reCollections

Caring for Collections Across Australia

HANDLING,TRANSPORTATION,
STORAGE AND DISPLAY

Foreword page iii

A Note to Readers page iv

Introduction page v

Handling page 1

Transportation page 15

Storage and Display page 29

Acknowledgments page 35
© Commonwealth of Australia 1998 on behalf of the Heritage Collections Council
ISBN 0 642 37384 1 (boxed set)
ISBN 0 642 37385 X (this volume)
Information presented in this book may be reproduced in whole or in part for study or
training purposes, subject to the inclusion of acknowledgment of source and provided no
commercial usage or sale of material occurs. Reproduction for purposes other than those
given above requires the written permission of the Heritage Collections Council. Requests
for permission should be sent to the HCC Secretariat at the address given below.
One copy of this publication is available to Australian institutions on application. Multiple
copies to Australian institutions, copies to overseas institutions and copies to individuals
will be charged at A$100 plus postage and handling. Copies may be obtained by writing to:
Heritage Collections Council Secretariat
GPO Box 2154
Canberra ACT 2601
Australia
Phone (02) 6271 1094
Fax (02) 6271 1079
Email [email protected]
This publication will be available online at the Australian Museums On Line website—
http://amol.org.au
Produced by the Commonwealth Department of Communications, Information Technology
and the Arts.
Cover images (from left):
Detail of photograph courtesy of Museum of Western Australia.
Detail of bark painting, Lightning Snake Story, Douglas (Nawurapu) Wununmurra.
Photograph courtesy of Karen Coote, Australian Museum.
Detail of photograph courtesy of Artlab Australia.
Detail of hand-coloured 19th century children’s book. Photograph courtesy of
Vicki Humphrey.
There are an estimated 41 million objects held in Australian museums, art galleries and historical collections.
Collectively they tell the story of our history and our country and contribute to our sense of identity and
national pride. Increasing the conservation skills of people who care for these collections is an important
factor in protecting this heritage, and is a key goal of the Heritage Collections Council.

reCollections: Caring for Collections Across Australia has been developed with this goal in mind. This set
of practical guidebooks is designed by the Council for use principally by non-conservators who are working
with Australia’s cultural heritage. The guidebooks are also a teacher-friendly resource which can be used in
professional development workshops.

Many of Australia’s most experienced conservators have been involved in researching, writing and editing
reCollections, through the Conservation Training Australia consortium, led by Artlab Australia, which
first developed the package, and through the Collections Management and Conservation Working Party of
the Council.

The Heritage Collections Council’s mission is to promote excellence in the management, care and provision of
access to Australia’s heritage collections so that together, they reflect Australia’s cultural and natural
diversity. The Council is a collaboration between the Commonwealth, State and Territory governments and
the museums sector, and comprises people working in a wide range of cultural heritage institutions across
the breadth of urban and regional Australia. reCollections is an important component of the Council’s
National Conservation and Preservation Strategy for Australia’s Heritage Collections.

Rob Palfreyman
Chair
Heritage Collections Council

Heritage Collections Council

GPO Box 2154, Canberra ACT 2601, AUSTRALIA
Phone: (02) 6271 1094 Fax: (02) 6271 1079 Email: [email protected]

Foreword iii
 A note to readers

reCollections: Caring for Collections Across Australia

has been written by practicing conservators and is intended to provide
a sound guide for the preventive care of cultural items. Active
conservation treatment of cultural material should only be undertaken
by, or on the advice of, a trained conservator. Before relying on any of
the material in this guide, users should check its accuracy, currency,
completeness and relevance for their purposes and should obtain
appropriate professional advice.

If in doubt,
consult a
conservator
To obtain the names of accredited practicing conservators who are in a
position to meet your particular conservation requirements contact the
Australian Institute for the Conservation of Cultural Material (Inc.)
a national organisation for conservators and people interested in the
preservation of cultural material.

AICCM
GPO Box 1638
Canberra ACT 2601
National Secretary Phone: (02) 6254 8695
http://home.vicnet.net.au/~conserv/aiccmhc.htm

iv A note to readers
 Introduction to

reCollections
Caring for Collections Across Australia
Our heritage is represented by a vast array of cultural material, from established national icons holding
pride of place in major museums and galleries, to everyday items such as household appliances or
newspapers which carry meaning for local communities or families. Yet so often the links to our heritage
are tenuous because the objects which represent our culture are in danger of decay. However, there is
a lot we can do to protect valued objects and collections and so prolong the life of our cultural heritage.
reCollections: Caring for Collections Across Australia provides practical advice and guidance designed
to help the reader care for their heritage.

reCollections explains how to apply preventive conservation techniques to cultural objects and collections.
Preventive conservation optimises the environmental conditions in which objects and collections are housed.
Controlling light and ultraviolet radiation, humidity and temperature, biological pests, and dust and pollutants
helps to prevent damage and decay to cultural material. Preventive conservation also means ensuring that
good handling, transportation, storage and display techniques are used at all times. Applying preventive
methods to the care of cultural artefacts and collections can prolong and protect their life for current and
future generations of Australians.

While reCollections provides conservation information about the care of cultural objects and collections,
it is important to recognise that all except the simplest conservation treatments should be undertaken
by trained conservators. Active conservation treatment is a response to the damage of cultural artefacts,
a highly skilled field which often involves the use of chemicals and complicated technical procedures.
Unless performed with a thorough knowledge of appropriate techniques and with the right equipment and
materials, conservation treatments can do more harm than good to the objects being worked upon, and
can be hazardous to the people performing the work. Conservation treatments should only be conducted by,
or on the explicit advice of, a trained conservator.

To complement the preventive conservation advice contained in the volumes Damage and Decay and Handling,
Transportation, Storage and Display, reCollections supplies detailed information concerning the care of some
of the most common cultural materials. These range from the paper and other materials on which so much
of Australia’s cultural history may be seen, to special considerations in caring for Aboriginal and Torres Strait
Islander cultural artefacts. In addition, modern practices concerning the management of collections and
of the people who look after those collections are outlined.

Introduction v
Handling

Objectives page 3
Introduction page 3
General rules for handling objects page 3
Handling art on paper and documents page 6
Handling books page 7
Handling photographs page 7
Handling stretched paintings and framed works page 8
Handling unstretched paintings page 9
Handling electronic media page 10
Handling textiles page 11
Handling ethnographic or composite objects page 11
Handling metal objects page 11
Handling outdoor sculpture and machinery page 12
Handling furniture page 12
Handling ceramics, glass and enamelware page 13
Self-evaluation quiz page 13
Answers to self-evaluation quiz page 14
 Objectives Don’t rush

At the end of this chapter you should: Never rush when handling objects—even when
you’re under pressure or working to a deadline.
• be aware of how vulnerable objects are when
they are being handled; and Accidents are more likely to happen when you’re
hurrying.
• have an appreciation of the need for careful
handling.

Introduction
Objects are most vulnerable to damage when they
are being moved—even over short distances.

Although it seems unlikely that damage could

occur when an object is being moved only a short
distance, there are many examples of it happening.
Try carrying a single sheet of paper from one room
to another. If you hold it by one corner, it can
very easily crease while you are walking. This
irreversible damage may be acceptable on a sheet Always:
of blank paper, but would be disastrous on a
valuable print or watercolour. Think about what • use both hands when carrying an object, so
can happen if someone rushes out of a door right that you can properly support it; and
into your path while you are carrying a glass bowl.
• make sure you have enough people to lift
Accidents do occur so it is important to: your object safely. If you don’t have enough
people, get help or wait until help is
• handle objects with care; available.

• provide adequate support to objects; Don’t:

• plan your movements; • try to carry too many things at a time. You
won’t be able to support each object properly
• ensure the route is clear; and and you might drop things and hurt yourself;
• ensure there is a space to place the items • try to save time by overloading trolleys or by
when you arrive. stacking things on top of each other once
you have moved them; or
Planning and care minimises risk and reduces the
chance of accidents happening. • speed with trolleys, trucks and boxes. Always
avoid abrupt stops and jerks.
This section summarises the do’s and don’ts of
handling for a range of objects.

General rules for

handling objects
Objects are most likely to be damaged when they
are being handled or moved—no matter what the
distance.

Handling 3
 Be organised and plan ahead For more information
For more information on some simple examination
Eliminate unnecessary movement of objects. Be techniques, please see the chapter on
organised and know where you’re going to put Collection Surveys and Condition Reporting
each object before you pick it up. Reducing the
in Managing Collections.
number of movements reduces the risk of damage.

Plan coordinated action in advance. Make sure you Note any damage that occurs
have enough people to lift your object safely. during the move
When more than one person is needed, for
example, when moving a large piece of machinery,
Remember, no matter how small a broken or rough
appoint someone to coordinate the activity.
edge is, it may be sharp enough to damage an
item nearby.
Make sure you have the equipment you need to do
the job properly.
All accidents should be recorded. When reporting a
damage, describe it briefly, noting the nature,
Plan your route and think ahead when you are
location and severity of the damage and record the
moving an object. If you do this you are less likely
date of your report. A sample report form follows.
to have accidents or encounter obstructions.
Remember that fine arts insurance policies do not
If you are moving items on a trolley, plan your route
cover loss or damage caused by unskilled handling.
to avoid uneven floor surfaces. In this way you can
Don’t ask volunteers to handle valuable objects
avoid shock and vibration damaging the object.
without first giving them some instructions. They
need to read this information, and be helped and
Provide support and protection supervised.
to your objects
You can’t replace a unique object, even if your
insurance claim is successful.
Examine the object you’re going to handle or
move, and note its weakness or any damage; then
ensure that you support it so that handling and
movement don’t make the object weaker.

Never put both light-weight and heavy objects in

the same carrying-box or container. The heavy
object could fall over and severely damage the
lighter ones.

Always use separation battens, foam padding or

some kind of cushioning material between pieces
when you have more than one object in a single
box. All padding must be resilient and capable of
absorbing and dissipating shock.

When you have finished the move, never discard

any packing material until it has been thoroughly
searched. It would be awful to throw away a small
item or part of an item which was caught up in
the packing.

4 Handling
 Report on damaged object

Item: _________________________________________________________________________________

Title: _________________________________________________________________________________

_______________________________________________________Accession No: ___________________

Artist/Manufacturer: _____________________________________________________________________

Brief Description of Damage: ______________________________________________________________

______________________________________________________________________________________

______________________________________________________________________________________

______________________________________________________________________________________

______________________________________________________________________________________

Location of Damage: ____________________________________________________________________

______________________________________________________________________________________

______________________________________________________________________________________

How did the damage occur? _______________________________________________________________

______________________________________________________________________________________

______________________________________________________________________________________

______________________________________________________________________________________

______________________________________________________________________________________

______________________________________________________________________________________

Does the damage require urgent attention? Yes ❑ No ❑

If yes, remember that you will need to seek permission from the owner before proceeding with any treatment.

Signature:____________________________________________________ Date:_____________________

Please return a copy of this form with the object.

Handling 5
 Handling art on paper best not to stack these types of works.

and documents Never allow newsprint, wrapping paper or any

printed matter to come into contact with prints,
drawings, watercolours or documents. The inks may
Handle paper as little as possible because it is highly off-set onto your valued object.
susceptible to physical damage such as creasing and
tearing. When you have to handle paper, make sure Remember that mounts on works are visible when
your hands are clean. Wearing gloves provides added the works are on display, so take steps to avoid
protection. Cotton gloves are often recommended, soiling the mounts. Direct handling of mounts can
but they are not always appropriate because they can lead to soiling, so it is advisable to wear clean,
make it much harder to pick up individual sheets of cotton gloves when handling mounted works.
paper. Clean, close-fitting, surgical gloves are a good
alternative to cotton gloves. Don’t mend paper using self-adhesive ‘sticky’ tapes
of any kind. These tapes go through a number of
Use commonsense when handling fragile paper. stages when they deteriorate:
Remember that old paper can be very brittle, and
all paper is vulnerable to damage. So it is • firstly, the adhesive becomes very sticky and
important to provide proper support. will be easily absorbed into the paper; and

If you have to pick up paper to examine it closely, • in the next stage, the adhesive changes
it is better to place it on a rigid support, like a chemically and begins to yellow and
piece of cardboard, and lift the board. Holding it eventually turns a dark orange. At this stage
the adhesive is almost totally insoluble and,
in your hand increases the risk of damage. therefore, the stains cannot be removed.
If you must carry paper over any distance, it should Never use rubber cement or wood glue with works
be carried horizontally on a rigid support, and with on paper. These adhesives can discolour badly as
a covering material to stop the paper being picked they age.
up by the breeze. Sandwiching paper between two
pieces of acid-free board will protect it well. Large works which require two people to carry
them should be placed between two pieces of
Even if your documents or works of art are mounted mount board. The route to be followed should be
already, don’t tuck them under your arm to carry cleared of obstacles; and if there are doors that
them. They should be supported as described above. need to be opened, make sure there is a third
person available to open them.
Placing them in folders, Mylar pockets, Copysafe sleeves
or polyethylene bags provides extra protection—with Don’t use ink or markers near works on paper and
the exception of pastels and chalks, (see below). documents—use pencil only.

Remember, the safest way to carry prints, Paper clips, even plastic ones, can damage fragile
drawings, watercolours and documents over long paper. Avoid them.
distances is in specially designed portfolios or
Solander boxes. Rolled plans and works on paper should not be
secured with rubber bands, because these will
perish over time. Use cotton tape.
If you’re handling more than one paper item,
separate each one with a sheet of tissue paper or
If you are rolling large paper items, roll them onto
good-quality paper—preferably acid-free.
a tube to support them—rather than placing them
inside the tube—this way you avoid damage by
If chalks, pastels, watercolours or pencil are creasing.
abraded or smudged, the damage is permanent.
Never allow rough paper or board to come into For more information
contact with these media. Do not place plastics
such as Mylar, polyethylene or Perspex near chalks For more information about caring for paper,
or pastels as the static attracts the loosely bound please see the chapter on Paper in
pigment. Don’t allow anything to rub them. It is Caring for Cultural Material 1.

6 Handling
 Handling books If you are carrying valuable books, put them in a
sturdy box. Don’t try to carry lots of books at
once. You could hurt yourself, and if you drop the
When removing a book from the shelf don’t pull it books you will damage them.
by the top of the spine, because you can cause a
great deal of damage this way. Pulling a book from The covers of books can be severely disfigured by
a shelf by the top of the spine will eventually abrasion and scratching. This is especially
break the spine at the joint. This can lead to the noticeable with very smooth, calf-leather bindings.
joint splitting along the full length of the spine. Don’t stack valuable or delicate books, or carry them
in such a way that they will rub against each other.
The correct way to take a book from a shelf is to
push the books on either side of it further into the
If books do get damaged, be aware that some
shelf and hold the book firmly with your hand
repairs can cause further damage. For this reason
around the spine and your fingers on one cover
it is recommended that you do not use sticky
and your thumb on the other.
tapes of any kind.
For this reason, it is wise to leave some space
These tapes go through a number of stages when
between your books and the back of the shelf
they deteriorate. Firstly, the adhesive becomes very
when you first set them up on a shelf.
sticky and will be easily absorbed into paper,
bookcloths and leather. In the next stage, the
When you have to handle books, make sure your
adhesive changes chemically and begins to yellow
hands are clean, otherwise you can leave dirty
and eventually turns a dark orange. At this stage,
marks on the bindings and the pages. You can
wear gloves for added protection—cotton gloves the adhesive is almost totally insoluble and,
are often recommended, but they are not always therefore, the stains cannot be removed. Once the
appropriate because they can make it much harder adhesive become insoluble, the tape usually falls
to turn the pages. Close-fitting surgical gloves are away: so the repair has failed and you still have the
a good alternative to cotton gloves. But cotton damage. In addition to the original damage, the
gloves should be worn when handling books with paper is now badly stained as well.
gold leaf decorations on the covers or on the
foredge of the textblock. Paper clips, even plastic ones, can damage and
distort paper. They should not be used for
Books should be opened gently: the spine and the attaching labels or marking your place. Metal paper
sewing can be broken if the book is forced open. clips rust over time and stain paper.
If you’re using a book which cannot open flat,
give it some support so that you don’t strain its For more information
structure. For more information on caring for books,
please see the chapter on Books in
When opening new or newly bound books, don’t Caring for Cultural Materials 1.
open them from the centre. Start from the front
and then the back, and open them gradually,
section by section, until you reach the middle.
This gradually eases them open and flexes the new Handling photographs
structure gently. Opening them at the middle and
forcing them to open flat can break the structure. Because photographs are highly susceptible to
physical damage from improper and frequent handling
It is always best to turn pages slowly and with they should be handled as little as possible.
care. It is very easy to tear the paper if you are
flicking through the pages quickly. When you must handle them, make sure your hands
are clean. You can wear gloves for added
Don’t lick your fingers to turn the pages: the protection—cotton gloves are often recommended,
moisture can set dirt into the paper. You can also but they are not always appropriate because they
transfer dirt and germs from the paper to your can make it much harder to pick up individual
mouth. If the book has been fumigated against photographs. Clean, close-fitting surgical gloves are
insects or mould, you may be putting yourself at risk. a good alternative to cotton gloves.

Handling 7
 Old photographs can be very brittle, particularly if Don’t mend photographs using self-adhesive sticky
they already have tears and creases. So it is tapes of any kind. These tapes go through a
important to support them properly when you number of stages when they deteriorate.
handle them. New photographs also need support,
so that they are not damaged. • Firstly, the adhesive becomes very sticky and
will be absorbed easily into paper and
emulsions.
If you must pick up a photograph to examine it
closely, it is better to place it on a rigid support, • In the next stage, the adhesive changes
like a piece of cardboard, and lift the board. chemically, and begins to yellow and
Holding it in your hand may cause it to curl and eventually turns a dark orange. At this stage
increases the risk of damage. the adhesive is almost totally insoluble and
the stains cannot be removed.
If photographs are carried over any distance, carry
them horizontally and supported on a rigid If you have a damaged photograph, place it in a
support, like a piece of cardboard. Place a board protective sleeve or wrapper to prevent further
over the top of the photograph to prevent it being damage until you can get advice from a conservator.
picked up by the breeze.
For more information
Even if photographs are mounted on cardboard For more information on caring for photographs,
already, don’t tuck them under your arm to carry please see the chapter on Photographs in
them. They should be supported as described above.
Caring for Cultural Materials 1.
Many old photographs were mounted on board which
becomes very brittle over time. If these boards break,
the photographs attached will break as well. Placing
them in folders, Mylar pockets, Copysafe sleeves or
Handling stretched
polyethylene bags provides extra protection. paintings and framed works
Photographic emulsions are easily scratched
To properly support and protect your paintings, it
and need to be protected when you are handling
is better to never carry more than one painting at
more than one photograph at a time. You can
a time.
protect them by separating them or interleaving
them—ideally with archival materials such as
Before moving any painting, make sure that there is
photographic storage paper, Mylar or acid-free
no flaking paint and that the work is secure in its
glassine. For short-term interleaving, silicon
frame. If there is flaking paint on the painting, leave
release paper or other papers with a very smooth
it face-up while making sure that there are no loose
surface can be used.
pieces on the frame, and consult a conservator.

CAUTION
Papers which are very opaque, white and with a
very smooth almost shiny surface are not suitable
for interleaving. These papers are called ‘coated
papers’ and have a finely ground mineral coating.
When they are wet they become very sticky.

Photographs which are used frequently should be

photographically copied. The copy prints can be used
as the working records, instead of the originals.

Paper clips, even plastic ones, damage and distort Paintings can range in size from quite small to
photographs. They should not be used for attaching extremely large. Whether large or small, paintings need
labels, even temporary ones, to photographs. If to be given adequate support when they are being
handled and moved.
you need to place a temporary label with a
photograph, write it in pencil on a piece of paper Photograph courtesy of Artlab Australia, reproduced
large enough to fold around the whole photograph. with permission of the Art Gallery of South Australia

8 Handling
If you have to move it yourself, carry it flat and A large painting must be moved by two people,
face-up, so that you don’t lose any paint while you regardless of the weight involved. Never attempt
are moving. Don’t touch the canvas or the paint to move a large painting alone.
surface directly.
If you are moving paintings on a trolley, it is wise
If your canvas painting does not have a backboard, to have two people to accompany the loaded
check that the stretcher wedges are secured: they trolley. With two people, one can hold the paintings
can do a lot of damage if they fall between the in place, while the other can open doors. Accidents
canvas and the stretcher. are more likely if one person tries to do everything.

It is advisable to wear white, cotton gloves while Trolleys should be padded to prevent damage to
handling paintings and frames, particularly when frames.
handling gilded frames. Perspiration and skin oils
can leave permanent marks on gilt surfaces. If any damage does occur during the move, carefully
collect and save any pieces, no matter how small—
Always hold paintings at points where the frame is even tiny paint flakes—and document the damage.
strong. Ornate frames are especially vulnerable to
damage. Never grip them by any of the ornate
Glazed artworks should be carried with care. Acrylic
areas of the frame, because they may not be very
glazing such as Perspex is easily scratched, and
strong and could break.
glass can break if dropped or knocked.
Never carry a painting by the top of its frame or
stretcher—carry it with one hand underneath and If you are transporting paintings which are glazed
one hand at the side, or if small, one hand on with glass, tape the glass with masking tape. This
each side. will hold the pieces of glass together if it breaks,
reducing the risk of damage to the work.
If the work is unframed, it is better to move it
using handling straps or a travelling frame. Both of Make sure that you put tape on the glass only. If
these allow you to carry paintings without it gets onto the frame it can damage paint or
touching the paint surface. If neither of these are finishes when it is removed.
available, then carry unframed, stretched paintings
on the outer edges without touching either the For small frames, one strip of tape vertically in the
front or back of the canvas. Never allow fingers to centre of the glass, one horizontal strip and one
touch the paint surface. strip on each diagonal will be sufficient. Larger
frames will need more.
For more information
If you fold the tape back on itself at one end of
For more information about handling straps,
each strip, it will be easier to remove. Remove the
please see the chapter on Paintings in tape as soon as possible after the move. Pull the
Caring for Cultural Material 1. tape off at a very low angle and pull gently.

Don’t put your fingers around the stretcher bars, or There is no need to tape Perspex or Plexiglas, and
between the stretcher and the canvas because you the tape can be difficult to remove—so don’t tape
could cause the paint to crack and flake in that area. these glazing materials.

Remember to carry wrapped paintings with extra

care, because you cannot see what you are
touching. Handling unstretched paintings
Before putting a painting down on the floor, ensure Unstretched paintings can be difficult to handle. If
that there are padded, wooden blocks or foam blocks they are allowed to flop or move too much, the
in place. These blocks provide a softer surface than paint can begin to come away from the surface of
the floor, and keep paintings off the ground. the canvas. It is very important that unstretched
paintings are well supported.
When you put the painting down, don’t set it down
on one corner—always set it down along one If the paintings are small enough to be moved
complete edge. flat, put a rigid support under them so that they

Handling 9
 can be handled easily without flopping and Handling
distorting. A sheet of Foam-Cor or a strong mount
board would be suitable. electronic media
Larger unstretched paintings may need to be rolled Audio-recordings, video-recordings, floppy disks
to be carried. and CD-ROMs need to be handled carefully to avoid
physical damage and contamination.
The roller should be as large in diameter as
possible, preferably at least 200mm. The larger the Even when your hands appear clean, traces of
painting, the larger the diameter of the roller sweat and oil are present. If these are deposited
should be. on a recording they can attract dust or promote
mould growth. To keep electronic media in
Rollers can be specially made of light-weight the best working condition, it is recommended
materials, such as: that you:

• Ribloc—ask the manufacturer to make the • handle magnetic and digital media carefully,
roller with the ribs on the inside, if possible; avoiding skin-contact with magnetic or
optical surfaces. Handle only the cassette
• PVC pipe, a 300mm diameter pipe is a good of audio and video recordings, and only the
size for most works. edges of floppy disks and CD-ROMs;

Rollers should be covered with a layer of padding, • prohibit eating, drinking and smoking in all
either polyethylene foam, such as Plastazote, or areas where magnetic and/or digital media
Dacron wadding covered with clean, white, cotton are used or stored;
fabric, to compensate for any irregularities in the
painting’s thickness. • carry reel-to-reel tapes by the hub or centre;

• don’t carry your video camera or video tapes

It is very important that paintings are rolled the in a bag with liquids or food that could
right way, painted-side out, and that they are damage the video materials;
properly interleaved and the roller properly
padded. If the paint layer is on the inside when • secure digital media in storage boxes so that
the painting is rolled, the paint will become they cannot flex; and
compressed and will develop creases that will
remain in the painting after it has been unrolled. • put digital media away as soon as it has been
used.
It is best to roll the painting with an interleaving
If the materials are being used outside the
layer of Tyvek to prevent any transfer of pigment.
museum, gallery or library, give users the above
The Tyvek should be larger in length and width
instructions.
than the painting.
For more information
When rolled, the painting should be tied firmly,
but not tightly, with cotton tape in several places For more information on caring for
along the roll. electronic media, please see the chapter on
Electronic Information and Media in
If more than one painting is to be rolled on a Caring for Cultural Material 1.
roller, the paintings should be laid out flat and
interleaved with Protecta Foam, as for flat storage.
Once this is done, the paintings should be rolled
onto the roller all at the same time. Remember, all
the paintings should be painted-side out.

For more information

For more information about caring for paintings,
please refer see the chapter on Paintings in
Caring for Cultural Material 1.

10 Handling
 Handling textiles When handling accessories:

• generally accessories should be transported

The most important rule for handling textiles is: do on boards or in boxes. However, there are
not handle textiles unless you must. Always keep exceptions to this rule. Use your
handling to a minimum. commonsense to decide the most appropriate
way to handle them; and
Whenever possible wear clean, cotton gloves when
• remember, accessories should always be evenly
handling textiles. Sometimes this is not practical,
supported. For example, don’t pick up a bag
so make sure your hands are clean. Always wash by its handle: use two hands to support it.
them before handling a textile. This will prevent
the transfer of body-oil and dirt to the textiles.
For more information
Keeping your hands clean is particularly important For more information about caring for textiles
with textiles incorporating metal thread, because the and costumes, please see the chapter on Textiles
metal will tarnish in reaction to acids from the skin. in Caring for Cultural Material 2.

It is important to remove jewellery such as rings,

bracelets and necklaces when handling textiles.
They might catch on the textiles and pull threads Handling ethnographic
or tear the textiles.
or composite objects
When you do handle textiles, they should always
be properly supported. Textiles that appear strong Handle ethnographic material as little as possible.
may, in fact, have areas of weakness which are not
immediately visible. As a rule, all historic textiles If the object is made up of different materials,
should be regarded as fragile. examine it carefully to find the strongest, most
stable part, so that you can handle it there.
When handling flat textiles:
Do NOT wear cotton gloves for objects with flaking
• never pick them up by one corner. Always or powdery pigment surfaces, for example,
support the weight of the textile evenly; Aboriginal bark paintings. The cotton gloves can
pick up the pigment. If you must touch pigmented
• small textiles should be carried either on a areas, wear disposable surgical gloves.
tray, in a box or on a board;
Remember that feathers are fragile and, if
• larger textiles should be rolled, and carried on possible, should not be handled. If you must pick
the roller. Hold onto the part of the roller up single feathers, handle them at the rachis, that
extending beyond the textile; and is, the vein portion.
• never try to move a textile by yourself, if the
size and weight of the textile indicate that For more information
you need two people. Carrying large textiles For more information on caring for ethnographic
incorrectly can damage them, and the person materials, please see the chapter on
carrying them could be injured.
Aboriginal and Torres Strait Islander Heritage
When handling costumes, remember: Cultural Material in Caring for Cultural Material 2.

• costumes should never be picked up by the

shoulders;
Handling metal objects
• always slide your arms under the costume and
then lift;
The most important point to remember when
• ideally costumes should be moved in boxes or you are handling metal items—from silverware to
on a board; and iron tools—is to wear clean, cotton gloves.
This is essential, because perspiration from hands
• don’t carry items on a hanger without using contains chlorides and other salts which corrode
your arms for additional support. metal objects.

Handling 11
 Always weigh a metal object before trying to lift For more information
it. You may need two people or the use of a trolley
For more information about caring for outdoor
for the move. It is better to find this out before
you lift the object. Problems arise when you lift an sculpture, please see the chapter on Outdoor
object that is too heavy or too awkward to carry. Collections in Caring for Cultural Material 2.

Never lift or carry objects by the handles, rims or

any projecting part. Often handles and rims are Handling furniture
damaged and can be weak or partially detached.
Although handles may have been originally
designed for carrying, no museum object should be Carefully examine each piece of furniture before
carried by its handles. moving it. The feet and bases of cabinets, legs of
tables, and legs and arms of chairs generally
Be careful of sharp corners and edges—they could cannot withstand strain.
damage other objects or hurt you.
Only move one piece of furniture at a time,
Secure and support any moving parts on an otherwise you put yourself and the item at risk.
object before you attempt to move it. This way, Never slide furniture along the floor—all furniture
you minimise the risk of damage to the object must be carried.
and to other objects; and reduce the risk of
injuring yourself. Never lift a piece of furniture by any projecting part.
The decorative parts of furniture were not intended
For more information to bear the entire weight of the whole piece.
For more information about caring for metal Never lift a chair by the arms or the back. Chairs
objects, please see the chapter on should always be lifted by the seat rails.
Metals in Caring for Cultural Material 2.
Don’t lift a table by its top. Tables should be lifted
by their legs if at all possible: this supports the
Handling outdoor top from below and avoids straining the joints.

sculpture and machinery Never turn a piece of furniture with its top side
down, because only the legs or base were designed
Always devise an action plan before moving large to carry its weight.
outdoor objects; the plan should outline the steps
of the move, the equipment needed and the Tie unlocked drawers and doors in place with
number of people required. cotton tape, so they cannot open during the move.
Don’t use ropes as they can scratch the furniture.
When planning a move, it is important to consider
the size, weight and shape of the object, and to Don’t touch the upholstered parts of the furniture
make sure that the object can be moved without because the acids and sweat on your hands may
damage and without injury to people. stain and degrade fragile or aged fabrics and
leathers. Wear gloves if you must handle
If it is a valuable or significant object, you may upholstery.
need to get advice from a conservator on how best
to move the item. This is particularly important Always cover upholstered areas with clean cloth,
with items of sculpture that may have parts which Tyvek, tissue or polyethylene sheet before moving
cannot bear the weight of the whole. or storing.

Check the load-bearing capacities of all the Don’t wrap lacquered furniture with plastic.
equipment to be used, and the floor loadings if Moisture can build up underneath plastic and this
relevant, and make sure equipment is in good can cause the lacquer to develop white blanching.
working order. Tyvek can be used because it breathes.

12 Handling
Remove marble tops and protective glass from piece within the box with a safe packing material.
tables and cabinets before moving them. These are This prevents abrasions, chipping and breakage.
usually not fixed securely, and can fall off during
the move. Move them separately because they are Never allow a piece to project beyond the edges of
heavy and need support. a carrying-box, trolley or storage area.

Don’t expose furniture to draughts and direct CAUTION:

sunlight—even for short periods of time. There can be hazards involved with handling
objects. Some natural history and mineral
Remember to be especially careful of decorative
specimens can be toxic. You must be very
and ornamental areas when handling and padding
them. These areas are particularly susceptible to careful when handling mouldy items also.
damage from applied pressure or impact. Please see the Health and Safety chapter in
Managing People for information on avoiding
Before moving a piece of furniture, take off any injury when you are lifting objects.
turned finials or other removable parts. Turned
finials are usually fitted loose, and will fall off For more information
easily. If they fall, they could be damaged or could For more information on references about
damage another part of the object.
handling cultural material, please see the
Two people should always accompany furniture chapter on Transportation in this volume.
loaded on a trolley. One person can steady the
items, while the other can open doors and press
elevator buttons. If you try to do everything by If you have questions about handling objects,
yourself you might have problems. contact a conservator. They can offer advice and
practical solutions.

Handling ceramics,
Self-evaluation quiz
glass and enamelware
Never lift or carry fragile glass, ceramic or other Question 1.
objects by the handles, rims or any projecting part.
When handling objects, you should:
Although handles were designed originally for
carrying, they have often been repaired or a) give them adequate support;
restored, so no museum object should be carried
by its handles. b) protect them against the oils, acids and salts in
your skin;
Wear gloves if you’re handling objects with glazed, c) think about what you are doing and plan ahead;
polished or highly finished surfaces. Cotton gloves
are often recommended, but they are not always d) use commonsense and take steps to reduce the
appropriate because they can make it harder to hold risks of accidents;
onto slippery glass surfaces. Clean, close-fitting
surgical gloves are a good alternative to cotton e) all of the above.
gloves.
Question 2.
Carry small objects with two hands. One hand
should support the bottom of the object, and the
other hand should be placed at the side or the top Which of the following statements are true?
to steady the object. Never carry more than one a) Accidents are more likely to happen when you
object at a time. are hurrying.

Always move light, fragile objects in a carrying box. b) You should keep one hand free when carrying
Plastic cube crates are ideal for this. Separate each objects, so that you can open doors.

Handling 13
 c) Placing your fingers between the stretcher and
the canvas cannot damage the painting.
Answers to
d) A large painting should be moved by at least
self-evaluation quiz
two people.

Question 1.
Question 3.
Answer: e).
Paper:
Question 2.
a) is vulnerable to damage and so it needs to be
supported when it is being carried; Answer: a) and d). b) and c) are false. You cannot
safely and properly support an object with
b) is best carried by one corner and allowed to only one hand. If you place your fingers
move with the breeze; between the stretchers and the canvas you
could crack the paint.
c) is best repaired with sticky tape;

d) can be handled in Mylar or Copysafe sleeves for Question 3.

added protection.
Answer: a) and d).

Question 4. Question 4.

Which of the following statements are false? Answer: e).

a) The covers of books can be damaged by Question 5.

abrasion and scratching.
Answer: a), b) and c). Cotton gloves should not be
b) It is always best to turn pages slowly and worn when handling flaking and powdery
with care. pigment surfaces on ethnographic
material.
c) Books should be opened gently.

d) Sticky tape should not be used to repair books.

e) None of the above.

Question 5.

Cotton gloves can be worn when:

a) handling photographs, as they protect the

photographs from the dirt, oils and acids which
are on your hands;

b) handling textiles, particularly those with metals

threads;

c) handling metals objects because they are

particularly susceptible to corrosion caused by
chlorides—chlorides can be transferred from our
skin to the metal surface;

d) handling flaking and powdery pigment surfaces

on ethnographic material.

14 Handling
Transportation

Objectives page 17
Introduction page 17
Transporting objects page 17
Preparing objects for travel page 17
Transportation methods page 18
Crates page 21
Travel frames page 24
Rollers page 24
Packing instructions page 25
Labelling page 25
Soft-packing framed items page 25
For further reading page 26
Self-evaluation quiz page 26
Answers to self-evaluation quiz page 27
 Objectives Transporting objects
At the end of this chapter you should: If you are going to transport objects, it is
important to provide:
• be aware of how vulnerable objects are when
they are being transported; • full support for each object;

• have an appreciation for providing support for • protection from vibration and impact;
objects when they are travelling;
• protection from environmental and climatic
• have a basic knowledge of suitable materials extremes; and
to be used for packing objects for travel;
• protection from light and UV radiation.
• understand the need to protect objects from
fluctuations in environmental conditions when There are ways of protecting objects, whichever
moving them from one climatic zone to way you’re transporting them—whether by truck
another; and and forklift, plane, or in your car.
• have some knowledge of the advantages and
disadvantages of different transport methods.
Preparing
Introduction objects for travel
Before an object travels, it is important to
The chapter on handling objects explained how determine whether it is fit to withstand the rigours
objects are most vulnerable to damage when being
of the journey. Access to collections is a high
moved—even over short distances.
priority and it is sometimes difficult to turn down
requests for loans. But if an object is too fragile to
The risk of damage increases when objects are
travel, it should not go. Remember, if it is
moved over long distances. Objects moved interstate
irreparably damaged, no-one will have access to it.
or overseas are susceptible to damage from:

• vibration; Once you have decided that the object can travel,
make sure you know:
• fluctuations and extremes of relative humidity
and temperature; • where it is going and when;

• repeated handling; • who will take responsibility for it while it is

there;
• vibration and impact during loading and
unloading from trucks and planes; • what the environmental conditions are like at
the destination/s: if your object is fragile and
• light and UV radiation; and likely to be damaged by adverse conditions,
specify that the borrower meets your
• pollutants. requirements;

When moving objects over long distances, it is • how it is travelling, which may affect the way
important to provide adequate support for them you pack it and the size of the crates or
and to take steps to minimise the risk of damage. packages;

This chapter outlines the steps that can be taken • whether insurance has been arranged; and
to protect objects which are being transported.
• who is paying for packing, transport and
For more information replacement if necessary.
For more information about adverse
Loan agreements are often drawn up between
environmental effects, please see lenders and borrowers, to cover these and other
Damage and Decay. issues.

Transportation 17
 For more information The choice between the various methods will be
determined to a large degree by:
For an example of a loan policy, please see
the chapters Purpose and Policies and • the number of items travelling;
Aquisitions and Significance
• their weight;
in Managing Collections.
• how they are travelling;
When you are happy with arrangements and the
object is being prepared for travel, it is strongly • their uniformity of shape and size;
recommended that you document its condition
before it leaves your care. No-one anticipates • your preferences for the protection of items
a confrontation over responsibility for damage, from your collection.
but it does occur and it is important to have
accurate records of the object’s existing condition,
including damages and repairs, before the item
leaves. Transportation methods
If the item is going to a number of venues, it is There are four possible options for transport—air,
wise to have condition reporting documents that road, rail and sea.
travel with it, and which are filled out on arrival
and departure from each venue. Air, rail and sea will involve some road transport
as well, because the crates will have to travel to
For more information and from the airport, railway station or sea port.
For more information about documenting the
condition of objects, please see the chapter In Australia, sea transport is rarely a possibility
and is certainly not recommended for valued
Collection Surveys and Condition Reporting works; it is very slow and it is difficult to protect
in Managing Collections. works from climatic fluctuations and from salt.

When objects must travel, it is important to Rail transport is not recommended either. It is
protect them from, among other things: difficult to supervise and generally involves items
travelling for longer periods and over longer
• fluctuations and extremes of temperature and distances than road journeys between the same
relative humidity; towns.
• vibration and shock;
The other two options, air and road, have
• impact; advantages and disadvantages that are important
to assess when arranging transport for your
• getting wet; collection.

• theft; and If you are arranging to send objects overseas, it is

also important to develop a good working
• getting lost. relationship with a reputable international
freighting agent, preferably one with experience in
For more information shipping museum objects and artworks.
For more information about adverse environmental
Transporting your collection successfully requires
effects, please see the chapter on Humidity
effective communication between all parties.
and Temperature in Damage and Decay. Always document all discussions—personal and
telephone. Also make sure that you confirm with
There are a number of ways of protecting objects the company what was discussed, and any agreed
for travel and they will be outlined in the procedures and outcomes.
following sections.

18 Transportation
 Air transport International shipments

For items which have to travel interstate, air If international shipments were easy and safe,
transport is a viable option. The speed of air there would be no need for couriers. If you are the
transport makes it very convenient—a crate can be courier, you’re there to deal with the things that
loaded on an aircraft in Perth and unloaded in go wrong, so don’t be surprised when they do.
Sydney on the same day. This greatly reduces many
risks—including security, vibration and changes in The one overriding thought to keep in mind if you
humidity and temperature—provided safe handling are involved in arranging this sort of transport is
can be ensured. that something will go wrong: so expect it and
plan for it.
The speed and convenience of air transport are
greatest between major cities. Air transport Good freighting agents invariably have good
between regional areas is not so easy, especially if relationships with airport staff and may be able to
the area is serviced only by small aircraft. achieve results that you can’t.
If you are considering air transport, please note
Make sure that the freighting agent understands
the following points.
your requirements and that you know the full
details of how the shipment will be handled and
It is important that valuable objects travel in
cleared through Customs.
pressurised compartments. This always happens on
domestic passenger flights and on freight flights.
Make sure your freighting agent knows when there
Insist that the crate travels the right way up in are public holidays in the countries through which
the aircraft. This can be difficult to ensure unless your shipment is travelling.
you actually supervise the loading of the aircraft.
Crates for paintings should always travel in the Road transport
direction of flight to minimise vibration. If crates
are loaded so that the canvasses are perpendicular
to the direction of flight, the canvasses are likely Road transport is the most common form of
to flex considerably during take-off and landing. transport used in Australia.

Supervising the loading of valuable cargo is not The options available include:
difficult to arrange at Australian airports,
especially if the cargo is to be accompanied by a • packing up your objects and putting them in
courier; but it can be very time-consuming. Most your car;
cargo is loaded about 5 hours before flight
departure. • placing a parcel with the local express courier
service; and
Air transport involves many levels of handling. The • arranging for a dedicated air-ride truck to
crate has to be trucked to the air cargo depot, then carry your freight door-to-door.
loaded onto a pallet or container, then loaded into
the aircraft. This is then repeated in reverse at the Remember that double-handling will occur if you
destination. So much handling provides many use a regular transport service. The items will be
opportunities for accidents, especially if the crate
collected by the freight company, then taken back
is so large that it requires a forklift.
to their depot and placed in a larger vehicle with
other freight. This will happen even with specialised
It is difficult to control where the crate is stored
art shipment companies, unless you make special
between connecting flights; so there is always the
possibility that your valued objects will be left on arrangements for a dedicated vehicle. Additional
the tarmac in the rain or the blazing sunshine for unsupervised handling involves additional risks.
several hours.
A dedicated vehicle is the best option for large
Airline schedules are always changing, especially shipments, but this can be very expensive. A
in the allocation of aircraft. You will need to keep dedicated vehicle will carry only your freight and
up-to-date with the schedule changes if your crate should travel directly from pick-up to set-down,
will fit on only one type of aircraft. with no depot handling.

Transportation 19
 Most interstate road transport vehicles stop during Some freight companies, especially those that
the trip for rest breaks. If your shipment is handle artworks or computers regularly, have air-
particularly valuable, make sure that there is ride vehicles. These trucks have special suspension
adequate security during these breaks. Some systems which greatly reduce vibration. Some
freight companies have arrangements with country researchers suggest that transport in a dedicated
police stations for secure lock-up overnight. air-ride truck is safer than air transport. For large
touring exhibitions this is certainly true.

Valuable objects are sometimes transported locally

uncrated and unpacked or soft-packed.

This is recommended only when an experienced,

reputable, art-handling company is used, and only
for short journeys where there is no additional
handling or changing of vehicles.

When travelling like this, the objects should be

sitting on vibration-absorbing padding, and firmly
tied with padded straps to one wall of the truck.

The objects should be packaged so that nothing can

Photograph courtesy of Artlab Australia touch them directly. For the safety of your objects
and your driver, don’t travel with unsecured items,
such as trolleys, blankets or parcels, in the truck.
There are many different types of trucks in use for
freight handling. Make sure that the truck being Sometimes it is possible to arrange last pick-up,
used is covered, even for local trips. If there is a first set-down transport with a company. Accurate
gust of wind, a sudden shower or you drive past a crate dimensions have to be given to the freight
garden sprinkler, your objects could be badly company. They load their semi-trailer for the trip,
damaged if they are on a flat-bed truck or in a ute. then collect your crate last, before setting out.

If the objects or the packing are large or heavy, a This avoids the depot handling phase, but can be
truck with a platform lift—sometimes called a tail hard to organise and, even if agreed to, may not
gate or tail lift—will be necessary. Alternatively, you always happen.
will need to arrange for a forklift and a qualified
driver to be available at both ends of the journey.
Small objects travelling in your car

Even if you are transporting small items over small

distances in your car, it is important to protect
them. You need to provide:

• adequate support;

• protection against vibration and impact; and

• protection against climatic extremes and

Photograph courtesy fluctuations.
of Artlab Australia
Pack the items well. When you place the packaged
items in your car, make sure they cannot move
around.

Three-dimensional objects, including framed works,

should be wrapped with protective packaging
material such as Cellaire foam padding.

20 Transportation
Unmounted, small- to medium-sized paper items unopened at the destination for a full 24
should be sandwiched between acid-free boards hours. This allows the local climate within the
and then wrapped. crate to gradually adjust to outside
conditions.
If packing more than one piece of paper,
• This should also be done on the return
interleave each one with acid-free paper or tissue.
journey.
If the items are different sizes, interleave them
with acid-free board cut larger than the largest • If the objects are travelling from one extreme
item. Large, flat items can be rolled. to the another, for example from a tropical
to an arid climate, it may be advisable to
Small, three-dimensional objects, once wrapped, allow more than 24 hours for conditioning
can be placed in a box. at each end.

Packing material should be placed around the

objects so they don’t move around. The packaging
materials will absorb some vibration.
Crates
Small, flat items and rolls can be placed on the The safest way to transport an object is in a
seat; but they should be held in place or secured properly built and suitably padded crate.
in some way, so that they can’t move around or
fall off the seat. There are many different crate designs and
numerous competent crate builders. It is generally
Ensure that there are no other things in the car more cost-effective to use an established crate
which can move around and damage your objects. builder than to build your own crates.

Don’t carry valuable items on flat-bed trucks or in

the back of utes.

For more information

For more information on rolling flat items,
please see the notes under the heading
Rollers in this chapter.

When transporting items to and from

different climatic zones:

Packing crates for a travelling exhibition.

Photograph courtesy of Artlab Australia

When designing a crate, it is important to remember

that it has to travel. It is very easy to get carried
away designing a crate to fit, for example, all
fifteen paintings in an exhibition, and finish up
with a huge box which does not fit through any
• Provide them with adequate protection to doors and cannot be lifted except by crane.
buffer them against the climatic change.
Remember to take into account the size of the
• It is important that they are not forced to doors at your museum, gallery or library and at the
adjust to a different climate quickly. destinations: you don’t want to have your precious
objects being loaded and unloaded on the
• On arrival at their destination they should be footpath or in the car park because they are too
allowed to gradually condition to their new large to get inside.
environment. The crates should remain

Transportation 21
 Do take into account the floor loading capacity white-painted crate consider it to be more fragile
of the building if you need to use a forklift and so handle it more carefully than other crates.
or scaffold.
Crates usually open at the top if they are small, or
When calculating the capacity of the crates, at one side or end if they are large. The lid can be
remember it is always easier to find two people fixed with either screws or bolts set in threads.
to lift a crate than three. Think about the final
weight of the crate. Building a crate which is just Threaded bolts are better than screws, because
a little too heavy for two people to carry safely they can be opened and closed many times
will place the people and the objects at risk. without compromising the security of the fixing.
Once screws have been removed and replaced
If you need to air-freight the crate, there will be several times, they become loose and can work
additional limitations on the crate’s size— free during transport.
sometimes these are surprisingly restrictive.
Don’t use nails to fix the lid—the objects in the
What makes a crate? crate will suffer the vibration of hammering when
the lid is being fitted.
Most crates consist of: The interior of the crate will vary depending on
• an outside shell of timber forming a box; the nature of the items to be transported, but
must always contain foam padding to absorb
• a waterproof lining, which can be plastic vibration. The padding is put in strategic positions
sheeting, tar-paper or a waterproof to ensure that maximum vibration absorption is
insulation layer such as sisalation: the better achieved. The best padding consists of foam blocks
the insulating properties of the crate, the made of layers of foam with different densities, so
better it is for the objects being that different levels of vibration are absorbed.
transported; and

• a lid which is well sealed—this seal is usually

a foam or rubber gasket;

Small, three-dimensional objects packed ready for

travel. The items have been placed in drawers in the
crate. The objects are well padded for protection.
The interior of this crate has been designed to take a
Photograph courtesy of Artlab Australia
range of objects.
Photograph courtesy of Artlab Australia
Good-quality, dense foam forms the base of the
block, with softer, more compressible foams on
Painting the exterior of a crate is important
top. Using only low-density, soft foam will result
because it provides an additional waterproofing
in small vibrations being absorbed, but not sudden
layer. Also, if you paint it white, it will reflect
shocks such as when a crate is dropped.
light and keep the interior cooler. White has a
curious psychological effect—people handling a

22 Transportation
Foams such as Plastazote and Evazote polyethylene
foams are good foams to use; they have good
densities and are relatively inert materials which
won’t deteriorate or give off harmful gases. They
are relatively expensive to buy by the sheet; but
remember that you don’t need to pad the whole
surface of your crate, only the strategic points.

A travel frame
slides into the
slots in the crate.
This allows the A bark painting being packed in its compartment in
paintings to travel preparation for travel.
vertically. Note
that the travel Photograph courtesy of Artlab Australia, reproduced
frame is clearly with permission of the South Australian Museum
labelled.
Photograph courtesy
of Artlab Australia When you are ready to pack

It is critical that crates are packed indoors if at

all possible, so that the objects are exposed to
minimal changes in temperature and humidity.

Crates must be labelled, either with stickers or

painted symbols on the crate, to indicate which
way up they are to travel. ‘Rain’ and ‘sun’
protection symbols and ‘fragile’ signs should
also be applied. There are standard international
symbols for these things: arrows, umbrella,
broken glass.

Sophisticated monitoring of artworks in transit is

possible. There are numerous digital recording
devices available which can be placed in the crate
to record temperature and humidity changes or
Small, three-dimensional items are placed carefully in vibration extremes.
the positions prepared for them in the foam padding.
Photograph courtesy of Artlab Australia Simple stick-on devices called ‘Shockwatch’ can
also be used to record whether a shock above a
certain level has been sustained by the crate.
It is important that paintings and framed works Sometimes simply labelling a crate stating that a
on paper travel vertically. Crates for these types of Shockwatch indicator is enclosed is enough to
objects are generally designed to take several encourage more careful handling.
works in slots made to fit the individual works.
The slots keep the works separate and minimise
movement.

Packing three-dimensional objects is a much more

complex procedure. Each object must be assessed
carefully to determine the appropriate crating
system and the type and amount of padding and
support that will be required.

Transportation 23
 Travel frames An unframed painting can also be stored in its
travel frame until it actually goes on the wall,
preventing damage from handling fragile edges.
Paintings which are unframed or have frames with
delicate gilded surfaces or ornate mouldings should Basically, the rule for travel frames is that you use
always travel in travel frames. This may seem like them whenever you don’t want any part of the
an unnecessary expense, but in the long run it painting or frame to touch the crate.
provides many savings.
When paintings are fitted in travel frames, special
It is much easier to crate several works in the fittings are used. These are either Ozclips or ‘doovers’,
same crate if they are in travel frames of similar both Australian inventions. Ozclips can also be used
size. The travel frame can be much larger than the to hang the painting on the wall in the exhibition.
painting, or you can put several small paintings on
one large travel frame. Paintings fitted in travel frames should rest on
layered foam blocks, so that additional vibration
absorption is provided. When the painting is fitted
into the crate, the blocks of foam should be
slightly compressed.

Rollers
Very large, unstretched paintings, textiles and
large maps or works of art on paper should be
transported rolled. Some unmounted works on
paper are also transported rolled.

It is very important that paintings are rolled the

A number of small paintings were transported together
on a large travel frame. right way, painted side out, and that they are
properly interleaved and the roller properly
Photograph courtesy of Artlab Australia, reproduced with padded. If the paint layer is rolled inside, the
permission of the Flinders University Art Museum
paint compresses and develops creases which
remain in the painting after it is unrolled.
Travel frames make it much easier to pad the crate,
and greatly reduce the risk of damage to fragile or The roller should be as large in diameter as
gilded surfaces. possible, because you want the item to uncurl
easily when it arrives at its destination. A very
large Aboriginal acrylic painting which travelled to
the USA in the South Australian Museum’s
Dreamings exhibition was rolled on a roller more
than one metre in diameter. This size roller is not
always possible or practical; but a good rule is to
make the roller as large as will fit in a crate of
reasonable size.

Rollers can be specially made of light-weight

materials, such as Ribloc, or you can buy PVC pipe. A
300mm diameter pipe is a good size for most works.

If you are using a cardboard tube as the roller, pad it

out to as large a diameter as possible.
Unframed paintings can be handled easily once they
are attached to travel frames.
Rollers should be covered with a layer of padding,
Photograph courtesy of Artlab Australia, reproduced with
permission of the South Australian Museum
either polyethylene foam such as Plastazote or
Cellair, or Dacron wadding covered with clean,

24 Transportation
white, cotton fabric, to compensate for any It is important to label individual parcels and
irregularities in the painting’s thickness. packages within crates as well. If many items are
arriving at the destination at the same time,
It is best to roll the object with an interleaving proper labelling makes it much easier to keep track
layer of Tyvek for added protection, especially if of individual objects.
there is more than one item on the roller.
Use strong, sturdy labels that are securely fixed.
To transport works on paper using a cardboard Post-It notes are not good enough—they will
tube, roll the paper around the outside of the fall off.
tube. DO NOT roll the paper and place it inside the
tube. It is extremely difficult to remove from the
tube and the edges of the paper often get
damaged in the attempt.
Soft-packing framed items
Before rolling the paper around the tube, cover the Framed items can be shipped with a reasonable
cardboard tube with acid-free paper. Another layer of degree of safety if they are packed well.
acid-free paper should be rolled onto the tube with
the work. Several protective layers of paper, padding It is important to include a solid barrier on each
and Tyvek should be added to the outside of the roll. side of the work, to provide some protection
against impact. Various materials can be used,
When rolled, the object should be tied firmly, but including cardboard, Foam-cor, Gator Foam,
not tightly, with cotton tape in several places Masonite, Artcor and Perspex, depending on the
along the roll. level of protection desired. These materials should
not be in direct contact with the work, because
some of them are acidic and/or could stain the
work. They have been selected for their resistance
Packing instructions to impact, not for their archival qualities.

It is always important to include unpacking and Before shipping a framed work, exchange the glass
repacking instructions and an inventory in each for Perspex or Plexiglas—except for chalks and
crate. If possible, these documents should also be pastels because the static electricity generated by
posted or faxed to the receiver before the crate plastics such as Perspex and Plexiglas attracts the
leaves your museum, gallery or library. loosely bound pigment. Glass can break and damage
the item in the frame. If this is not possible, tape
Even if the packing and unpacking seems obvious the glass with masking tape, so that if it breaks it
to you, it is still worth spending the time writing does not fall into the work and cause damage.
instructions and a contents list. The person
opening the crate at the other end may never have The tape should be on the glass only. For small
seen a crate like yours. frames, one strip of tape vertically in the centre of
the glass, one horizontal strip and one strip on
each diagonal will be sufficient. Larger frames will
need more.
Labelling
Remove the screw-eyes and hanging wire from the
Labelling is critical whichever transport system is back of the frame, because they can damage other
selected. No matter how many forms have been items and prevent the packing materials from
filled out, make sure that there are labels firmly being in contact with the frame.
fixed to at least two sides of each crate, stating
the originating and destination addresses, as well Cut two panels of solid, barrier material equal to
as contact names and telephone numbers. the outside dimensions of the frame. Using a soft-
packing material such as Cellair, pad the area
Appropriate labels should be attached to indicate, above the glass or Perspex until it is flush with the
for example, that items are fragile and that they top of the frame.
need to be kept upright. If you don’t provide these
labels, the people handling the objects and crates
will not know that they have to be careful.

Transportation 25
 Wrap the frame in brown paper to protect it from Self-evaluation quiz
abrasion. Place the frame between the two solid
panels.
Question 1.
Wrap Cellair around the frame and panels, and seal
the ends with masking tape. Cellair is a suitable
packing material—it absorbs shock and provides a Which of the following statements are true?
waterproof barrier. It should not be used for long- a) Sea transport is not a favoured option because
term storage as it can seal in moisture. it is slow and exposes objects to climatic
fluctuations and salts.
Wrap the whole package in brown paper and tape
the ends. Finally, seal the package securely with b) Air transport is quick and convenient for
masking tape and apply labels. everyone in Australia.

c) It is wise to check to see if aircraft schedules or

To protect ornate, fancy-cornered or fragile frames,
the allocation of aircraft have changed if your
place sponges or other soft packing materials on crate of objects will only fit one type of
solid areas of the frame. The top solid panel will aircraft.
rest on the sponges, rather than on the fragile or
ornate part of the frame. d) Valuable objects should travel in a pressurised
compartment.
CAUTION:
If you are using bubble wrap to pack your items, Question 2.
put the bubbles on the outside. Bubble wrap can
transfer a pattern to paint layers and gilding. When transporting objects by road:

a) put them in the back of the ute;

If you have questions about transporting b) provide them with support and protection from
objects, contact a conservator. They can offer vibration;
advice and practical solutions.
c) you must have a dedicated air-ride truck;

d) make sure there is enough security during the

For further reading driver’s work breaks.

Kelly, Sara, 1994, Travelling Exhibitions— Question 3.

A Practical Handbook for Non-State Metropolitan
and Regional Galleries and Museums, National
When transporting objects from one climatic extreme
Exhibitions Touring Support for Victoria,
to another:
Melbourne.
a) it is important to buffer them against rapid
Rennie, Sarah, 1997, ‘Concerning Works of Art’ in climate changes;
Australian Registrars Committee Newsletter,
Sept 1997, Australian Registrars Committee, b) you should get them out into the new
Canberra. conditions as soon as possible so they are ready
to display sooner;
Richard, Mervin, Mecklenburg, Marion F., Merrill,
c) they should be left in their crate for at least 24
Ross M. (eds.), 1991, Art in Transit—Handbook hours to gradually adjust to the new conditions;
for Packing and Transporting Paintings, National
Gallery of Art, Washington DC. d) check the condition of your object before
departure and on arrival.
Stolow, Nathan, 1987, Conservation and
Exhibitions: Packing, transport, storage and
environmental considerations, Butterworths,
London.

26 Transportation
 Question 4.

Which of the following statements are false?

a) Crates should be well sealed.

b) Crates should be waterproofed.

c) There is no need for a contents list or packing

instructions for crates because its usually
obvious what goes where.

d) Crates should be padded well to protect objects

from vibration and impact.

e) All of the above.

Answers to
self-evaluation quiz

Question 1.
Answer: a), c) and d) are true. b) is false. Air
transport is quick and convenient if you
are situated in a major city or regional
centre. It is not convenient for everyone.

Question 2.
Answer: b) and d). Putting items in the back of
the ute is not a good idea because they
will not be protected from sudden
showers, garden sprinklers and wind gusts.
It is not absolutely necessary to have a
dedicated air-ride truck, especially if you
are transporting only a few items.

Question 3.
Answer: a), c) and d). If you follow b), you will
almost certainly cause damage.

Question 4.
Answer: c). A contents list and packing
instructions should be included in the
crate. The method of repacking the
crate is not always obvious.

Transportation 27
 Storage
and Display

Objectives page 31
Introduction page 31
Ideal conditions for storage and display page 31
Storage and display sites page 32
Storage systems page 32
The best materials for storage and display page 33
Supporting objects in storage and display page 33
Self-evaluation quiz page 33
Answers to self-evaluation quiz page 34
 Objectives • relative humidity is constant and in the range
45–55%; and

At the end of this chapter you should: • light is kept to the minimum necessary for
the activity.
• know the ideal conditions for storing and
displaying mixed collections of objects; Ideally, items should be stored in the dark.
Light is really necessary only when items are being
• be aware of some basic principles that will accessed, examined or displayed.
help you store and display your collections;

• be aware of the best materials to use for For display, it is necessary to have light. But the
storing and displaying mixed collections of lighting levels need to be appropriate for the
objects; and materials, as some materials are more light-sensitive
than others.
• understand the need for adequate support of
objects in storage. For more information
For more information about specific lighting
levels, please see the Light and Ultraviolet
Introduction Radiation chapter in Damage and Decay.

Objects in collections are generally either in Objects which are not particularly sensitive to light
storage or on display; and while they are in such as sculpture made from metals, earthenware
storage or on display, they can deteriorate. The and ceramics should still be protected. Do not
rate at which they deteriorate and the extent of expose them unnecessarily to very high lighting or
the damage will depend greatly on the conditions UV levels and never expose them to direct
in the storage and display areas. sunlight. Remember also that many objects are
made from composite materials and may contain
This section provides general information on small amounts of sensitive materials.
(i) the ideal conditions for storage and display;
(ii) storage guidelines; (iii) the best materials As light can be so damaging to many objects, it is
for storage and display; (iv) the need to support important to consider carefully the lighting of your
objects in storage and on display. display. The following hints help to minimise
damage:
This information relates to mixed collections of
different types of objects, and should be used as • tungsten incandescent bulbs are one of the
a guide only. Specific information relating to the best lighting for display because they give
storage and display of particular types of items is out very little UV radiation. But, if you are
contained in the Caring for Cultural Material volumes. using tungsten incandescent bulbs, make sure
they are not too close to your objects,
because they get very hot and can damage
the objects. Similarly, avoid placing tungsten
Ideal conditions for incandescent bulbs inside display cases,
storage and display because they will raise the temperature to
unacceptable levels unless the display cases
have air-conditioning or mechanical
The following conditions outline the best long- ventilation;
term storage and display environment for most
materials; but please note carefully that if the • fluorescent tubes give out UV radiation and
ideals for temperature and relative humidity should not be used unless you are using low
cannot be met, or are inappropriate, the emphasis UV-emitting fluorescent tubes; and
should be on providing a stable environment.
• light-sensitive items should not be left on
Ideally, mixed collections should be stored and display indefinitely. Remember to rotate your
displayed in environments where: exhibitions.

• temperature is constant and moderate: in the Steps should be taken to protect objects from
range 18–22ºC; dust, pollutants, mould and insect attack.

Storage and Display 31

 Objects should be protected from direct handling, Storage Systems
excessive use and intentional damage.

For more information Provide layers of storage by wrapping objects in

tissue paper and/or putting them in boxes. This
For more information about adverse environmental
approach gives maximum protection from:
effects and the steps you can take to minimise
these effects, please see Damage and Decay. • fluctuations in relative humidity and
Information on how to protect your temperature. This is especially important in
areas where ideal temperature and relative
collections from direct handling and intentional humidity cannot be achieved. The multiple
damage is given in the chapter Access to layers of storage act as a buffer zone
Collections in Managing People. between the objects and the extreme or
fluctuating conditions;

• dust, pollutants and insects; and

Storage and display sites
• the damaging effects of light.
Careful consideration should be given to storage
and display sites and systems. Ideal conditions, Storage and housing systems should have their
including a good storage system in an appropriate contents labelled on the outside, so that items can
site, will give added protection to your collection. be located easily without searching through and
If the available facilities or the local climate make inspecting every similar item.
it difficult to achieve ideal conditions, then the
selection of the site and the maintenance of good If stored objects are not in drawers, boxes or
storage and display systems are even more critical wrappers, cover them with cotton or Tyvek
in preventing damage to the collections. covers. These provide protection from dust and
unnecessary exposure to light. These covers also
The following notes are guidelines for selecting provide some buffering against fluctuations in
storage and display sites; they outline the principles environmental conditions.
to be followed for protecting your collections.
Give all objects adequate support, and try to
Wherever possible the sites should be in a central reduce the physical stresses which can cause
area of the building, where they are buffered from damage.
the extremes of climatic fluctuations which can be
experienced near external walls or in basements Provide easy access. This contributes greatly to
and attics. Basements should be avoided because the care of objects. Remember—difficult access
of the risk of flooding. can often lead to awkward handling as people try
to lift too much weight at one time, risking injury
The sites should not contain any water, drain or to themselves and damage to the objects.
steam pipes, particularly at ceiling level. Heating
pipes can cause a lot of damage. Take care not to stack too many storage boxes on
top of each other—this can make access difficult,
There should be reasonable ventilation. This helps and can damage collections and cause injury.
reduce the risk of insect and mould infestation.
CAUTION:
Inspect and clean the storage and display areas
regularly. Thorough and regular cleaning and Cleaning materials containing bleaches
vigilance will help greatly in the controlling of or ammonia should not be used near
insects and mould, and will allow you to take your objects. Nor should naphthalene,
action early if a problem arises. insecticides and fungicides.
These are active chemicals which could
In order to detect insect infestations early, check
objects regularly for signs of infestation: signs cause damage, especially in an enclosed
such as holes and frass that is, wood powder left storage environment.
by boring insects.

Don’t store items in sheds, or directly on the floor.

32 Storage and Display

 The best materials for
storage and display
Objects that are placed within a sealed, secure
environment are at risk if that environment
contains active chemicals which can affect the
object.

Many objects can be affected by other materials in

their immediate environment. The following list of
good and bad materials—from a preservation
viewpoint—can help you choose your storage and
display furniture; or to choose the materials to use
when making them yourself.

GOOD BAD
enamelled metal chipboard, Customwood,
unsealed woods, especially
hardwoods
glass PVA glue
ceramic protein-based glues, for
example, animal glue
acrylic paints uncured paint Self-evaluation quiz
and varnishes
inorganic cellulose nitrate Question 1.
pigments
polystyrene, but polyurethanes Which of the following statements are true?
preferably not in
direct contact a) Ideally, items should be stored and displayed
with objects in an area where the temperature is constant
and in the range 25–30ºC.
polyester film PVC
cotton and linen wool and felt b) Ideally, items should be stored and displayed
in an area where the relative humidity is
constant and in the range 45–55%.

c) Ideally, items should stored in the dark.

Supporting objects in Question 2.

storage and on display
When choosing a storage site for your collections,
The following diagrams illustrate broad principles. you should look for:
For information on storage and display support
systems for specific types of objects and materials, a) a shed;
please refer to the Caring for Cultural Material
b) a basement with water, drain and steam pipes
volumes.
to ensure that objects do not dry out and
become brittle;

c) an area with good ventilation;

Storage and Display 33

 d) an area in a central area of the building,
where it would be buffered from the extremes
of climatic fluctuations which can be
experienced near external walls or in
basements and attics.

Question 3.

Of the following materials, which are good for use

in the construction of storage and display furniture
for books?
glass, uncured paint, PVA glue, enamelled
metal, protein-based glues—for example,
animal glue—inorganic pigments, chipboard,
ceramic, cellulose nitrate, wool, polyester
film, polystyrene, felt, polyurethanes, cotton,
linen, PVC, unsealed woods especially
hardwoods, acrylic polymers.

Answers to
self-evaluation quiz

Question 1.
Answer: b) and c) are true.

a) is false. Ideally, items should be

stored and displayed in an area where
the temperature is constant and in the
range 18–22ºC.

Question 2.
Answer: c) and d).

Question 3.
Answer: Glass, enamelled metal, inorganic
pigments, ceramic, polyester film,
polystyrene, cotton, linen, acrylic
polymers.

34 Storage and Display

 Acknowledgments

Collection Management and Other

Conservation Working Party of the
Heritage Collections Council Stuart Anderson Simone Cordeauz
Sandra Flischer Michelle Koford
Margaret Anderson (Chair) Jacki Kossatz Linda Marlin
Ian Cook (Deputy Chair) Simon Prince Carly Romiero
Karen Coote Slade Smith Robyn Thomas
Tamara Lavrencic Di Virgil Guthrie Watson
Jan Lyall
Chris Tassell Prototype Development Consortium
Ian MacLeod Conservation Training Australia
Phil Gordon
Robyn Sloggett
Artlab Australia
John Stanton
History Trust of South Australia
Viv Szekeres
Museum and Art Gallery of the Northern Territory
Ian Stephenson
State Library of New South Wales
University of Melbourne Conservation Service
Major Contributors Western Australian Museum

Karen Coote James Dexter Project Manager: Keith Fernandez

Keith Fernandez David Gilroy Technical Editor: Vicki Humphrey
Rosie Freemantle Ian Godfrey
Alan Howell Vicki Humphrey Field Trial Participants
Georgia Koronis Tamara Lavrencic
Ian MacLeod Joy Noble
Sarah-Jane Rennie Marion Roubos-Bennet Bob Alford Elizabeth Anya-Petrivna
Robyn Sloggett Michell Smith Denise Davis Luan Dunaan
Geoff Speirs Greg Wallace Christine Ewings Jude Fraser
Helen Weidenhofer Margie West Ann Gibson Ken Hodge
Jean Johnson Narayan Khadekar
Lindsay Knowles Heather Kriesl
Contributors
Nicole Livermore Zoe McKenzie-Smith
John Reid Pauline Ross
Phil Alderslade Marie Boland Glen Smith
Peter Cahalan Glenn Cole
Sarah Feijen Fred Francisco Sunshine and District Historical Society
Helen Halley Charlotte Jenkin
Gillian Leahy Sophie Lussier Marketing Research
Holly McGowan-Jackson Elizabeth Murphy
Kristin Phillips Alex Roach
Jennifer Ross Sue Valis Environmetrics
Sandra Yee
Editing and Publishing
Kimba and Gawler Ranges Historical Society
Migration Museum Communication Partners
National Motor Museum Cyranet
South Australian Telstra Historical Collection

Acknowledgments 35