of information that should be recorded on the CCD for each object. Sections can be tailored for different types of object, and the same format can be used for plinths, display cases and other display furniture, by omitting information from sections A and B as appropriate.

SECTION A (to be completed by the organiser).

• Identifies the exhibition: title, organiser, number of venues and dates
• Identifies the exhibit (information pertaining to the owner): inventory number, artist/maker, title/name/brief description, size, number of parts, materials
• Identifies the exhibit (information pertaining to the exhibition): catalogue number (if appropriate), title, display case in which it is to be placed, method of display
• Includes a thumbnail image of the object to allow easy recognition

SECTION B (to be completed by the organiser).

• Identifies packing procedure, with reference to the exhibit and other items that may be packed with it: this should include the crate/box ID, internal packing materials, the method e.g. the order in which a multi-object crate should be packed or soft-wrap methods
• Provides brief but adequate details pertaining to necessary/agreed handling.
• Provides details concerning agreed display methods
• Provides details of necessary and agreed environmental parameters

SECTION C (to be completed at each agreed checking stage; if the organiser or a courier carries out the check, the venue should countersign any changes noted)

• Identifies the stage at which condition is checked: venue, date, name and position of checker.
• Records whether or not a change in condition or packing was noted
• Notes environmental conditions at unpacking/packing: conditions should be recorded that may have a long-term effect on the exhibit
• Records if notification procedure has been instigated.
• Records any changes agreed with the lender

SECTION D
This section should be completed by the initial condition checker and annotated as required by subsequent checkers (and countersigned by the venues, if they do not carry out the check). It should describe in writing the condition of the exhibit. The description should be short, to the point, providing an overall summary of the condition of the exhibit. Language should be clear and simple. Brevity is particularly important where an exhibition tours to venues where English is not the first language. It should avoid the use of non-descriptive conservation terminology. A layout with boxes to be ticked should be avoided: although useful for other purposes, this approach can lead to unhelpful generalisations when describing condition. Symbols that require a key should also be avoided, because they slow down the checking process and make reporting less accurate.

One or more images should be reproduced on the CCD, which the person checking the exhibit can use to identify surface blemishes, distortions or disruptions, and upon which any changes of condition can be marked. A simple sketches of the exhibit or a standard outline for regular-shaped pieces can also be used to locate any problems. Photocopying an image onto gridded paper makes it easier to pinpoint a particular location, allowing a grid reference to be quoted in any written correspondence relating to a specific concern. There should be ample margins (maximum 10 cm) around the image for notes to be added, to describe any marks on the image itself.

Another image should be provided of sufficient quality to allow unambiguous identification of the object. Three-dimensional items should be represented by images taken from different viewpoints. Extra sheets should be added to the CCD if necessary, to display additional photographic details of complicated 3-D structures where many views are required.

Initial condition check: The initial condition check forms the basis of all subsequent checking and reporting. The report of this check must clearly identify damages, blemishes or surface features that could otherwise be construed as a change from the original state. The report should reflect the condition in which the exhibit left the owner or lender, and should therefore be carried out as close to the time of collection as is feasible. If examined prior to collection, the exhibit should be packed and stored in a safe place until collected, to ensure no further change in condition. In this instance, the environmental conditions in which the exhibit was packed should be recorded on the CCD.

The check should be carried out by a conservator or other person qualified to clearly identify any problems associated with an exhibit. It may be appropriate for the organiser to employ a conservator to complete some or all of the initial checks, to ensure that appropriate and consistent information is gathered, and to save time and problems in future. However, conservators should not assume that a fellow conservator will be available at each venue, and the method of reporting condition at the initial check should not assume any prior knowledge of the exhibit.
The person responsible for the check should:

• Examine the exhibit to familiarise themselves with it
• Annotate the image in section D of the CCD. Dots or hatched lines will be sufficient to indicate to future checkers that there is something here to look at. Add in the margin a brief descriptive note identifying the problem if appropriate. Certain phenomena are straightforward to note initially, but are often difficult for future checkers to establish if there has been a change in their state, e.g. changes in tension of canvas or fabrics for paintings and textiles, cockling of a paper support, pinpoint flaking of a gilded frame, movements in cracks and splits in wood objects. If these factors are fundamental to the safety of the exhibit, then detailed pictorial record with measurable parameters must be provided. In these cases, it may be appropriate for a courier who is very familiar with the exhibit to examine it
• Compile a brief written description of the condition of the object. This provides an overview for the person at each venue who will be examining the exhibit for the first time. Include comments relating to recent conservation treatment, if this will help to warn of potential problems that the exhibit may experience, e.g. that part of a painting has been consolidated to stabilise flaking paint
• Note where there is an absence of a frequently-observed condition, e.g. if a gilded frame has no minor gilding loss because it has just been re-gilded, if a new backboard has been attached and therefore there are no scuffs on the reverse, or if new Perspex has been fitted and has no scratches. Similarly, note if a painting, work on paper or textile has no planar distortions
• Conversely, note phenomena that may be very extensive and not possible to mark, eg if a gilded frame is severely desiccated and prone to minute gilding loss. “Generally discoloured throughout” may be sufficient if a work on paper has severe discolouration from foxing. In these instances, the lender will be acknowledging an inherent problem, and the phenomena are not considered a reason for not lending

Checking & Reporting Procedure: The condition of each exhibit must be checked and reported during unpacking, after the arrival of the exhibition, and before packing and collection at the end of a showing. The person delegated by the organiser for this purpose should be present with the CCDs.

• Provide sufficient space and light for examination and make sure that there are enough people to help
• Unpack (or pack) and fully check one exhibit or a small group of exhibits at a time
• Make sure that there is adequate time to look at each exhibit, and that the pace is not forced by other staff
• Read the written description in section D of the CCD to gain an overview of the condition of the exhibit
• Examine the exhibit, checking irregularities against the image(s) provided in section D of the CCD. If irregularities have not already been noted, annotate the image, dating and initialing your addition. If the organiser or a courier completes the CCD, any changes noted by that person should also be initialed by the venue’s representative
• It is sometimes difficult to establish whether information is relevant or not; if in doubt, include it
• If a change in condition appears to be significant, follow the agreed notification procedures. Whether it is the venue, the organiser or a courier who notes a change in condition, a photocopy should be made to send or take back to the lender. If changes are noted during dismantling, the venue should retain for its own records a photocopy of the CCD (which will, of course, go with the exhibit to the next venue). The CCD should stay with the exhibit to which it refers throughout the tour

Material Characteristics for Condition Checking: The following summary, which is by no means exhaustive, lists typical problems that are associated with a range of material types.

Wood (e.g. sculpture, furniture, panel paintings, craft items): Splits, joins, splinters, cracks: note where they stop and if surrounding material has been recently disrupted. Scratches and gouges. Lifting veneers, loose joints, loose or lost fittings, loose old repairs, lifting old repairs. Staining of surface, bloom or crazing in varnish/coating. Insect damage: holes old or new, fresh frass (wood powder), mould growth, surface bloom.

Stone (e.g. sculpture, archaeological exhibits): Scratches, gouges, scuffs, stains, lost fragments, old repairs, loose old repairs, cracks and splits, finger prints, staining.

Metal (e.g. sculpture, decorative arts, medals, plaques, craft-work, ethnographic items): Scratches, dents, lost sections, old repairs, loose old repairs, surface irregularities; corrosion products: staining (brown, green), crumbling deposits.

Textiles (e.g. costumes, banners, craft-work, paintings on canvas): Tears, splits, loose threads, staining, lost or loose attached trimmings (beading, stitching, appliqué), broken or loose stitching. Alterations, i.e. parts that look different from the rest. Repairs and evidence of restoration or conservation. Dust in fibres, creasing, loss of pile from velvet. Mould, fungus, mildew. Damage to conservation work, eg adhesive lining lifting, stitching to support broken, cockling of lining. Other materials, eg rubber, leather or metal, disintegrating or corroding.

Painted and gilded surfaces (e.g. easel paintings, frames, works on paper, illuminated manuscripts, polychrome sculpture): Lifting or raised paint areas, marked cracking, actual losses in paint layer, crumbling paint surface, areas associated with splits, joints or old repairs and fillings, scratches. Mould. Bloom or blanching (whitening). Random variations in surface gloss. Staining.

Ceramics: (e.g. sculpture, decorative arts, craft-work, plaques). Cracks, chips, old repairs, loose repairs, missing parts, staining.

Object Characteristics for Condition Checking: The following summary, which is not exhaustive, lists typical problems that might be noted with specific types of objects:

Books: Books suffer considerably from inappropriate handling. Check joints, sewing and spine; normally it is not necessary to check every page. The CCD should make a detailed report on the page on view, and general comments on the entire structure.

Works on paper, parchment and vellum (e.g. prints, drawings, watercolours, collage, pastels, photographs, manuscripts): Cockling/undulations (or absence of) in paper support. Splitting/pulling apart of paper fibres from over-tension: check round old repairs. Staining. Pigment loss, pigment transfer to glazing. Image/support touching glazing. Pastels: transfer of pastel to glass, loose pigment at bottom of mount. Photographs: crazing/flaking of emulsion.

Paintings on canvas: Planar distortions (or lack of) in canvas support, localised bulges, canvas draws at corners and edges, lifting paint, paint losses, tenting/ridged paint. Bloom (whitening) in varnish or paint layer. Tears, holes, punctures, dents, scuffs, powdered varnish, scratches. For unframed items, finger prints, grubbiness and dents and bulges at edges.

Paintings on panel: Warp of panel Splits: check for new wood dust; if open, check associated paint areas. Lifting paint and tented/ridged paint. Paint loss. Mould. Insect damage: frass, cocoons, flight holes.

Frames: Lost moulding. Extensive flaking on gilding. Exposed white gesso. Damage from past attachment of hanging fittings. Crushed corners, open mitres, finger prints, knocks, scuffs and gouges. If the attachment of exhibit in frame is visible, check it is secure. General loose surface dirt.

Framed exhibits (e.g. easel paints, works on paper with or without mounts, photographs, papyrus and other exhibits framed behind glass): Slippage in frame: skewed image, powdered edge varnish. Image touching the glass: transfer of material to glazing, crushed varnish through point impact with glazing. Check for foreign material along inside of framing or mount. Staining on mount. Insects inside glazing. Exhibit bowing away from frame at edge. Glass slipping, cracked, chipped, dirty.

Conservation is the application of techniques and materials to chemically stabilise and physically strengthen exhibits, enabling these to be researched, displayed, included in exhibitions, etc. Unfortunately, not all exhibits requested for loan are in a suitable condition or visually fit for display, yet they are important to the integrity of an exhibition. Often they only require minor conservation work, although in some cases major work is necessary.
There are many reasons why exhibits may require conservation, not all associated with care that is less than perfect, e.g.

• Recently excavated archaeological finds, which require investigative cleaning and stabilisation
• Inherent choice of material for varnishing oil paintings, which eventually darkens and obscures details
• Long-term preservation was never part of the original reason for making objects such as Day of the Dead Papier-mâché? figures from Mexico

The natural deterioration process of materials as a result of the interaction with oxygen, humidity, light, etc. can, at best, be slowed down. In addition to this process, the handling, transport and display conditions associated with a touring exhibition increase the risk of damage to an exhibit. The conservator will take these factors into consideration and present the observations and recommendations to the owner, outlining any remedial conservation work required enabling the exhibit to be lent to an exhibition. The conservator’s observations and recommendations should form part of the loan agreement, and initial condition check.

Budgeting & Scheduling: Conservation, whether preventive or remedial, can be costly, and the organiser must allow for this in the exhibition budget. The organiser may have to balance the importance of individual exhibits to the exhibition versus conservation work for which appropriate funding should be available. Loan applications may have to be withdrawn, where there is no budget for advice and/or subsequent treatment.

Most public and private collections have an ongoing programme of conservation work. Any exhibits requested, and subsequently agreed, for loan will usually be slotted into the conservation work programme. A late loan application for an exhibit which requires substantial remedial conservation work could be turned down due to limited resources. In this situation, the owner may agree to conservation being undertaken by a private conservator or conservation practice in preference to a rejection, but at a cost to the organiser.

Remedial conservation can be either essential or desirable. All essential conservation works should be carried out before an exhibit is lent to a touring exhibition, whereas desirable work is optional. It is often subjective and, depending on the ethos of the exhibition, this work may or may not be appropriate.

Collections without directly-employed conservators or funding for conservation may find it difficult to finance the remedial conservation work required. The organiser should be prepared to cover the cost in such instances.

Preventive conservation work required as part of the loan agreement is usually also charged to the exhibition. Measures such as hard backing and glazing of paintings or remounting of prints and drawings may not be necessary for displaying the works at the owner’s premises, but will help to minimise the risk of damage to the exhibits, and thus enable these to be lent. Similarly, all materials used in packing and display at all venues should be tested to ensure they do not contain harmful components to the exhibits. There are organisations, such as the British Museum, that offer material testing services. However, it should be noted that tests can take a long time and if they fail, new tests will have to be conducted.

Conservation treatment can be a lengthy and complicated process, and the organiser must allow for this when scheduling the exhibition. Limited resources combined with other commitments may lead to a loan being rejected. The importance of submitting an early loan request cannot be over emphasised.

Employing a Conservator: Conservators must have a broad theoretical and practical knowledge in order to carry out conservation treatment of a professional standard. They need to have knowledge of a historical, artistic and scientific nature combined with practical craft-based skills. Before commissioning a conservator it is therefore essential to ensure that the person has the necessary qualifications, expertise and experience to undertake the work. The Institute of Conservation maintains a selective database of conservation-restoration practices from across the UK and Eire. The database can be accessed on-line free of charge (see www.conservationregister.com), and can be searched by exhibit/material type and geographical location. Alternatively, the conservator or curator at a local museum or the regional Arts Council office may be able to recommend or suggest a conservation practice that can carry out the necessary work.

The conservator should be given as much information as possible. Details of the different venues (including facility reports with detailed access routes, transport method, storage between venues and display methods) all help the conservator to accurately assess the risks to the exhibit and make the appropriate recommendations. Suitable actions can then be implemented to eliminate or reduce these risks to a manageable level, enabling the exhibit to be lent.

The key issues for the exhibition organiser to include in a tender brief for the conservator are:

• Outline the proposed treatment, including other options considered, with the cost and the timing implications.
• Distinguish clearly between essential conservation work and desirable work.
• Provide details of any proposed conservation materials to be used.
• Deliver a written conservation report on completion including any recommendations on handling, packing, storage and display.

The organiser should preferably send the brief to a minimum of two conservators or conservation practices. The returned tenders should be compared and the quality versus the cost should be carefully examined. Under no circumstances should the lowest tender be accepted as a matter of principle. However, the exhibition organiser must ensure value for money is achieved.

All exhibits – whether Old Master paintings or contemporary works, ancient sculpture or modern three-dimensional pieces utilising a myriad of materials, natural specimens, items of fashion or scientific equipment and machinery – share a common problem when they are removed from their normal locations, i.e. the possible damage that may be caused though a number of hazards that they will encounter along their journey.

It is essential to have a clear understanding of these potential hazards and how they can affect the exhibit. Hazards fall into two categories:

Environmental: includes changing weather conditions (rain, sunlight) but also temperature extremes and rapid changes in relative humidity in different interior spaces.

Mechanical: includes shock (from dropping, toppling, bumping and shunting) and vibration.
The main protection against all these hazards is the packing container, called henceforward “crate”, to distinguish it easily from show or display cases. The design of the crate and choice of materials are governed by a number of criteria:

• Cost
• Weight
• Suitability
• Reusability for different exhibits
• Performance

Packaging is often seen as a necessary evil, an area to be kept to an absolute minimum, particularly where exhibition budgets are tight. With the best of intentions, exhibits are often packed using unsuitable materials that offer little or no protection to the object. Reliance is placed on careful handling and expert securing within the vehicle. Most objects travel safely, but damage may not be visible until years later. Not all exhibitions (particularly those touring within the UK) have budgets that allow proper packaging, but the level of protection should be considered with a view to ensuring that the objects survive for future generations to enjoy. Crates are essential:

• For fragile objects
• For objects whose construction makes soft-packing inappropriate
• In conditions where temperature and humidity controls are not guaranteed
• Where agreements with individual lenders specify that a work/object will be crated for travel
• For long tours with numerous venues
• Where objects must be stored at venues
• Where objects are transported in vehicles not specifically fitted out for conveying exhibitions

Building a good quality crate from scratch may not be cheap but will often be the safest and best option. If previously-used crates, not designed for multiple uses, are worn and have weak or loose joints and seals, they can also be unsafe for the transport of exhibits. Leasing of high quality re-usable crates may prove a cost effective option.

Soft-wrapping: Wrapping exhibits in soft materials is an inexpensive alternative to crating, but should be used only for work which is not particularly fragile and which is travelling short distances in dedicated vehicles. One or more layers of wrapping material should be used to protect an exhibit from soiling and damage.

Materials commonly used for wrapping are Glassine and Tyvek, both of which are soft, strong and reusable and allow packaged items to breathe. Tyvek is gas-permeable, non-abrasive, water-proof, dust-proof and inhibits the growth of fungi and bacteria. Glassine is smooth and acid-free, and is useful in situations where transparency is helpful. Glassine and Tyvek may be used alone or in combination with Bubble Wrap.

Bubble Wrap is waterproof and reusable but, as it can be abrasive, it is rarely used alone. Unglazed paintings should always be carefully wrapped first with Glassine or tissue paper, taking care not to depress impastoed areas of the paint surface. Framed paintings should first be wrapped in Glassine or Tyvek, with the wrapping bridging across the frame so as not to touch the paint surface. Bubble-wrap should be used with the bubble side out. Bubble Wrap can be reused only if the tape securing it is removable. Low-tack tape can be removed cleanly even after a considerable period of time.

Removable components should be packed separately, and moving parts should be padded with acid-free tissue paper, to prevent movement and abrasion during transport.

Wrapping should be kept as simple as possible, and each item should be wrapped in such a way that it need not be turned over to be unwrapped. The way in which a work is to be unwrapped should be immediately apparent, to reduce the amount of handling required. Uncomplicated packaging also enables objects to be re-wrapped without difficulty at the conclusion of the exhibition.

For small paintings or photographs, reusable envelopes can be made from Bubble Wrap. The edges are bound with parcel tape with a tuck in flap at the top. An internal envelope is be made of Tyvek with sewn or heat-sealed edges. This combination, clearly labelled, is a very convenient and user-friendly way of packaging a large number of small framed works, and it enables the venue to repackage accurately and safely.

Adhesive tape should be used to secure the package, but without allowing the tape to adhere to any part of the work itself. The ends of the tape should be folded over to make tabs for ease of removal.

Wrapping should be labelled to indicate its correct orientation and front and back.

Wherever possible, materials should be both readily removable and reusable, but only clean, intact materials should be used. Any material that deteriorates during the course of the tour should be replaced.

Outer crate: At its simplest, a crate or packing container is no more than a box with carrying handles and, perhaps, internal divisions that hold exhibits in place, e.g. slots for standard-sized frames or travelling frames. Its basic function is to protect the contents against climatic hazards and mechanical damage. However, its ability to protect is augmented if the exhibits are also provided with thermal insulation and protection against shocks and vibration. A crate for a touring exhibition should:

• Be sturdy, moisture-proof and dirt-proof
• Protect from shock and vibration
• Protect from changes in temperature and humidity
• Be safe and easy to handle
• Be of a size appropriate to the object(s) within, but no larger than the smallest opening at any of the venues

Dimensions will also determined by the method/s by which crates are to be transported, e.g. for travel by air, crates should be designed to ensure that they are transported the right way up in the cargo hold. All other things being equal, a cube shape is preferable because of its stability and because the surface area exposed to extremes of temperature is small in relation to its volume.

The outer skin of the crate can be manufactured from a variety of different materials – wood, plywood (plain or faced with aluminium or laminate on both sides), fibreglass, aluminium, etc. Wood is robust, withstands harsh treatment and absorbs vibrations during transport. It has low thermal conductivity and is an absorbent material that affords protection from changes in relative humidity. Screws and glue should be used for securing all joints and for attaching handles. Silicone sealant may also be used along joints, to provide additional protection from moisture. The most common material is 9mm or 12mm plywood, reinforced with solid timber battens, which gives a low cost, a reasonable strength-to-weight ratio and a good performance. Base panels may be thicker, for extra strength. For manual or fork lift access, 75mm wooden skids should be fixed to the base. Strong, properly located handles, whether purpose-made or simple timber battens, are essential. At least one panel should be removable, but sometimes two or three panels are removable to facilitate access and packing. As an aid for subsequent use, each removable panel should have indication marks to show how and where it fits. Captive bolts or quick release fasteners should be used for attaching lids of crates (screws should be avoided, as they can quickly wear through a lid, and their presence may cause the lid to be taken for a side panel. A suitable foam weather seal should be used for sealing the lid. Where necessary all external surfaces should be painted with a polyurethane varnish or paint, for water-resistance and protection from environmental conditions.

Depending on the other thermal insulation and shock protection provided around the object(s), a crate’s interior surfaces may be lined with aluminium foil, polyethylene foam or water-resistant paper or cloth, to provide insulation, prevent moisture entry and reduce the likelihood of rapid temperature change. This might be a minimum of 25mm polyurethane polyester foam with the final fit being achieved with a calculated amount of foam in pad form to each face. The use of quick-release padlockable fasteners can also aid ease and speed of packing.

Thermal insulation: The same internal insulation should be able to protect the contents against rapid changes in temperature and humidity and against shock and vibration.

Internal insulation protects the contents against rapid changes in temperature and humidity. Thermal insulation can come in many forms (Plastazote, Polystyrene, etc.). When these materials are tested between the temperatures ranging from -20°C and +50°C, the results are found to be very similar thickness for thickness. The selection must, therefore, be by the suitability of each material for particular requirements.

• Polystyrene is cost-effective and lightweight, but is a friable material and can be messy to work with
• Chip Foam (reconstituted polyurethane) can be heavy, and degrades
• Fibre Glass & Rock Wool should be used within an enclosed cavity, so increasing the size, weight and cost of the outer container
• Plastazote is light and waterproof and its density adds to the overall integrity of the outer container. However, it is the most costly when compared to the other materials
• Polyurethane polyester is a good choice if the container is not to be reconfigured for other loans. It is easy to use and available in a number of thicknesses

‘Half time’ is the normally accepted criteria for the performance of a thermal insulation material, and is the time taken for the temperature to rise or fall half the temperature difference between the outside temperature and the container internal temperature. The final half time for any container will depend on the type and mass of the object within the package. The smallest lightest object will give the shortest half time. As an approximate guide for thickness required:

• 25mm will give 1-3 hours half time.
• 50mm will give 2.5-5 hours half time.
• 100mm will give 6-8 hours half time.

Shock protection: A shock protection material is one that will absorb energy from the mechanical hazards – from sudden shocks from dropping, toppling, bumping and shunting – while also reducing the possibility of damage from the low-level vibrations associated with transport by road. Its purpose is to reduce shock levels that an object receives to a level where no damage will occur.

The same internal insulation should be able to protect the contents against rapid changes in temperature and humidity and against shock and vibration. Care should be taken when selecting a material. If not used at the correct ‘loading’, the results could be disastrous. Loading is the weight a material can cushion at its optimum, normally shown as kg/sq cm. A strip of polyurethane foam 90x15cm will cushion an object of about 30kg, whereas the same size strip of LD45 Plastazote will cushion an object of about 121kg.

The materials to be considered are similar to the thermal protection list, e.g. Plastazote, Polyurethane Polyester type, Polyurethane Polyether type, chip foam, polystyrene and cardboard. All of these materials will work well as shock protection within the parameters of their loading range, so again we must look at their suitability for a particular requirement:

• Polystyrene & cardboard are examples of crushable materials: the first drop will give the best results with the lowest shock sustained by the object, but from then on shock levels will increase as the material is broken down. Whilst cost effective, it may not be suitable for exhibits in touring exhibitions
• Polyurethane Polyether type is a good cushioning material, available in a range of densities, but it is not as stable as the Polyester type: It degrades quickly, discolours and breaks down in sunlight
• Chip foam (reconstituted polyether foam) is also available in a range of densities, but is not as efficient as the virgin material and is less stable
• Plastazote is lightweight and waterproof, comes in a wide range of densities and is a very good cushioning material, generally better suited to the heavier objects
• Polyurethane Polyester type foam is available in a few densities, provides a more inert and stable material than the Polyether type, and is currently the most efficient cushioning material within its loading range

Shock-absorbent foam moulds/polyforms can be designed and tailor-made to fit around and support individual items. Wherever possible, a crate’s interior padding should be permanently fixed; otherwise, it should be in one piece, easily removable and clearly labelled. Any padding which is fixed to the crate’s interior should be attached using an adhesive, rather than staples which may work loose in transit. If a slotted crate is required, either semi-rigid polyurethane foam or plastazote – depending on the size and weight of the frames to be transported in the crate – can be used to create the slots.

Inner box: The first step when designing packaging is to consider how the item is to be handled and moved, with particular attention to how it is placed in its crate. A number of small objects may be placed in the same crate, as long as each has its own specific form of cushioned restraint which holds it firmly and safely in position within the volume of the crate. A crate’s interior can be divided with internal shelving or compartments to separate individual exhibits, or fitted with slots if there are framed works on paper or if small objects are to travel in purpose-built handling frames (in a vertical position) or trays or drawers (in a horizontal position). Slots should be designed so that works are firmly held and are not able to slide backwards or forwards or from side to side. If framed works are fitted with hanging devices, it may be preferable to remove them; otherwise slots should be large enough to accommodate them.

An item may need an inner case or frame if it is fragile, difficult to handle and/or irregular in shape. Within its inner box, an object can be safely stored and moved within a building with minimal risk, and minimal handling is required to prepare it for any future loans. The regular shape of an inner container makes it easier to use standard thicknesses of insulating material, making it much simpler to calculate the requirements for shock protection. Points to take into account at this stage are:

• Fragility. How strong is the item and/or how strong are the different components from which it is made?
• Stability. Can the inner container help to hold an object in place which is not normally very stable or includes possibly detachable parts?
• Handling. How difficult is the item to handle? Can the inner container be designed so that the item can be easily moved without the need to touch the work, to improve its safety and protect it from direct handling until the moment of installation? Can handles be added at appropriate carrying points on the outer surface of the inner container?
• Lightness compared with size. A large, very light item is much easier to cushion by using an inner container as it then has a regular shape and some weight to work the cushioning foam
• Accessibility. Instead of removing the item from the container, can the inner container be removed from around the item, e.g. by providing fully removable sides?
• Need for protection in storage (and after it is returned to its owner?). An inner container allows an item to be stored with a high degree of protection with minimum size penalty

The internal faces of the inner container should be suitably lined with foam to give a degree of shock protection whilst in transit, and polyester wadding may be used to provide a soft snug fit and to dampen vibration. On the assumption that unpacking and packing may be carried out by someone who has not done the operation previously, the design should be as foolproof as possible, with only one possible way of fitting the item onto the base of the container (e.g. marking its position by foam pads), of assembling the sides, fitting insulation around the object, etc.

Labels & documentation: Crates, packaging and/or boxes should be clearly marked, usually by stencilling, with the following on at least two sides:

• Item number in terms of total consignment (No. 1 of 10, etc.)
• Orientation of contents: crate or packaging should be clearly stencilled or painted with instructions (THIS WAY UP, etc.)
• Fragility of contents: FRAGILE, glass symbol, etc.
• Method/s of handling (NO HOOKS OR FORKLIFTS, etc.).
• Unpacking and repacking, e.g. each lid or removable panel should have indication marks to show how and where it fits.
• Tare weight/Gross weight.

The crate should also be labelled with the name and address of the destination. At the conclusion of a showing, a new label with the name and address of the next venue should be placed on top of the previous label. Destinations marked indiscriminately on different areas of the surface of a crate or package may confuse the carriers and lead to non-delivery.

Crates should be accompanied by the following:

• A checklist of crates and/or packages, for unloading and reloading but also for checking if, for example, the exhibition has to be stored for any length of time.
• A list of the contents of each crate.
• Packing plans. It is important to note how the components are to be (or have been) packed, and with what packing materials. Photographs are an ideal way to show more complex packing. Even if the same person is overseeing each installation and removal, it will be difficult to remember exactly how everything is packed. On the assumption that unpacking and packing may be carried out by someone who has not done the operation previously, clear instructions with diagrams should also be provided for the process and for the sequences in which unpacking and then re-packing should be done.
• Instructions for storage of crates and/or packaging materials

Once an exhibit is included in a touring exhibition it will be handled many times. On each occasion an object is removed from the protection of packing materials and is placed on exhibition it is at risk. It is, therefore, necessary to adopt safe working practices which minimise the risk of damage:

• Time spent on planning is rewarded by less stress on staff and objects
• At all times maintain a secure and suitable environment for the objects
• Know the location of the objects at all times
• Use appropriate handling methods
• Do not compromise on the standards of care and supervision

There are three key statements which need to be understood by anyone who handles exhibits:

1. All collection objects must be regarded as irreplaceable
2. Cash paid by insurers is small recompense
3. Restoration is merely cosmetic treatment

During each exhibition, there are distinct phases which involve handling. These differ both in location and the staff involved:

Pre-exhibition Period: Selection of exhibits starts a planning process which must decide on the methods to be adopted for packing, handling and transport. The first practical handling commences as the exhibits are gathered together, which may be from a single source or very diverse locations. This work is often undertaken by staff under the direct control of the organiser. It is essential that the condition of each item is recorded, and that the item is robust enough to stand the rigors of transport and handling.

The exhibition phase: It is during this phase that the greatest risk of damage exists. Each exhibit is subjected to repeated handling; in a semi-protected state as it is placed in, or taken out of crates; and in an unprotected state during installation. Frequently the venue staff will have no prior knowledge of the exhibits and must rely on the handling notes supplied by the organiser. It is also difficult for the organiser to determine the level of handling skills present at each venue. This work may be delegated to agents.

Return of the exhibits: It is essential that at the end of the tour, all exhibits are carefully examined for handling damage. This task is impossible unless comparison can be made with both the original and subsequent exhibit condition reports. The task of final distribution to the lenders may be under the direct supervision of the organiser, the staff of the last venue, or a commercial carrier. Whoever is chosen, the level of competence of the staff used must be sufficient for the task. This is particularly important when returning exhibits to private lenders, who may require pictures to be re-hung and large objects installed in their original locations.

Handling Preparations: Handling starts from the moment that the delivery vehicle is unloaded. It is important to minimise the handling of exhibits both when in the transit packing and during installation.

Before delivery, contact should be made with the member of staff responsible for the installation of the exhibition in the venue. Advance warning should be given of the exact time of arrival and the number of staff required to assist with off-loading. If a third party is responsible for installing the exhibition at an unfamiliar venue, it is essential that all problems associated with the handling of the exhibits have been discussed in advance of the delivery to site. Points to discuss include vehicle access and the constraints of the building, e.g. narrow stairs and doors.

Make sure that the correct handling equipment and protective clothing are available, including any special equipment that needs to be hired, e.g. a crane for heavy exhibits. Floor surfaces may need to be protected from the wheels of trolleys and other handling equipment.

There should be a pre-determined order for the construction of the display-cases and exhibition build, which should be completed before the exhibits are unpacked. With a complex exhibition, a detailed plan can help to avoid unnecessary extra handling of fixtures and exhibits. Exhibits should be unpacked in a logical order, their condition checked and they should then be placed and secured as soon as possible in their correct display position.

The basic rules for the movement of exhibits within a venue are:

• Think before hands touch the exhibit. We are often put under pressure to carry out a move in a short space of time. Thinking out the problem and planning the resources necessary is the whole basis of a satisfactory procedure and must be given sufficient time. Ignoring this step can result in injury to staff and damage to the exhibits. Above all, spend time on briefing staff and engage in discussion of anticipated problems
• Provide suitable protection. What level of protective packing is required to protect an exhibit for handling within the building? If an exhibit is to be removed for transport, is it safe to move the exhibit without temporary packing to a packing area, or must it be packed in situ? Is temporary packing available, and supports on which to “rest” an exhibit that is being manually lifted?
• Object move an object when you know its exact destination, and move it only to a position where it will be safe
• Plan the route. Has a route been planned and checked, and all potential obstacles removed or otherwise taken into account? Any relocation should be documented, and a photographic record made if necessary to record the new position. It is sound and necessary policy that the movement of all objects and equipment is thoroughly documented

Staff for Object Handling: Every venue should have a Health and Safety Policy, and its duty of care as an employer includes the effective management of health and safety issues. All areas of the building and all the processes which take place there should be assessed by a health and safety expert. Each activity should have written method statements and risk assessments, and all staff should be adequately trained in any activities that they are required to carry out. The venue is also responsible for any contractors that it employs, and so it should require risk assessments and method statements for any activity that the contractors carry out.

Team work is the key to successful handling of exhibits. If possible, the same staff should be used to handle an exhibition at all the venues. If this is not possible, ensure that each venue can field enough people with the appropriate skills.

Staff should be:

• Sufficiently skilled for the task
• Able to work as a team
• Fully briefed for the task
• Free of stress and pressure, due to a shortage of time or other demands
• Able to provide sufficient physical strength to complete the task
• Trained to keep their hands off delicate surfaces and wear gloves when necessary
• Conversant with the smoking policy of the venue and never smoke within galleries or stores

Gloves should be used where appropriate to prevent grease and acid from sweat from damaging objects. The type generally used is a latex disposable glove, but without a coating of talcum powder as this will leave a residue. White cotton gloves are less acceptable now, because they allow sweat to pass through to the object. Objects that are very slippery are difficult to handle with gloves. Some white gloves have plastic pimples on the surface on one side to give more grip. These pimples can leave a mark on the surface of an object, e.g. in wax finishes on bronze sculpture or on gilt frames.

All the actions have to be carried out in a disciplined manner, and under the control of a single person. Staff working under pressure can damage exhibits, and it is important to allow sufficient time.

When lifting and carrying, the following rules should be observed:

• One team leader should co-ordinate all action and give clear commands
• The sequence of an action must be agreed and not left to argument during the move
• If working alone, always use both hands so positioned as to give support under the main body of the exhibit
• Be prepared to stop en route if necessary, and place the exhibit on a temporary padded support to allow the staff to rest
• Work within the safe limit of the weakest member of the team

Planning to Move Large & Heavy Objects: When planning to move a large or heavy exhibit, select contractors well in advance, allowing ample time for the submission of tenders if required. Contractors will normally provide one or more of five functions: transport; lifting and special moving equipment; building support (e.g. where existing floors will not carry the load); site protection (e.g. the provision of temporary roads over lawns); and additional security to cover short term needs. Learn from other people’s experience (e.g. ask other organisations that might have moved similar exhibits if they can recommend competent contractors).

It is essential that a risk assessment is made. It is recommended that a written statement to cover these points is prepared, and that all members of staff sign a copy as evidence that they have read and understood it.

Equipment must be suitable for the job and fulfil all the statutory requirements, comply with good working practice and provide an adequate safe working load. Contractors and internal staff must be adequately trained in the use of such equipment and in the special requirements of working in a museum environment.

Check the route to be traversed for floor loadings, both internally and externally. Do not forget the additional weight of the supports and lifting equipment; this can often exceed the weight of the exhibit to be moved. Check that the internal heights and widths of points of restriction allow for safe transit of objects through the building. Ensure that all pre-installation work is completed in advance, e.g. where an item has a support structure, in good time. Consult appropriate authorities on the detailed plans of the operation, including senior members of staff; external contractors and sub-contractors; statutory undertakings, e.g. highways, police, telephones; and the users of adjacent properties.

Examine the exhibit in great detail. The points at which lifting straps and attachments can be made must be noted. Check the weight and estimate the centre of gravity. Ensure that the structural strength of a complex exhibit is assessed by a competent person. Do not assume that the initial strength of the exhibit is still present: metal fatigue and internal corrosion may be present; in wooden exhibits, rot or insect attack may have weakened the structure with no obvious surface damage.

Object Damage: Exhibits are at most risk when being handled or transported, and problems will arise from vibration, contact shock and changes in environment. If a breakage or damage takes place, do not panic.

It is impossible to work for a lifetime in a museum without encountering or causing damage to an object. The aim is to minimise these events by care at all times.

If there is a breakage:

• Stop, rest the object and support loose fragments
• Seal off the area
• Inform the organiser about the damage immediately and agree a course of action (the hire agreement should advise on the procedure for reporting damage) e.g. call a consevator
• Resist the temptation to pick up the pieces: do not sweep up fragments or place loose bits in a bag.
• Do not attempt a repair or try to cover up the damage

Documentation has a particular importance for touring, because a large number of objects may be transferred through several stages without the immediate supervision of their owners. Its purpose is to provide a continuous record of the status of each exhibit, keeping all the various parties – organiser, lenders, carriers and venues – informed as necessary. Documentation is also important in providing an trail of decision-making for the tour. This includes internal decisions on why a tour is taking place, decisions made with key stakeholders/funders, and agreements made with each of the venues.

There may be a lot of information accompanying an exhibition, so the organiser should ensure that any documentation provided is clearly titled and its function described. The organiser should also keep an extra copy of the documentation that travels with the tour, just in case one goes astray!

Documentation Standards: For museums, “documentation” has a particular significance in terms of recording the status and location of objects in a collection. The Collections Trust publication, SPECTRUM, is recognised both nationally and internationally as the industry standard for museum documentation. SPECTRUM defines best practice in a number of areas, and provides fact sheets that are available to download.

Those useful when organising a touring exhibition include:

• Entry/Exit records
• Location and movement control
• Transport
• Loan records (incoming loans)
• Loan records (outgoing loans)
• Object condition checking and technical assessment
• Risk management
• Insurance and indemnity management
• Valuation control
• Loss and damage

Organiser’s Records: The organiser of the exhibition should retain information relating to key decisions made within the project as well as information about the tour including:

• Minutes of project meetings
• Object research, and provisional list of exhibits
• Formal requests for loans, loan agreements
• Copyright information
• Exhibition budget
• Details of the venues that have been approached about the tour, contact details, and copies of facilities reports. Once the venues have been selected and agreed a separate file may be devoted to each venue
• Hire agreements
• Object information – valuations, conservation reports
• Certificates of insurance/indemnity cover
• Schedule: installation/removal periods
• Additional components, e.g. plinths, display cases, AV equipment
• Exhibition contents list
• Exhibits for sale
• Condition report forms, for exhibits and any equipment and materials travelling with them
• List of packing cases
• Receipts for transfers of responsibility between organiser, carrier and venue
• Installation instructions
• Marketing/press information

Venue’s Records: As the hirer of an exhibition it is important to retain information about the exhibition in one place – usually within a file. For the venue, it will contain all the information about the exhibition and the tour including:

• Hire agreement
• Object list and any research and other information provided by the organiser
• Additional lenders information
• Copyright information
• Exhibition budget
• Copy of facilities report sent to the organiser
• Copies of certificates of insurance/indemnity cover
• Schedule: installation/de-installation periods
• List of exhibits for sale
• Condition report forms, on arrival and departure
• Copy of receipt forms on arrival and departure
• Minutes of internal meetings with key decisions highlighted
• Press/marketing information
• Opening event information

Documentation accompanying the tour: Any documentation which accompanies the tour should be clearly titled and its function described. The organiser should also keep an extra copy of the documentation, just in case one goes astray.

This documentation should comprise:

• Final list of exhibits, including photographs
• Certificates of insurance/ indemnity cover
• List of additional components, e.g. plinths, display cases, AV equipment

Authors:

Condition checking: Jacqueline Ridge (2005), Conservation: Birthe Kruse Christensen (2005),
Object packing: Gwenllian Ashley and Colin Gunn (2005), Object handling: John Morris (2005),
Documentation: Sarah McCormick (2005), updated by Charlotte Dew (2015)