a guide to transporting works of art and exhibitions

A GUIDE TO TRANSPORTING WORKS OF ART AND EXHIBITIONS

ContentsA GUIDE TO TRANSPORTING WORKS OF ART AND EXHIBITIONS

ForewordHow to know what skills are involved in transporting

works of arts and exhibitions

Transportation methodsHow to assess transportation constraints

PackingA crate or protective packaging

WarehousingWhere can you store works in all safety

Handling and movingWhy is handling works of art a genuine profession

Fine arts and customs formalitiesFormalities required

Exhibition serviceHow to coordinate the transportation of works of art

Assistance at the airportHow to assist the courier and supervise departures and arrivals

Gallery and private owner serviceHow to limit costs

Estimates and ordersHow to request an estimate

Are you a museum curator, a gallery owner, or an exhibition organizer ?

Are you in charge of transport at a museum or cultural institution ?

Do you courier works of art on behalf of a museum ?

Are you a collector or an artist’s representative ?

Are you a restorer ?

Are you one of our foreign correspondents ?

All of the above, in different ways, are involved in transporting

works of art. Whether you are a client or partner, a borrower

or lender, whether you make decisions or implement them,

you are faced by technical problems and urgent situations

that we are used to dealing with. Our advice may be useful.

We hope that this LP ART Guide will be a practical information tool for you.

How to know what skills are involved in transporting works of arts and exhibitions ?

FOREWORD

LP ART TH E GU I DE • 1

TRANSPORTING WORKS OF ART

IS A COMPLEX ACTIVITY

Every work of art is unique and irreplaceable. Most journeys

create specific and even totally new situations in terms of

the volume carried, the formalities to be completed,

security, costs and deadlines. These are customized

operations that require the involvement and coordination

of several different skills.

PACKING : can range from a simple protective covering to

packing in an insulated crate.

TRANSPORT : includes routing all over the world (by truck, aircraft, boat or

train) and progress monitoring.

HANDLING AND MOVING : describes all forms of mechanical and manual

handling needed to move and install a work.

WAREHOUSING : storage on demand of works or crates in a high-security

warehouse.

FINE ARTS AND CUSTOMS FORMALITIES : the procedures enabling the

circulation of works of art.

SECURITY FOR AIR FREIGHT : security procedures that LP

ART applies as holder of an authorized agent certification

(formerly known dispatcher).

AIRPORT ASSISTANCE : all the guarantees that our

permanent office at Roissy Airport provides in terms of

air freight and accompanying escorts.

TRANSPORTING EXHIBITIONS DEMANDS

COMPLETE COORDINATION

Works are often moved for exhibitions, sometimes travelling

all over the world. Moving exhibitions involves a series of

customized operations : transport coordination requires

organizational skills and teamwork that can only be

provided by a genuine specialist. This coordination

represents a unique and specialized service.

Why LP ART has produced a practical guide

Fore

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Sculpture by Dubuffet, « Champs de la sculpture », Paris, 1996.

« Gauguin - Tahiti », Grand Palais, 2004.

2 • LP ART TH E GU I DE

BECAUSE CUSTOMER SERVICE IS OUR PRIORITY

We always have to deal with the work and its owner, accompanying the work

physically during its actual trip, and the owner psychologically, as he follows

the work in his mind. From the order to delivery, including all the documentation,

we have to keep contact with our clients and partners.

The quality of our service is judged by the attention we pay to the smallest detail,

beginning with our accessibility.

As a modern, highly structured, medium-sized company, we at LP ART firmly

believe in customer service.

BECAUSE WE HAVE A LEGAL OBLIGATION

We have to meet two requirements : the works must be in good condition on

arrival and we must comply with the deadlines (i.e. the insurance expiration

date as set by the principal).

However, we also have a role to play as advisers : for the transportation of works

of art as in other businesses, this means offering all our clients the highest

standard of quality at the best possible value, whether the client is a museum

curator, a gallery owner or a private collector.

BECAUSE WE ALL HAVE

TO CONTROL COSTS

Unforeseen costs are often due to additional demands by

the lender (for example a double crate instead of a single

crate) or the borrower (for example changing the date for

the work to be moved) not to mention cases of force

majeure (storms, snow-covered roads, etc). Whatever the

reason, the client is always kept fully informed.

However, client expectations keep increasing and

competition is a constant factor.

It is important to be able to anticipate costs : to do so, a

transport firm must be thoroughly familiar with the

museum’s or gallery’s works, with transportation and

handling techniques and with all the parties involved.


Fore

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BECAUSE DEVELOPMENTS IN OUR

BUSINESS CONCERN ALL THOSE INVOLVED

Our business has gone through at least four major changes

in the recent past. The first is the museums’ involvement

in preventive conservation. The second is technical

development : crates, trucks and handling operations are

becoming increasingly sophisticated. The third is the urgent

nature of our work : the people we work with constantly ask

us to shorten intervention times. The fourth is the

increasingly complex level of public regulations, especially

in the field of security.

The people we work with (organizers and transport

managers in galleries, museums and major institutions)

are subject to the same technical constraints and short

deadlines as us.

BECAUSE TOGETHER WE CAN BE MORE EFFECTIVE

Our clients tend to overestimate the savings that they can make. We are here

to advise them about the requirements imposed by the lenders we have

experience working with. However, we must go further : we have to explain

clearly the constraints of our business and the role of each party involved.

With our focus on customer service, we are innovating in

terms of reciprocal information, as shown by this art guide

to transporting works of art and exhibitions.

BECAUSE YOU ALL NEED PRACTICAL

INFORMATION

Your knowledge, needs and interests obviously vary

according to your situation and your transport operations.

This guide is designed to be practical and useful. You will

easily find concrete answers to your questions about

transporting works of art and exhibitions, and the methods

used by our company LP ART. You will also find definitions

of the technical terms commonly used in our business,

influenced as they are by arts and crafts, museums,

administrative concerns and logistics.

« St. Francis of Assisi », Giotto,Louvre, Painting Department.



THE LP ART COMPANY

Our company, which was set up in 1992, now occupies a

dominant position on the market for transportation of

works of art. The quality of our services is widely

recognized, with the greatest museums in the world

working with us.

As a carrier, packer, customs broker, air freight agent,

and authorized agent for freight security, we offer the best

guarantee of discretion, security and efficiency for any

transport request from a museum, gallery or private owner.

Our services are flexible : we can offer an exhibition service

or a gallery and private owner service depending on the type

of demand. In all cases, our staff are driven by two

corporate values : customer service and cost-effectiveness.


Exhibitions department

Galleries department

Logistics and routing

Packing workshop

Airport supervision

Customs Department

THE LP ART TEAMS IN PARIS IN

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Lyon

Nice

Toulouse

THE LOCAL LP ART AGENCIES


We also have an office in Cairo, Egypt : 1 manager, 1 coordinator, 1 customs

declaration clerk, 2 packers.

Each local LP ART agency has a general warehouse covering 400 sq. m,protected by an alarm system, with an air conditioned strongroom coveringat least 150 sq. m, a fine art truck and two drivers/installers.

You’re sending a picture to Berlin: should it go by air or road ?

You’re lending a Dubuffet sculpture to a museum in São Paulo :

should it go by air or sea ?

Between Paris and Sydney, is it better to change planes

in Frankfurt or Singapore ?

Each transport method - road, air, sea or even rail for small

hand luggage items - has its advantages and sometimes its

drawbacks.

The right choice will depend on :

- the type of work and its bulk once packed

- the means of transport existing between the starting point

and the destination

- the possible routes

- the time you have to complete the operation

- the presence or absence of a courier

Prior assessment of these constraints is vital to avoid

surprises. In each case, our role is to advise you.

How to assesstransportation constraints ?

TRANSPORT

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THE TRUCKER’S PROFESSION IN FRANCE

Transport is a profession that is strictly regulated in France.

You must check that the carrier you choose is registered

on the carriers register and that the head of the company

has a transport licence. If it belongs to a professional

association like the FFOCT (Fédération Française des

Organisateurs et Commissionnaires en Transport), this

will be another sign that the company complies with road

transport regulations.

Bear in mind, for instance, that all our HGV drivers have taken the FIMO

(Obligatory minimum initial training) course beforehand ; it lasts 156 hours

spread over 4 weeks. Furthermore, every five years, they have to take FCOS

refresher courses lasting 24 hours and spread over 3 days.

WHAT IS AN ART TRANSPORT VEHICLE ?

The criteria are obviously not the same if the work transported is a Calder

sculpture or an oil painting on wood, but the experts agree that an art

transport vehicle should have the following characteristics :

> alarm and circuit-breaker in the truck

> padding and air-ride suspension

> air-conditioning maintaining the temperature between 18 and 20°C

> seat available for the courier (if one is present)

> a GSM telephone and a satellite-based location system

> depending on the assignment, a liftgate and other necessary equipment

It is standard practice in the business to have two drivers. The choice of the type

of vehicle depends on the weight and dimensions of the work and its packing.

Road transport


Road transport

Type Useful Inside Inside Inside Surface Seatsload length width height area*

20 cu.

25 cu.

35 cu.

50 cu.

80 cu.

(Articulated

truck)

USEFUL LOADS AND INTERNAL DIMENSIONS

OF SOME TYPICAL TRUCKS

LP ART’s vehicle fleet in

* SURFACE AREA : in our business, we very rarely stack crates. Thus, the usable surfacearea inside the vehicle reflects practical usable space rather than total volume.

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HOW TO OPTIMIZE ROUTING ?

A work should travel the shortest possible distance.

Having laid down this principle, we have to be ingenious and

think ahead, while complying with the regulations. We take

the following factors into account :

> naturally, the collection and delivery times specified by

the lender or borrower and aircraft departure and arrival

times,

> the time spent on site (packing, unpacking, handling),

plus the loading and unloading time,

> the distance from a secure location for overnight storage

(police station, warehouse protected by an alarm),

> the foreseeable average speed (rarely more than 70

kilometers per hour by road),

> the regulatory driving times as determined by each country,

> traffic and parking regulations in large cities: in particular, it is important

to know the times when collections and deliveries can be made,

> the information provided by DOP, LP ART’s own computerized dispatching

and reservation system,

> the regular routes set up by LP ART.

DRIVING TIMES AUTHORIZED PER DRIVER

Road transport

Time groups Minimum and maximum standards

Continuous driving

Breaks

Daily driving period

Weekly driving

period


HOW TO ORGANIZE AN EXCEPTIONAL TRANSPORT ?

Depending on the load’s characteristics, we provide the technical facilities

(flatbed truck and crane) and deal with the authorization applications. Abnormal

loads are classified in three categories according to the weight, width and

length. The routing constraints and accompaniment vary according to the

category.

Vehicles less than 25 meters long

and 3 meters wide do not require

any accompaniment ; otherwise,

depending on the case, a pilot car,

an accompanying car or a motor-

cycle escort is required (French

circular 75-173 dated 19 November

1975).

Road transport

Traffic, collections and deliveriesin Paris

The regulations in Paris are complex. Traffic, stopping andparking are authorized for all vehicles between 9.30 pm and7.30 am. Outside this night-time period, the time slotsauthorized during the day depend on the vehicle’s surfacearea on the basis of three thresholds : 12, 16 and 20square meters. Vehicles with a surface area of less than20 square meters can apply for authorization to makecollections between 4 pm. and 9.30 pm. However, there aresystematic waivers for certain categories of activity withoutany surface area restrictions. In practice, the transportationof works of art is considered as equivalent to funds transfers.We cantherefore drive around Paris, collect and deliver at any time.

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LP ART’S AIR FREIGHT KNOW-HOW

There are many different scheduled commercial airlines.

Their destinations, aircraft types, services and freight zone

organization methods vary a great deal. How do you find

your way around, negotiate and ensure loading on the right

flight ? For all these aspects, and especially for freight

security, LP ART’s know-how is widely acknowledged and

appreciated. This service is based on both our staff being

permanently on hand at the airport and on a special

infrastructure and facilities :

> a permanent office at Roissy and shuttle vehicles,

> an IATA freight agent’s licence enabling us to issue air

waybills and supervise dispatch directly,

> a customs broker’s licence enabling us to carry out all customs operations

at the airport, particularly issuing transit bonds for any destination,

> badges giving us access to all areas of the airport,

> Authorized agent certification for freight security, as issued by the DGAC

(Direction Générale de l'Aviation Civile - French Civil Aviation Authority ). In

practical terms, this certification enables us to deliver freight to the airport

4 or 5 hours before the flight is due to leave.

SOME RECOMMENDATIONS

FOR DEALING WITH AIRLINES

> Reservation : the rule is never to make a freight reservation before knowing

the exact dimensions of the crates. However, it is desirable to make a

preliminary reservation for large volumes (more than 10 cu. m). On Air

France, for instance, reservations can not be made more than thirteen

working days before the flight departure.

> Type of aircraft and pallets : aircraft, like trucks, have different capacities.

Generally speaking, we only load works of art on palletized flights (i.e. the

crates are loaded and secured on to a pallet), after ensuring that the crate

dimensions, particularly the height, are acceptable for the aircraft used for

the chosen flight. Sometimes, crates are secured inside containers.

Air freight


> Flight itinerary : be careful of stopovers, when your

freight can be accidentally unloaded. A direct flight may

actually involve several stopovers. Non-stop flights are

preferable.

> Departure and arrival times : cargo flights no longer

have precise takeoff and landing times. If a flight is

delayed, all necessary steps must be taken to ensure the

security of the work under customs authority.

> Delivery deadlines for departure : bear in mind that, depending on the

airline and the airport, you may be required to deliver the freight up to

twenty-four hours in advance, unless you have authorized agent status.

> Collection deadlines on arrival : the LP ART team at Roissy generally

makes sure that you recover your crates in two hours. However, this

represents exceptional treatment; ordinarily, airlines do not endeavor to make

your freight available within less than 24 hours.

> Hand luggage : remember that the captain of the aircraft is in sole command

and, on safety grounds, he has the right to refuse your hand luggage because

of its size or contents (even if you have reserved and paid for an extra seat).

The rule is that the three dimensions of an item of hand luggage must not

measure more than 1.15 meters in total. However, surprises are by no

means rare at departure time. You should inform the airline of the size of

your handcarry when you book. Also bear in mind that all hand luggage must

now be checked: either using X-rays, or visually. Hand luggage is opened

much more frequently than in the past.

> The escort : couriers can travel on some cargo planes but the number of seats

is limited (usually no more than three). Bear in mind, for instance, that a person

accompanying a live animal will have priority over you and your work of art.

> The price : airlines used to charge by the kilogram

(weight-cubic capacity or actual weight). However,

nowadays, especially for large consignments,

charges are calculated on the basis of the « position »

occupied, in other words by the pallet and according

to the pallet type. If you’re not in a hurry and the

exact routing of your consignment is unimportant,

you can use the services of air consolidated

companies offering unbeatable prices… but with no

real possibility of recourse if there is a problem.

Air freight

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Air freight

Aircraft model Maximum height* Type of loading

Fokker 28 Hold : 55 cm Bulk

Ten-foot pallets

and containers

Airbus 300 or 310 Passenger Hold : 163 cm Ten-foot pallets

and containers

Airbus 320 or 321 Passenger Hold : 114 cm PKC extension pallets

and AKH containers

Airbus 340 Passenger Hold : 163 cm Ten-foot pallets

and containers

Boeing 737 Passenger Hold : 86 cm Bulk

Boeing 737 Cargo Main deck : 208 cm Ten-foot pallets

and containers

Hold : 86 cm Bulk

Boeing 747 Passenger Hold : 163 cm Ten-foot pallets

and containers

Boeing 747 Cargo Main deck : Ten and twenty-foot pallets

- nose : 244 cm and B747 Cargo pallets

- side door : 300 cm

Hold : 163 cm Ten-foot pallets

and containers

Boeing 747 Combined Main deck : 300 cm Ten and twenty-foot pallets

Hold : 163 cm Ten-foot pallets

and containers


and containers


and containers

AIR FREIGHT LOADING CHARACTERISTICS

ACCORDING TO THE TYPE OF AIRCRAFT

Note : although airlines undertake to have pressurized holds at a moderate temperature, the temperature can fall below 10°C.

* These heights are indications and may vary slightly from one airline to another.

Airbus 3 0 Hold : 163 cm


WHAT YOU NEED TO KNOW ABOUT

PALLETIZATION

Palletization refers to loading on a pallet (open) or in a

container (closed).

Palletization, which we supervise systematically in the

airport freight area, consists of placing one or more crates

on a metal base (previously insulated with plastic film)

and attaching them firmly (under another plastic film)

using netting secured to the pallet with hooks. There is a wide range of pallets

and containers of different sizes depending on the special uses they are

designed for. Each type is designated by an international code name.

Depending on the aircraft model and type (passenger, cargo or combined), the

freight is loaded on types of pallets and containers compatible with the

dimensions and shape of the aircraft fuselage. According to the freight to be

loaded, the airline chooses the types of pallets and containers and allocates

them positions in the hold (and on the main deck in cargo planes).

To keep things simple, the most common pallets are ten-foot pallets (ten feet

or 318 cm long), with widths of 153, 224 and 244 cm.

Containers are also ten feet long, or half, i.e. 156 cm ; the widths are also 153,

224 and 244 cm. Ninety-five percent of goods sent to Europe travel in containers.

The maximum loading heights correspond to the height of the holds in which

the pallets and containers are loaded.

Air freight

Careful : the maximum loading heights varyaccording to the type of pallet and aircraft.

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Air freight

Type Typical code Dimensions*

Standard pallet P1P 318 x 224 cm

Ten-foot pallet P6P 318 x 244 cm

Twenty-foot pallet P7E 606 x 244 cm

Extension pallet PLW/PLA 318 x 153 cm

PAW 318 x 224 cm

PMW 318 x 244 cm

A320/A321 pallet PKC 156 x 153 cm

B747 Cargo pallet PAG 317 x 223 (height : 243 or 299 cm)

PMC 317 x 243 (height : 243 or 299 cm)

PZA 497 x 243 (height : 243 or 299 cm)

PGF 605 x 243 (height : 243 or 299 cm)

Standard container LD3/AVE 156 x 153 cm (height : 163 cm)

LD7/AAK 318 x 224 cm (height : 163 cm)

AMF 318 x 244 cm (height : 163 cm)

A320/A310 container AKH 156 x 153 cm (height : 109 cm)

DIMENSIONS OF COMMON PALLETS

AND CONTAINERS

* These heights are indications and may vary slightly from one airline to another.

HOW IS SECURITY ORGANIZED FOR AIR FREIGHT ?

As an authorized agent holding certification from the DGAC, LP ART ensures

the safety of each item dispatched under the terms of the provisions set out

in its safety program. The item dispatched is accompanied by its detailed

description and its security certificate. On receipt of the item, it is checked in

the following way: conformity of the contents with the detailed description,

good overall condition of the packaging, authenticity of the safety certificate (i.e.

the fact that it has been made out by a certified company or organization).

The persons carrying out these checks receive special training, especially the

agents in charge of special checks, who take refresher courses every three

months.


FOR HEAVY, NON-FRAGILE ITEMS

Sea transport is undoubtedly the most economic transport

method for heavy, non-fragile items.

However, we limit its use for the following reasons :

> the length of the voyage (for example at least twenty days

from Le Havre to Tokyo),

> route and time of arrival difficult to confirm to the

nearest 48 hours,

> rough mechanical handling of containers,

> impossible to supervise loading and unloading,

> relative lack of security in ports,

> open top containers are placed on deck and hence

exposed to bad weather.

SHIPPING CONTAINER DIMENSIONS

* Can be exceeded with the company’s agreement.

Dry = closed container.

OT (Open Top) = open top, i.e. a tarp-covered containerthat can be loaded from above.

Flat = ordinary platform (for works that cannot be loaded in a container).

Sea transport

Type 20’ DRY 20’ OT 20’ FLAT 40’ DRY 40’ OT 40’ FLAT

Length 5.919 m 5.919 m 5.935 m 12.056 m 12.043 m 12.066 m

Width 2.340 m 2.340 m 2.398 m 2.345 m 2.338 m 2.420 m

Height 2.376 m 2.286 m* 2.327 m* 2.378 m 2.272 m* 2.103 m*

Useful load 22.1 tons 21.8 tons 21.4 tons 27.3 tons 26.0 tons 38.9 tons

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WHEN SHOULD THE TRAIN BE CHOSEN ?

High-speed trains (such as TGV in France or Shinkansen

in Japan) are a practical, quick way of taking a handcarried

shipment from one city center to another (provided that both

the lender and the insurance company agree, because of

the constant stops and transfers involved in rail travel).

Rail transport


WHAT IS THE COURIER’S JOB ?

Couriering is frequently demanded by lenders concerned

about transport security for the works lent.

The courier, representing the lender, travels with the works

and is fully empowered to take action to protect them

during the trip until they are officially delivered to the

borrower.

The courier must therefore be familiar with the condition

of the works and the special precautions that must be

taken, the packing and handling methods as well as the

transport procedures.

The request for a courier is made in writing at the same

time as the lending approval and it must set out the lender’s

specific requirements.

The carrier advances all escorting expenses included in the

estimate to the borrower.

(For further details on couriering, see the chapter

Assistance to the courier.)

Couriering

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Conversion table

Length Longueur

1 inch = 2,54 cm 1 cm = 0.3937 inch

1 foot = 30,48 cm 1 m = 39.37 inches

(= 12 inches) (= 3.2808 feet)

1 yard = 91,44 cm 1 m = 1.0936 yards

(= 3 feet or 36 inches)

1 mile = 1609,3 m 1 km = 0.62137 mile

Area Surface

1 square inch = 6,4516 cm2 1 sq. cm = 0.155 sq. in

1 square foot = 0,093 m2 1 sq. m = 10.7636 sq. ft

1 square yard = 0,83613 m2 1 sq. m = 1.196 sq. yd

1 acre = 0,405 hectare 1 hectare = 2.471 acres

1 square mile = 2,59 km2 1 sq. km = 0.38608 sq. mi

Capacity Capacité

1 fluid ounce (US) = 0,02957 liter 1 litre = 33.8 fluid ounce (US)

1 pint (GB) = 0,5683 liter 1 litre = 1.76 pints (GB)

1 gallon (US) = 3,7854 liters 1 litre = 0.264 gallon (US)

Volume Volume

1 cubic inch = 16,3871 cm3 1 cc = 0.061 cb. in

1 cubic foot = 0,028317 m3 1 cu. m = 35.3134 cu. ft

Weight Poids

1 pound = 0,454 kilogramme 1 kilogramme = 2,203 pounds

Gallery owners and collectors : you want to have a crate made

that will only be used once - how much are you prepared

to spend ? Exhibition organizers : will the packing standards

laid down by the lending museums be compatible

with your exhibition budget ?

How can you find the best and cheapest form of packing

to transport a particular work ?

If you have crates made, how can you limit the costs ?

In practice, the type of packing depends on :

- the payer’s budget and instructions

- the lender’s requirements, if considered as acceptable

- the technical proposal made during the packer’s visit

It is not always easy to make the right packing choice

as the range of technical solutions is very wide.

As there is no magic formula, we offer you an analysis

grid to help you decide.

A crate or protectivepackaging ?

PACKING

Pack

ing


THE « THREE LAYERS » THEORY

Complete packing, whether for a crate or for protective

packaging, requires three layers :

The first, in contact with the work of art, protects the

surface from dust, scratches and finger marks.

The second, like an intermediate cushion, reduces vibra-

tion, absorbs impacts, and attenuates temperature and

hygrometric variations,

The third, a sort of rigid shell, is designed to be impact-

resistant and facilitate handling.

Depending on the work and the type of transport, we will

see below whether these three layers are always necessary.

MATERIALS USED

For the first layer (the one providing surface protection),

the materials in contact with the work must be chemically

and physically neutral. For example, a medium-quality

tissue paper will be acid and, in addition, once crumpled

will no longer be as silky. The transparency of the material

is also appreciated, to enable the work to be seen under

this first layer. Depending on the case and the budget, we

can use tissue paper, glassine, Melinex or polyester fiber

based compounds such as Tyvek.

For the second layer (acting as a cushion), the most

important product is polyethylene foam or polyurethane in

all its forms, thicknesses and densities. This foam is

especially used to line crates. The other protective

packaging materials used in France are essentially

Bullpack, Bullkraft and Bulkamousse, as well as Elastok

and netting paper (e.g. to pack furniture).

Packing techniques and materials

Bulkamousse and Bullkraft.

Polyurethane foam, aglocel, etafoam,waterproofing seal.

Bullpack and polyethylene foam.


For the third layer (the one giving rigidity and penetration resistance), the main

material used to manufacture travelling crates and frames is wood, especially

plywood. Aluminium and plastic compounds are now also widely used. For

soft packing, cardboard is still an unrivalled product to finish the third layer,

as it is practical, economical and easy to shape.

WHAT DO WE MEAN BY SOFT PACKING ?

Soft packing refers to all types of packing and protection used when a crate

solution is inappropriate. Soft packing concerns most objects that can be

moved manually, and it is often sufficient for truck transport in France and

elsewhere in Europe. However, it has to be carefully assembled. In other

words, the three layers must be in the right proportions.

A painting, for example, is protectively packaged in the following order :

1. Melinex on the painted surface.

2. Frame wrapped in Bullpack with Bulkamousse strips.

3. Cardboard on the front and rear, plus strapping.

Packing techniques and materials

The LP ART workshop

To make crates to measure, it is necessary to have a complete, efficient carpentryworkshop :

> specialized machines: panel saw, bandsaw, jointer, planer, shaper,

> an efficient dust conveying system,

> protective equipment,

> annual inspection to ensure compliance with safety standards.

Pack

ing


WHAT TYPES OF CRATES DO WE MAKE ?

Crates group together the three layers into a single unit for simple, quick

packing. Depending on the work of art and its fragility, LP ART can supply

different types of crates adapted to the most frequent uses :

> crates for paintings (with or without tray),

> crates for sculptures (bench packing or case packing),

> crates with slides for framed photographs and drawings,

> crates for objects and small sculptures (with boxes or compartments),

> handcarry for accompanied luggage.

The quality of these crates depends on the needs of our customers, who can

request isothermal crates.

LP ART’scrates


Super-isothermal crate

LP Art’s crates

Seal

Two coats of acrylic painton the outside

Screw on countersunk plate with threadedbracket

25 mm pine strips

Foam

25 mmpine slat

Dense foam

25 mm pine slats

15 mm plywood cover

Empty spaceExtruded polystyrene

Metallic handles

Vapour barrier

Panels glued and screwed together

Standard museum crate

25 mm pineslats

Densefoam

Screwed shut on countersunk plate withthreaded bracket

25 mm pine slats

15 mm plywood cover

Cardboard

Foam

Foam

Waxed Kraft paper for waterproofing

Waterproofing seal between crate and cover

Metal handles

Shell

25 mm pine slides

Pack

ing


Foam crate with 3 boxes

Slot crate

Sculpture crate

LP Art’s crates

Space to insert hand

25 mm pine slats

Plywood box

Strap Plywood box

Metal or wood handlesdepending on crate width

15 mm plywood cover

Waterproof seal between crate and cover

Closed using screws on countersunk plateand threaded bracket

Vapour barrier

25 mm pine slides

25 mm pine slats

Vapour barrier

Grooved Ethafoam

Chocks for separation

Metal or wood handles depending on crate width

15 mm plywood cover


Closed using screws with cupsand insert nuts

Polyurethane foam

25 mm pine slides

19 mm plywood

Closed brace30 mm plywood base

25 mm pine battens


Closed using bolts with nuts and washers

Slide

Foam (covered with felting if necessary)

90 x 110 mm batten

Foam

Panels glued and nailed together

Panels glued and nailed together

Panels held together using bolts with nuts and washers


What about adjustable for-hire crates ?

Several suppliers provide adjustable crates (designed to be adapted to suit worksof different sizes) :

> one has a strapping system that can be used to adapt the packing easily tosuit the size of the work,

> another has a metallic frame whose four corners can be adjusted to suit thesize of the work using a rack system,

> a third type uses a system of chocks with adjustable thicknesses whose positionin the crate can be changed using Velcro pads.

Taking into account their high cost, these crates do not seem to us to be competitivelypriced at the moment, except in certain very specific cases. Nonetheless, we haveincluded them in the guide to cover all available solutions.

LP Art’s crates

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How do our crates stand up?

A test carried out by LP ART

We designed our first super-isothermal crate for a 15th

century limewood sculpture. Given the cost of the crate,we thought it was important to check how it behaved duringtransport.In the winter of 1996, we tested the performances of threeLP ART crates under real conditions : a standard museumcrate, a Carrousel crate (an improved crate designed toLouvre specifications) and the super-isothermal crate. The experiment covered impact and vibration absorption,resistance to temperature variations and resistance tohygrometric variations.The black box used was parameterized and adjusted tomeasure the temperature and the hygrometry everyfifteen minutes and record all impacts with an intensitygreater than 1.5 g in - three directions (vertical, horizontaland lateral). We chose three standard round - trips withopening and closing of the crates on arrival : a Paris-NewYork flight, a Paris-London truck journey and a Paris-Tokyoflight.

IMPACT, TEMPERATURE, HYGROMETRY :

HOW DO OUR CRATES STAND UP ?

Results : For the three factors analysed, the experiment confirmed that theresistance of a crate is proportional to its degree of sophistication : the isothermalcrate outperforms the Carrousel crate which itself outperforms the standard crate.


How do our crates stand up ?

The conclusions of the recordings analysis are moreinteresting :

> neither the aircraft nor the cross-Channel Shuttleproduced any impact of more than 1.5 g (even duringtakeoff and landing),

> the only impacts recorded were low in intensity andoccurred during loading/unloading operations and truckmovements,

> waiting in a non-air-conditioned area at the airport, fordeparture or on arrival, can cause a rapid fall intemperature inside the crate depending on the outsidetemperature (except for the super-isothermal crate),

> to our surprise, more significant and sudden hygrometricvariations than we expected occurred when the crateswere opened, with condensation or evaporation due to thetemperature difference inside and outside the crate -hence the need to allow the crates to acclimatize for atleast 48 hours and more for isothermal crates !

« Super-Isothermal » crate.

« Carrousel » crate.

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To choose the right form of packing, two sets of factors

must be considered : on the one hand, the characteristics

of the work and its fragility in its location, and on the other

hand, the characteristics of the types of transport that

could be used.

How can these factors be synthesized ? As there is no

magic formula, we provide an analysis grid with a marking

system.

A PRACTICAL ASSESSMENT GRID

The aim of the practical assessment model is to examine

and measure the effect of the main parameters on which

the choice of packing depends. While it is difficult, if not

impossible, to take a completely rational approach, it is still

possible to achieve a minimum amount of coherence. To

do so, you must ask the right questions and try to take an

overall view.

This is what we propose you do using a questionnaire and

an analysis graph.

WE SUGGEST THE FOLLOWING

PROCEDURE :

> imagine a real situation of your choice : you have to

send a work of art somewhere and you want to choose

the appropriate type of packing,

> analyze your case using the two sets of questions that we have defined : ten

parameters for fragility, and ten parameters concerning transportation

and handling,

> mark each parameter in each set from 1 to 10,

> add up the ten marks in each set,

> refer to the graph: the horizontal and vertical scales, graduated from 0 to

100, represent the fragility of the work and the transport risk respectively,

> the intersection point shows a level or type of packing.

Which should you choose, protective packing or crates ?

« Centaure mourant », Antoine Bourdelle.


ANALYZE AND MARK « THE FRAGILITY »

PARAMETERS

(from 1 : not very fragile, to 10 : extremely fragile)

1. Type of object and technique

Is it a painting or a sculpture? A medal or

a manuscript ? Everyone would agree that

a Calder sculpture requires different

treatment from a Degas pastel.

2. Materials

You must know what materials have been used for the work

and how they react. Alabaster is more fragile than marble,

which is less fragile than granite. Limewood is more fragile

than oak. Sixteenth century wooden panels may be less fragile

than certain works by Tapiés.

3. Age of the work

In general, the older the object, the more fragile it is considered

to be : over time, humidity, frost, light and pollution make

works exposed to the open air more fragile. Moreover, the

dry heat of a municipal library makes a piece of walnut

furniture more fragile, however well made it is.

4. Physical and climatic environment of the work

Cannonballs from the wreck of the San Diego, a Spanish

galleon, in perfect condition after spending four hundred years

several dozen meters below the sea off the Philippines, turned

out to be extremely fragile once they were removed from the

water. On the other hand, perfect preservation conditions (in

terms of humidity, temperature and luminosity) can also be

a factor in making the work more fragile when it is transferred

to another location. Sometimes loans are refused for this

reason.

5. Political and cultural environment

This parameter should not be underestimated. The work

suddenly becomes fragile and a reason for concern even if it

is not necessarily so in physical terms. An unbaked clay object,

of limited museological interest and in good condition, can

certainly be considered fragile once it leaves a museum in

an African capital. Similarly, a modest painting by David,

hanging behind the desk of a local official, can become as

valuable as the Mona Lisa.

What packing should you use ?

« Serapeum lion », Louvre,Egyptian antiquities.

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6. Transport history

How did previous trips go ? Some pictures

seem to spend more time in the air than

on the wall and apparently do not suffer.

Other works are not so lucky : one or two

problems and they are classified as

fragile, even if this is not otherwise

justified by their state of preservation.

7. State of preservation

This is the main parameter taken into account, but assessing

it is not easy. How fragile is this recently restored picture ?

Might the crackling area spread ? Should this detachment be

treated ? Without a precise, quick answer, attitudes to

transporting the work may harden and it may never travel at

all.

8. Financial value

A certified work, or one valued at several hundred thousand

dollars, may be seen as « fragile ». Is a crate absolutely

necessary ? Is it required by the insurance company ?

9. Heritage value

World, national, regional heritage… Whether it is the Nike of

Samothrace or a parish reliquary in Corrèze, this additional

value given to the work must be taken into account.

10. Sentimental value

A personal affection for a work of art can lead to one of two

extremes : wanting to share one’s enthusiasm or jealously

keeping it to oneself, irrespective of the objective condition of

the work.

It is up to the organizer or the packer to assess this.


Total


ANALYZE AND MARK THE TEN TRANSPORTATION

AND HANDLING PARAMETERS

(from 1 : transport very easy, to 10 : extremely complex operation)

1. Manual or mechanical handling

If a particular sculpture can be transported on a trolley pushed

along at walking pace by four men, good covered protection

will probably be enough. However, if it is heavy enough to

require a forklift truck or a crane, a crate will be recommended.

A large picture may be taken down the staircase with just a

protective covering. If a crane is needed to take it out through

a window, a crate or at least a protective frame will be needed.

2. Direct trip or transhipment

Should a trip between the Louvre and the Tate Gallery be

made door-to-door in an air conditioned truck or else by air

with trucks to Roissy and from Heathrow ? The total journey

times will be comparable but the transport conditions will

not be the same : loading and unloading at the airports,

temperature variations, etc. For more remote destinations, you

must take the stopovers into account and use crates that can

be handled easily.

3. Total journey time

The longer the journey, the greater the risk : it will be more

difficult to predict temperature and hygrometric variations.

For a one-hour European flight, a standard museum crate will

probably suffice; for a flight from Brussels to Tokyo, an

isothermal crate will be needed.

4. Exclusive or consolidated road transport

If the journey is over land from start to finish, will the work be

transported exclusively or consolidated ? In certain cases,

with excellent packing, you can obtain very advantageous

rates from European carriers via consolidation with other

works of art or other types of goods. However, bear in mind

that a consolidated consignment usually has to be separated

in a warehouse which means additional handling is involved.

5. Direct or consolidated air freight

If you opt for a direct operation, you will be informed of the flight

chosen and the departure and arrival times. However, if you

choose a consolidated operation, you will only be given an

indication of the arrival time and no information on the itinerary,


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the stopovers and transhipments. You

must therefore use the right crate.

6. Sea transport

Ships are used almost exclusively to

transport large sculptures overseas, if

they are not too fragile. You must bear in

mind the drawbacks of this form of

transport : it is difficult, if not impossible,

to check the embarkation and disem-

barkation of the containers ; rough mechanical handling ;

risk of corrosion by the sea air (even in special containers).

7. Physical environment during transportation

The state of the roads in Mongolia, the Philippine rains, snow

on the road between Vienna and Munich or, quite simply, the

temperature in a truck travelling in midsummer on the

motorway from Brussels to Marseilles : these are all factors

that must be taken into account when choosing the appropriate

type of packing.

8. Foreign working conditions and regulations

While a crate can be collected from Roissy Airport within three

hours, it takes at least eight hours at Lima Airport. While you

can accompany a courier and his hand luggage to his plane

seat at Roissy, when he arrives in Washington the person

meeting him will have to wait like everyone else until he gets

through customs.

9. Presence of a courier

This is a crucial parameter in limiting the overall risk provided,

however, you should be sure that the courier has the discipline

and personality required for his job and that the specialized

carrier provides him with professional and efficient assistance.

10. Itinerary

Does the work have to be packed for a single round trip or for

a travelling exhibition stopping off at several cities around

the world ? Generally speaking, the greater the number of

stops, the greater the risk. This parameter is very important

from the technical viewpoint : you must have a system that

is appropriate for repeated opening and closing of the crate.


Total

PLOT THE TOTAL MARKS

ON THE GRAPH

After analyzing and marking all the parameters in both

sets, you can plot the total marks in each set on the graph

below :

Each area (A, B, C, D, and E) corresponds to a level and type of packing :

> Area A : simple protection (e.g. covering or tissue paper and Bullpack).

> Area B : special protective packaging (e.g. neutral paper, Melinex or Tyvek for the first layer ;

Bullkraft and Bulkamousse for the second layer ; cardboard and strapping for the third layer).

> Area C : simple crate (e.g. standard museum crate).

> Area D : improved crate (e.g. double standard museum crate or Carrousel crate).

> Area E : super-isothermal crate (e.g. climatized double crate with two 8 cm layers of extruded

polystyrene, with a one centimeter air space between the two layers).



Packing a Houdon sculpture.

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WAREHOUSING

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Storage

LOCAL LP ART AGENCIES

Each local LP ART agency in Lyon , Nice and Toulouse has a general warehouse

covering 400 sq. m with an alarm system, an air conditioned strong-room

covering at least 150 sq. m, a fine art truck and two drivers-installers.

ACCESS TO THE LP ART WAREHOUSE IN PARIS

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HOW TO MANAGE TRANSIT OF A MAJOR EXHIBITION VIA A WAREHOUSE ?The normal rules of the profession and the insurance

companies generally oblige us to transport works from

door to door : from a lender to the borrowing museum, from

a regional museum to the airport, etc.

Yet economic constraints are increasingly forcing clients

to ask us for consolidated fine art transport. The

warehouse, through which works of art, crates and the

accompanying documents constantly flow, therefore

becomes a crucial part of our facilities.

Its smooth operation basically rests on the following rules :

> precise and legible marking of the works during

collection (collection form, label),

> simple, clear recording of items entering the warehouse

(file reference, exhibition name, etc),

> clear zoning of our air conditioned strong-room and

immediate identification of works,

> strict preparations for removals, both administratively

and for the physical grouping of the works.

Transit of a major exhibition

Everyone has moved their furniture and personal effects at one time

or another. We have all shaken our heads over a scratch or bump

caused by clumsiness when moving a favourite object. Have you ever

imagined the care required when handling a masterpiece ?

Do you realize the physical difficulties of handling a two-ton

marble statue or a picture measuring four meters by five ?

Are you familiar with moving techniques ? Do you have any idea

of the organizational constraints encountered on large sites ?

Our installers and team leaders are professional handlers of works

of art and objets d’art. Their tools, techniques and terminology

form a fully-fledged discipline, extended every day by their experience

in handling works. They are your direct interlocutors on the spot.

Learn to appreciate the value of the handling, tools and many

precautions that make up the quality and price of our service.

Why is handling works of art a genuine profession ?

HANDLING

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SKILLS THAT HAVE TO BE ACQUIRED

At LP ART, we use the term installer for our staff

specializing in handling and packing works of art. They

come from various trades : carpentry, cabinet-making,

framing, diesel engineering and design… They gradually

learn their profession from their more experienced

colleagues and by taking specific and demanding training

courses. They all have to be committed to quality. The

most skilled become team leaders.

RESPONSIBLE TEAM LEADERS

The team leader is the client’s direct liaison and he is in

charge of a team of installers and packers on a site. At

LP ART, the team leader is familiar with every aspect of the

profession : technical aspects, administration and personal

relations.

His role begins well before the operations on the spot :

> familiarizing himself with the estimate proposed to the

client,

> consulting the coordinator to gain an overall picture of

the operation and decide on a working method,

> proposing the necessary resources : staff, vehicles,

tools and supplies,

> ensuring that he can assemble these resources on the

given day in consultation with the trucking and packing

managers at the warehouse,

> representing the company on site and giving instructions

to the team,

> reporting to the coordinator and passing on the work

documents.

LP ART’s installersand team leaders

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LP ART’s installers and team leaders

AUTOMATIC REFLEXES

Whether the work is a medieval enamel or a resin sculpture

by Dubuffet, everything begins with a handling operation.

The handlers have to look, understand, touch, pick up,

carry and move with the work. Our installers’ professio-

nalism is based on automatic reflexes that they have

patiently acquired :

> Studying the area around the object : is there enough

room around the object to move back ? If necessary,

how should the mechanical handling tools be installed ?

Are the means of access large enough ? Does the work

have to go through the window ?

> Protecting the environment : how should the floor,

walls and possibly the lawns be protected ? Everything

has to be protected along the way where the work is

carried using heavy handling equipment : load-

spreading plates, wood and polyethylene foam are used

to protect the floor to level it out if it is uneven.

> Assessing the object itself : from the first look, it is important to assess the

fragility of the work, its weight, centre of gravity and all the packing and

moving constraints.

> Protecting the object : the basic reflex is to work with clean hands and use

a pair of gloves to protect the object from perspiration or any other marks

and to protect it from bad weather when handling outside.

> Following grasping rules : While you would probably pick up a teapot by its

handle at home, when it is an « objet d’art », you would pick up the teapot

by supporting the bottom with both hands.

> Following a strict method : You never move an object without knowing

beforehand exactly where you’re going to put it.

> Controlling your movements : An installer thinks about the position of his

body, optimizes his muscular effort, protects his lower back, etc.

« Autoportraits du XX e siècle », Palais du Luxembourg, 2004.

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MASTERING TOOLS AND MACHINERY

Above a certain weight or size, works cannot be safely handled manually. So

tools and machinery are required in addition to the basic precautions :

> ladders on either side of a large picture,

> scaffolding to the height of the picture rail,

> tackle blocks (three or four-strand pulley blocks) that have to be attached

to the ceiling to raise or lower the heaviest pictures,

> carts with side rails and trolleys that have to be guided skilfully despite a

heavy, cumbersome load,

> pallet trucks on which the loads must be evenly spread.

LP ART’s installers and team leaders

Quality and ongoing training at LP ART

Training courses given by outside organizations :

> training for two installers on average each year, to pass their HGV drivinglicences, and for three installers to pass their forklift truck and aerial liftproficiency certificates,

> training for the staff as a whole in freight security procedures and training of« certified agents » for freight control under our « authorized agent » certificationsystem,

> two annual training sessions for our sales staff and our team leaders on thetheme of « responsibility and quality »,

> regular training courses in other languages.

Training courses given on an internal basis :

> fortnightly training sessions for exhibition coordinators on working metho-dologies,

> weekly training sessions for installers and team leaders on operationalprocedures.


MOVING PROBLEMS

The main problem with works of art is that they do not

offer a natural hold unlike industrial machinery and

equipment. For each heavy handling operation, the staff has

to adapt the existing equipment and study the lifting devices.

This often takes some time and is tricky to set up. In

addition to our basic equipment (side loaders, gantries,

site cranes, moving towers, etc), we sometimes have to use

hired machinery : cranes (7-200 tons), trucks with cranes

(15, 18 or 33 tons) and low-slung platform trucks.

For instance, how should you move a sculpture weighing a tonfrom its base 60 cm above the floor to its crate ? If you decideto lift it, move the base and lower it gently onto the base of thecrate, you need a moving tower, a hoist and slings. If you wantto raise the crate base on a pile of pallets to the height of thesculpture base and slide the sculpture onto the crate base, youneed « paras » (soap-covered beech planks).

How do you remove the twenty sarcophagi from the Marengo crypt ?You put an inclined plane on the staircase and a ratchet-hoistpuller hooked on the landing. When the works have been completedand there is just a stairwell left in place of the staircase, how doyou get the sarcophagi down ? You put up a gantry to install agoods lift.

How do you place a Picasso sculpture weighing 20 tons in frontof the Petit Palais ? You need a 200-ton crane to obtain thenecessary load radius.

Movingtechniques

Veronese, « Noces de Cana », painting department, Musée du Louvre.

Oriental antiquities department, Musée du Louvre.


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LIFTING SYSTEMS

For most routine lifting with hoists and slings, these are

the basic rules to be followed :

> Assess the weight to be lifted : it is very useful to know

the densities of the materials of which the object is

made (see table).

> Stabilize the weight to be lifted : first, the center of

gravity must be determined as accurately as possible,

then choose the right strapping, attachment or securing

positions.

> Balance the device correctly : the center of gravity

must be held in the lifting axis (in certain cases, «

balancers » are used to transfer the load).

> Correctly secure or attach the slings to the object :

the slings are often attached to the object using flat

straps .

> Spread the forces evenly : to avoid squeezing and

damaging works, sometimes a lifting beam is used, i.e.

a beam with several lifting points that balances the

forces between the upper and lower slinging systems

Moving techniques

A hoist for a ten-ton load weighs 150 kg, so it takesmore than five minutes to put it in place. The main beamof a gantry may weigh as much as 800 kg !This means that you need a side loader to install it.




Moving techniques

What you need to know about slingsIn accordance with an international standard, the nominalresistance of a sling is identified by a colour and is recordedas the maximum working load (see table).The maximum working load incorporates a safety ratio (legalminimum : 5) : for instance, a ratio of 6 means that a slingwith a maximum working load of one ton can take six tons.This margin of security is due to the fact that the slightestdamage, wear or grazing can substantially reduce theresistance of a sling. Any sling with worn protective sheathing must be scrapped.The maximum working load of a single-strand sling indicatesa nominal resistance calculated vertically. Note that for atwo-rope sling, the angle between the two ropes must notexceed 120°. Above this, it is difficult to measure the effortexerted.

Sling colour code Nominal maximum working load

Violet 1.000 kg

Green 2.000 kg

Yellow 3.000 kg

Grey 4.000 kg

Red 5.000 kg

Dark brown 6.000 kg

Blue 8.000 kg

Orange 10.000 kg

Note : endless slings are measured according to theiruseful length (i.e. half the length of the loop).


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* Density = the ratio between the mass of a certain volume of a homogeneous body and the massof the same volume of water at 4°C.

« Art Khmer », Grand Palais, 1997.

Material Average density*

Limestone 2.4

Diorite 2.5-3.4

Basalt 2.9-3.4

Granite 2.5-3.1

White marble 2.7

Glass 2.55

Steel 7.8

Copper 8.94

Bronze 8.4-9.2

Silver 10.5

Gold 19.3

Brass 7.3-8.4

Lead 11.34

Tin 7.3

Oak 0.6-0.8

Walnut 0.8

Gallery owners and private owners : do you know whether your works

are « cultural items » requiring an authorization to leave the country ?

Museums and exhibition organizers : are you thoroughly familiar

with the temporary exit procedure for a « national treasure » ?

In France, as in other countries, the circulation of works of art

is regulated. Control is exercised jointly by the Ministry of Culture

and the customs department. These necessary so-called « fine arts »

formalities must be carried out before the customs formalities.

There are various stages in the fine arts and customs Formalities.

Where should you go ? Which forms should you complete ?

Which documents should you enclose ?

Administrative and customs formalities are therefore an important part

of our business and carrying them out requires skill and experience.

Here are some practical explanations :

Formalitiesrequired ?

FINE ARTS AND CUSTOMS FORMALITIES


FINE ARTS REGULATIONS IN FRANCE

In spite of the abolition of customs formalities for trade

within the European Union, the circulation of works of art

is still controlled in order to protect national heritage.

There are three separate cases depending on the type of

work :

> if the work is listed as a national treasure, it can only

leave France temporarily once authorization has been

given,

> if the work is not a national treasure but exceeds the

control threshold it is a cultural item and its temporary

or definitive removal from the country is subject to

authorization (see the simplified table of cultural items),

> if the work is below the control threshold, it is not

considered to be a cultural item and can therefore be

sold without authorization and circulate freely through-

out the world.

The fine arts formalities only apply in the first two cases,

i.e. if the work is a national treasure or a cultural item.

In all cases, exports outside Europe involve customs

formalities.

IF YOU WANT TO EXPORT A NATIONAL

TREASURE TEMPORARILY

You must complete a temporary export authorization

application for a national treasure (DASTTN), which will be

approved by the appropriate department of the Ministry of

Culture 1 covering the work.

1.

Export formalities

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What isa national treasure ?

Any work in France on thepublic museums list isconsidered a « nationaltreasure ».Exceptionally, works ownedby private individuals may bealso be national treasures.A « national treasure » canonly be removed from Francetemporarily and in thefollowing cases : culturalevent, restoration, valuationor study, or deposit in apublic collection.


The DASTTN is enough for temporary exit within Europe.

It must accompany the work at all times during the trip.

When it returns, a detachable return attestation must be

sent to the appropriate department.

If the work is loaned outside Europe, the DASTTN, properly

approved, is required to obtain the export licence issued by

the Ministry of Culture.

To carry out the customs formalities, you must append a

list of the values and an attestation from the foreign

borrower undertaking to return the works.

IF YOU WANT TO EXPORT A CULTURAL

ITEM TEMPORARILY

If you want to export a cultural item temporarily, particularly

for an exhibition, you have two options :

> you can make an application for a cultural item certificate

(DCBC) to the department of the Ministry of Culture

covering your work. This certificate authorizes the

circulation of the work during its period of validity, which

is 20 years for a work of art that is over 100 years old),

> a quicker procedure is to make an application for the

temporary export of a cultural item

(DASTBC) to the department covering your work.

This authorization is valid for only one trip outside

France.

Either of these documents is enough for circulation within

Europe. Note that to obtain the certificate (which attests

that the work is not a national treasure) the work may

have to be presented to a curator from the appropriate

department of the Ministry of Culture covering the work.

Export formalities

What isa cultural item ?According to the regulations,there are two criteria for defining a work as a cultural item : the age and value of the work. A work exceeding the ageand value thresholds definedfor its category is consideredto be a cultural item. It can only circulate with a certificate (a sort of passport for the work) or a temporary exportauthorization (valid for one trip only).

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If the work has to be sent outside Europe, once you have

a DCBC or a DASTBC, you can apply for the export licence

issued by the Ministry of Culture.

To carry out the customs formalities, you must obtain an

invoice, estation from the

foreign borrower under-taking to return the works, plus

photographs in the case

IF YOU WANT TO SELL

A CULTURAL ITEM ABROAD

If you want to sell a cultural item in Europe, all you need

is a certificate, which it must be possible to present in the

event of a control.

Gallery owners must not forget to include the work on the

goods exchange declaration that must be filed each month with the customs

department.

Private individuals, if they have owned the work for less than 12 years and if

the value of the work exceeds 5,000 € must pay a tax of 5 %

(capital gains tax of 4.5 % plus welfare debt repayment of 0.5 %).

If you want to sell a cultural item outside Europe, in addition to the certificate

you must obtain a definitive export licence issued by the Ministry of Culture.

To carry out the customs formalities, private individuals must obtain an invoice

and the attestation of payment of capital gains tax.

IF YOU ARE SELLING A WORK THAT IS NOT

A CULTURAL ITEM

A private individual residing in France (or a foundation) selling a picture more

than fifty years old and worth less than 150,000 € outside the European

Union only has to make a customs declaration. However, a tax of 5 % of the

customs value will be payable if he has owned the work of art for more than

12 years and if the work is valued more than 5,000 €.

Export formalities


Export formalities

Type of work

Age Value threshold Value threshold

European Union Other countries

(as at 17/07/04) (as at 17/07/04)

100 years 1 500 to 15 000 € 0 to 15 000 €

according to the object according to the object

100 years - -

50 years 150 000 € 150 000 €

50 years 30 000 € 30 000 €

50 years 15 000 € 15 000 €

50 years 15 000 € 15 000 €

50 years 50 000 € 50 000 €

50 years 15 000 € 15 000 €

50 years 1 500 € -

50 years 50 000 € 50 000 €

100 years 15 000 € 15 000 €

50 years 300 € -

- 50 000 € 50 000 €

75 years 50 000 € 50 000 €

50 or 100 years 50 000 € 50 000 €

LIST OF CULTURAL ITEMS IN FRANCE

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SPECIALIZED CUSTOMS OFFICES FOR

THE EXPORT OF CULTURAL ITEMS AND

NATIONAL TREASURES IN FRANCE

(CRD: regional customs centre)

Annecy CRD (74)

Annemasse CRD (73)

Besançon CRD (25)

Bordeaux-Bassens CRD (33)

Bordeaux-Mérignac (33)

Bordeaux-St Jean (33)

Dijon CRD (21)

Ennery CRD (57)

Grenoble CRD (38)

La Rochelle-Pallice CRD (17)

Le Lamentin (97)

Le Raizet (97)

Lille CRD (59)

Lyon-Chassieu CRD (69)

Lyon-Ville (69)

Marseille-Port CRD (13)

Mulhouse CRD (68)

Nancy CRD (54)

Nantes-Aéroport CRD (44)

Nantes-Port (44)

Nice-Aéroport CRD (06)

Paris-Douane Centrale (75)

Paris-Garantie (75)

Pau CRD (64)

Poitiers CRD (86)

Rennes CRD (35)

Rochambeau (97)

Rouen-Port (76)

Strasbourg CRD (67)

Strasbourg-Hausbergen CRD (67)

Toulouse-Fondeyre (31)

St Julien-Bardonnex (74)

Export formalities

Are you sure that you can carry out the customs operations in your town ?Note that not all offices are authorized for the export of cultural items.


Import formalities for France

IN THE CASE OF A WORK RETURNING

TO FRANCE

The only fine arts formality is returning the attestation of

return of the work to the authorizing department. A

detachable coupon is provided with the national treasure and

cultural item temporary export documents.

If the work is a cultural item, you are required to present

it to the appropriate Department of the French Ministry of Culture. If the work

is returning from a non-EU country, an customs declaration is required.

IN THE CASE OF A WORK

ENTERING FRANCE TEMPORARILY

No documents are required for a work coming from an EU country.

If the work comes from a non-EU country, the importer must make an

application for temporary entry (customs declaration ), with a guarantee

for the VAT applicable. Public sector and equivalent organizations, particularly

national museums, are generally given an exemption from the requirement to

provide a guarantee on condition that they apply for it.

Galleries can also obtain this exemption if they belong to the Comité

Professionnel des Galeries d’Art (CPGA) or the Syndicat National des Antiquaires

(SNA), and if they can prove that the works are covered by an insurance

recognized by the Customs authorities.

Under no circumstances can a work be taken into France temporarily under

a private individual’s name.

IN THE CASE OF A WORK

IMPORTED DEFINITIVELY INTO FRANCE

Museums purchasing a work outside the EU must make a duty-free import

application (by registering the imported work), exempting them from duties and

taxes.

Galleries and private individuals must pay duties and taxes when they make

the inward clearance declaration (including VAT at a rate that may vary

depending on the type of work concerned).

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Cultural item certificate Sort of passport for the temporary or definitive

issued by the competent department export of a cultural item for twenty years

of the French Ministry of Culture. from the date of issue.

Authorization for the temporary For the temporary export of a work defined

export of a national treasure as a national treasure (particularly

issued by the competent department all museum works).

of the French Ministry of Culture.

Authorization for the temporary For a single temporary export of a cultural item

export of a cultural item belonging to a gallery or private individual.

issued by the competent department


Export licence For exports outside Europe, temporary licence

issued by the appropriate department for a national treasure, temporary or definitive

of the French Ministry of Culture. licence for a cultural item.

FINE ARTS AUTHORIZATIONS IN FRANCE

Goods exchange declaration For definitive imports and exports in Europe, document

filed each month with the customs department

by museums and galleries (but not private individuals).

customs declaration For definitive exports to non-EU countries.

customs declaration For temporary exports to non-EU countries.

customs declaration For re-importing works exported temporarily

to a non-EU country.

For definitive imports from non-EU countries inward clearance declaration (payment of any duties and taxes by galleries

and private individuals, exemption for museums).

customs declaration For temporary imports from non-EU countries.

customs declaration For re-exporting works returning from an exhibition

in the EU to a non-EU country.

INF3/INF6 declaration For transfer of temporary admission between

two member countries of the European Union

CUSTOMS DOCUMENTS

Documents to be used


Documents to be used

Attestation of exhibition Letter appended to the temporary export application

dates and venue whereby the exhibition organizer undertakes to return

the works to the lenders on the closure date.

Power of attorney Letter whereby the museum, gallery

or private individual grants power of attorney

to the customs broker.

List of values List of the works and their values, required

for temporary exports or re-exporting outside Europe.

Pro forma invoice Document issued by the owner certifying the value

of the work if it were to be sold.

Capital gains exemption For temporary exports of works by private individuals.

In the case of a possible sale, an expert valuation

or restoration work, this exemption is issued

by the person’s local tax office. For exhibitions,

the exemption is issued by the appropriate Department


Duty-free attestation For definitive imports by a museum of works

from non-EU countries. This attestation exempts

the museum from inward clearance duties and taxes.

Guarantee exemption issued For temporary imports by galleries

by the C.P.G.A. (Comité or antique dealers.

Professionnel des Galeries d’Art) If the gallery or antique dealer does not have

or the S.N.A. (Syndicat National this exemption, it needs a bank guarantee

des Antiquaires). just like a private individual.

OTHER IMPORTANT DOCUMENTS IN FRANCE

Attention ! Bear in mind that when a cultural item returns to France, it must be physically presented to the appropriateDepartment of the French Ministry of Culture.

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How to coordinate the transportationof works of art ?

EXHIBITION SERVICE

Exhibition organizers and transport managers in large cultural

institutions : you commission us to transport an exhibition.

Lenders : you want your works to be routed according

to your requirements. Couriers : you rely on our assistance.

How should the complex relations between organizers, borrowers

and lenders be managed ? How can efficiency, security and meeting

deadlines be reconciled in all circumstances ?

For all exhibitions, a specialized team handles these issues.

With skills in all aspects of transportation and packing,

full knowledge of museums, bilingual and trilingual staff, an effective

computer system and real-time communications facilities,

we can meet these everyday challenges.

At LP ART, your contact, from the order to the bill, is the coordinator.

The fact that he is thoroughly familiar with his role ensures efficiency

and facilitates collaboration.

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WHAT HAS TO BE COORDINATED ?

Transporting exhibitions involves a series of customized

operations that must be coordinated quickly and according

to a defined budget (e.g. 25 foreign arrivals, 10 regional

arrivals, 15 truck journeys in Paris). For each operation,

everyone involved must work in perfect coordination.

An air arrival for instance, will involve :

> the lender and his courier,

> the dispatching agent,

> the airline,

> our supervisor at the airport,

> our customs clerk,

> our drivers, with a truck and suitable equipment,

> the staff of the museum borrowing the works.

Coordination is a genuine profession involving assessing,

planning and managing all these movements.

WHAT CONDITIONS ARE NEEDED FOR

EFFECTIVE COORDINATION ?

At least three conditions are necessary for good coordi-

nation of all these movements :

> Knowledge of all the aspects of the profession : routing

(air, land or sea), packing, handling, security rules,

administrative and customs formalities, etc

> Rigorous method : operations are organized and

conducted in a defined order, ensuring that all the data

are available and that coherent instructions are issued

at each stage of the operation. The exhibition coordi-

nation software installed by LP ART creates an obligation

as to method and uniformity of the procedures and the

documents issued. It leaves room for initiative while

banishing improvisation.

Coordination methods


> Good tools : a battery of fax machines, e-mail, GSM

communications, liaison with the central customs

computer (SOFI) and, for each coordinator, a high-

performance computer equipped with specialized

software to manage schedules and edit documents.

WHO IS RESPONSIBLE

FOR COORDINATION ?

At LP ART, eighteen exhibition coordinators are at your

disposal in Paris and elsewhere in France. Everything

affecting the protection of the works and the security of the

transport conditions comes under their responsibility. In

practical terms, the coordinator makes appointments,

orders the manufacture of the crates, draws up a packing

list, issues the various work and transport documents,

prepares the customs and fine arts documentation, makes

freight reservations and maintains permanent contact

with the lenders, borrowers and correspondents in other

countries.


How can you avoid temporary overloads ?How can you prevent problems of security or equipment damage ?How can you monitor a journey in another country from a distance ?The coordinator will be able to give you the answers.

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The coordinator’s role at LP ART

> receiving and processing the list of works to be transported,

> agreeing with the client on the methods to be set out in the estimate,

> drawing up the schedule,

> having the crates made,

> making preparations for the customs and fine arts formalities,

> making all necessary transport and travelling reservations for the works and couriers,

> ensuring security for the freight,

> organizing transportation and handling (trucks, teams, tools, etc),

> placing orders with correspondents in other countries,

> monitoring the operations and keeping the client informed on a daily basis,

> issuing the documents corresponding to each movement,

> receiving all the documents after the services have been provided,

> preparing invoices.


SITE VISIT REPORT

The site visit report is a document summarizing all the information about a work

(particularly the dimensions and materials) in order to make arrangements for

its handling and packing.

INSTRUCTION SHEET

The instruction sheet is a general document containing important technical

instructions for each operation : number of staff and resources to be available

on a particular date at a particular address.

COLLECTION/DELIVERY SHEET

The collection/delivery sheet contains all the data on the collection and delivery

addresses. The works, crates or packages to be transported are clearly stated.

The collection/delivery sheet, signed by the sender and the recipient (who

may state any reservations) is the official transport document for all road trips

in France. For foreign countries, a corresponding transport order is also

required, as approved by the French Ministry of Transport : the CMR.

ROUND

A round is a series of collections and deliveries made consecutively over one

or more days.

The document includes : the collection/delivery addresses and dates, the

number of kilometers, the departure and arrival times, the visiting times and

any useful comments.

PACKING LIST

The packing list defines the contents of the crates : number of works,

dimensions, titles and reference numbers. If there is a large number of crates,

a list of the crate reference numbers is attached to the packing list.

Works & organizationdocuments

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SHIPPING ADVICE

The shipping advice shows all the characteristics of a

consignment. The original is sent to the addressee

before departure. This is an important document, so

check it carefully.

For example, a shipping advice must include the

following information : sender’s identity, addressee’s

identity, number of crates, dimensions and weights of

the crates, flight and air waybill numbers, flight departure

and arrival times, courier’s name, payment instructions for

the consignment, insurance and specific comments.

SCHEDULE

A good schedule is simple and must be understood by

everyone involved (drivers, customs clerks, airport super-

visors and also exhibition organizers or curators). It must

be standardized for all those involved and must be easy to

amend as and when any changes occur. At LP ART, a

schedule is drawn up on the basis of the following infor-

mation : date and time of the operation, type of operation, total number of

crates, crate numbers, courier’s name, collection address, comments and

additional requirements.

Works and organization

documents

A well-drawn-up schedule is one that the client and installers understandimmediately : it is the best sign that an operation is properly under control.


Legally, each transport method has a corresponding document binding on

the carrier and limiting its liability.

TRANSPORT ORDERS

Official transport documents

Transport Transport order Use

method

Road LP ART collection/ Sufficient for any road transport

delivery form in France.

CMR international waybill For all European and international

road transport.

Air Air waybill (AWB) Single document accompanying

the freighted work. Initially, the

collection/delivery form is used

as the transport document up

to the border point in the airport.

On arrival, the air waybill is required

for customs clearance.

Sea Bill of lading The original is sent by post

(BL) and a copy accompanies

the work on the boat.

Rail CIM waybill For all rail transport.

The safety certificate

A new development dating from March 2004, the safety certificate is issued bycompanies holding authorized agent certification. The document, a copy of whichmust be attached to the AWB, sums up the package’s history from the time of itsclosing and its visual control to the time of its delivery to the airline. It providesproof that the freight is secure.

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Official transport

documents

Air waybill (AWB).

Air transport is becoming increasingly complex. Safety constraints

are getting tighter. Airports are getting busier and busier.

Airlines readily change their flights or aircraft at the last minute.

The range of fares is so wide that for the same seat on the same

flight one ticket may cost six times as much as another one.

So how do you ensure that a given consignment is properly

palletized and loaded on the planned flight with its courier ?

How do you help the courier do his job properly under optimum

conditions ? How can you be certain that a work travelling

as hand luggage will be accepted on board ?

Supervising all these operations and guiding the courier represent

a genuine assistance service to which LP ART gives its full attention.

Although difficult to measure, it requires a thorough understanding

of air transport and the mobilization of significant resources

on site at Roissy or Orly.

In practice, this means people and vehicles, spending a lot of time

in the passenger, freight and traffic areas, etc.

How to assist the courierand supervise departuresand arrivals ?

ASSISTANCE AT THE AIRPORT


PREPARING THE COURIER’S JOURNEY

The journey is prepared in liaison with the courier. Along

with his airline ticket, we supply him with a written

summary of essential information :

> airline selected, flight time and number, type of aircraft,

> flight details : non-stop or with details of stopovers, if

any,

> crate dimensions, consignment volume and palletization

implications,

> he is reminded, if necessary, that the acceptance of

hand luggage on any aircraft is subject to the captain’s

approval, whether an additional seat is paid for or not,

> type of border police document required in the country

visited,

> name of the company meeting him at the destination and

meeting place arranged,

> address of his accommodation,

> the courier is systematically required to provide a legible

photocopy of his passport to enable preparation of the

request for the badge allowing him to enter the area

under customs supervision.

ASSISTING THE COURIER

Depending on whether he is departing or arriving, the

services could be described as symmetrical.

Take, for instance, an escorted departure from Paris :

> collection of the courier at his home, at a hotel or at a museum,

> loading the crates in the truck in the presence of the courier,

> customs presentation in the special office for exhibitions,

What does courierassistance involve ?

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> delivery to the freight area,

> obtaining the courier’s badge from the airport

authorities,

> supervising palletization in the presence of the courier,

> accompanying the courier to the passenger area (with

a copy of the air waybill) for the border police formalities,

> accompanying the courier to the aircraft (with the

approval of the supervisor who has accompanied the

pallet until its loading onto the aircraft).

What does courier assistance involve ?

Freight or hand luggage ? Ask our advice in advance.May we inform you, for example, that it is now very difficult to plan trips with hand luggage on flights out of the USA.

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Using the same example of a courier leaving Paris with a

work of art, the supervisor does his job in the following

stages :

> on delivery to the freight area, checking the flight and

reservation before unloading (with specific measures for

the security of the crates in the event of a cancellation),

> unloading the crates under customs authority in the

freight area by LP ART’s drivers,

> checking the markings on the crates and making sure

that they match the documentation,

> supervising handling by the airline’s warehousemen : slow handling with a

forklift truck, positioning on the pallet and protection of the crates by putting

plastic film and netting on the pallet,

> accompanying the pallet to the aircraft and supervising loading on the

aircraft,

> giving the OK to the person accompanying the courier in the passenger

area,

> confirmation of the departure to the LP ART HQ with the pallet number (ID

code number) once the aircraft has actually departed.

Supervising a departure

It is becoming more and more difficult to make reservations because of the increasing quantities of air freight and the generalization of overbooking. As a precaution, on the day before the departure, the LP ART supervisors checkthat the reservation has indeed been recorded by the airline’s freight warehouse(and that the courier will indeed have a seat on a cargo flight).


Supervising a departure

Attention : this process takes a great deal of time and energy.Comprehensive supervision involves delivering the shipment to the airport at least four hours in advance of the flight, with three men, a truck and a followcar to take the courier from the freight area to the passenger area !

RESOURCES MOBILIZED FOR A CONSIGNMENT FROM

A PARIS MUSEUM TO THE USA ON A PASSENGER FLIGHT

TAKING OFF FROM ROISSY AT 3 PM

Hour Operation People Vehicles

9 am Customs presentation customs office. 1 customs clerk

9 am Courier collected at his home or hotel. 1 accompanying 1 car

person

9.30 am Loading at the museum, departure. 1 accompanying person 1 car

2 drivers 1 truck

10.30 to Delivery at Roissy in the freight are. 1 authorized supervisor 1 car

11 am 2 drivers 1 truck

11 am to Unloading, palletization, hand-over 1 authorized 1 car

2 pm of the air waybill and customs documents, supervisor

supervision and waiting.

2 to 2.30 pm Accompanying the courier 1 first authorized 1 car

to the passenger area. supervisor

Accompanying the pallet to the aircraft 1 second authorized

in the traffic area. supervisor

2.35 pm OK between the two supervisors. 1 authorised supervisor 1 car

1 second authorized

supervisor

3.10 pm Confirmation of departure 1 authorised supervisor 1 car

sent to LP ART’s HQ. 1 second authorized

supervisor

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AT LP ART, AIRPORT ASSISTANCE IS BASED ON :

OUR PERMANENT OFFICE AT ROISSY

Our permanent office in the Roissy freight agents terminal

enables us to intervene immediately at any time in the

airport customs area. This presence means that we are in

permanent contact on a basis of mutual trust with the

freight company managers and customs officers.

OUR AUTHORIZED SPECIALIZED STAFF

LP ART’s authorized airport staff wear badges issued by

the airport authorities.

These official passes enable them to :

> supervise palletization and depalletization in the freight

area,

> accompany the courier to the passenger area,

> accompany the pallet to the aircraft in the traffic area.

OUR INTERNATIONAL AIR

TRANSPORT LICENCE

Our IATA (International Air Transport Association) licence is proof of our

financial standing and offers several advantages :

> it guarantees our compliance with air transport regulations and IATA

standards (including the requirement for continuous staff training),

> it enables us to draw up and sign our air waybills, i.e. to supervise our

consignments directly and in complete confidentiality,

> it gives us the ability to negotiate rates with airlines.

Facilitating airport operationsand improving safety


OUR AUTHORIZED AGENT CERTIFICATION

This certification enables us to ensure freight security by issuing a safety

certificate for each AWB and deliver works four hours before the corresponding

flight leaves. Otherwise, it is necessary to deliver the crates 24 hours before

the departure time and have them X-rayed.

OUR CUSTOMS BROKER LICENCE

As approved customs brokers, we can provide the following

services :

> we can carry out all customs operations on behalf of

other parties,

> our customs bonds enable us to guarantee inward

clearance, EU transit and any other operation,

> our SOFI subscription gives us a direct link to the central

customs computer, using which, from our HQ or our

Roissy office, we can immediately carry out the neces-

sary customs operations for imports and exports. This

link with the SOFI also means that we know immediately

whether a work has to be presented to customs or not,

> our customs clerks visit customs offices in Paris every

day,

> The PDS (Simplified Declaration Procedure) that enables

us to make fast transfers to our bonded warehouse.

Facilitating airport operations

and improving safety

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Courier’s checklist

> plane ticket,

> passport,

> copy of the loan agreement,

> useful addresses and numbers,

> copy of the insurance certificate,

> packing list with crate numbers, dimensions, weights and list of items,and handling instructions,

> reports on the condition of the works and photographs of the works,

> pallet numbers and possibly their positions in the aircraft hold,

> copies of the air waybill,

> transit times and possible changes if necessary.

Facilitating airport operations

and improving safety

Watch out for drafts !In winter, remember to take warm clothing for your wait in the freight area.

Gallery owners, antiques dealers, auctioneers : you may have

to send a consignment for restoration, a sale, a private

presentation or an international exhibition. Journey times

and unit costs are your priorities.

For this type of operation, our service is more flexible than

for moving collections and exhibitions. Thanks to the professionalism

of our staff, our independent transport systems and our negotiating

capacity, we can adapt our services.

Are you familiar with consolidation ?

Do you know about our temporary storage facilities in a strong-room

or in private areas ?

Consult us - LP Service, a department of LP ART specialized

in serving gallery owners and private owners, will offer

you a rapid, economic solution.

Ask us for a quote !

How to limit costs !

GALLERY AND PRIVATEOWNER SERVICE


LP SERVICE’S SOLUTIONS

FOR THE NEEDS OF GALLERIES

AND PRIVATE OWNERS

LP ART offers gallery owners and private owners a full

range of technical solutions adapted to their transport and

storage needs and a host of management services :

> Economic packing

. Simple, economic packing sufficient for ordinary

requirements.

. Crates made at low cost by our workshop or by our

crate manufacturing partners.

. Reconditioned used crates.

> Fast transport

. Independent haulage service.

. Same-day intervention anywhere.

. LP vehicles guided by telephone.

. Assistance from our subcontractors if necessary.

> Efficient organization

. Coordination of dispatching for international shows.

. Supervision of customs formalities.

. Competitive prices thanks to our commanding position

on the market.

> Attractive rates

. Consolidated solutions for air freight and road haulage.

. A highly competitive network of European partners.

. Regular shuttle trips throughout France and to other major European

capitals.

> Simplified formalities

. Authorized agent for air freight safety.

. Advice and handling of customs formalities for temporary or definitive

imports and exports (see the chapter on Fine arts and Customs authorities).

LP SERVICE’s solutions

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. Presentation of works in our bonded warehouse without any particular

formalities.

> Personalized storage

. Storage possibilities to suit the specific requirements of galleries and

private owners.

. Wide range of services : private areas, dedicated areas, private boxes,

ordinary boxes, strong-rooms.

> Services on demand

. Insurance : we can provide insurance for all works not insured by the

principal.

. Assistance at the airport to supervise operations.

. Crates made to measure by our carpentry workshop.

. Specialized handling and equipment.


Are you sure that you need exclusive transportation ?Can your dispatch deadlines be made more flexible ?It would be a pity not to take advantage of consolidatedrates. Do you need a top of the range crate or an economycrate ? Do you need a crate at all ? If so, what about a second-hand crate ?

International shows : major rendez-vous for galleries

F.I.A.C., Chicago, Miami and Basel shows, Paris Photo, Telaf,ARCO in Madrid, Armory show in New York…

All these major shows make up large volumes to be dealtwith during short periods. LP SERVICE has all the meansnecessary to intervene under the best possible conditions :a fleet of vehicles available and staff in sufficient numbers.

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WHAT ABOUT INSURANCE ?

As a carrier, LP ART is insured for its civil and contractual

liability.

As a general rule, works are insured for all risks from nail

to nail directly by the client. Otherwise, LP ART can insure

works on demand.

No works are ever carried without insurance.

Are you wondering what budget you need to transport

an exhibition or a collection ?

Do you have to prepare a file for an invitation to tender ?

Are you looking for top quality and top value ?

Do you want to make an efficient comparison between

offers that have been made to you ?

Quite rightly, you shop around and you ask us for an estimate

and expect a rapid response. However, do you have all the information

needed to calculate the price ? Have you drawn up a transport list ?

Are all the works correctly identified and situated geographically ?

Before consulting us, think, like us, about all the details.

Our estimate will then be more reliable and the final cost

will be controlled more effectively.

Of course, you cannot foresee everything.

It’s our job to help you.

How to requestan estimate ?

ESTIMATES AND ORDERS


As you may well imagine, the estimate is a decisive phase in reaching a good

agreement on an operation, especially when a large number of works in many

different locations have to be assembled and then returned to their countries

of origin.

To respond clearly to your estimate request, we first need a good transport list,

i.e. a list that clearly classifies and identifies the works, address by address and

then work by work.

If you are an exhibition organizer, remember to give us the following information

for each work :

> Exact address of the collection venue : California is not an adequate address:

the costs will be different if the work is in San Diego or Berkeley.

> Characteristics of the collection venue : fourth floor without a lift ? Six

meters above an altar in a provincial church ?

> Type of work and dimensions : oil on canvas, 220 x 182 cm with or without

frame, silver casket with incrusted ivory, height : 15 cm, diameter: 18.5

cm.

> Title and artist’s name : the bare minimum to identify a work !

> Inventory N° : for works in museums.

> Identity of the lending owner : is the lender a private owner, a gallery or a

museum ? In the case of an export, the formalities are not the same.

> Lender’s requirements : which type of crate is requested ? Will there be a

courier ? The type of operation depends on this information.

> Year of creation and value of work : depending on the country of origin, this

data makes it possible to find out whether the operation is covered by fine

arts export controls.

> Customs status of the work at its collection address : is the work under

customs authority or does it belong to the lender at this address ? Don't forget

What makes a good transport list ?

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Attention! Please specify whether the dimensions of your work are in centimeters or inches and remember that it is the convention among carriersto note the dimensions of crates as length x width x height.


OUR ESTIMATES ARE MADE UP

OF FIVE KEY ITEMS :

> Crates

When the crates are made to measure, the price

depends on the category and dimensions. It is calculated

per « developed square meter », i.e. the total surface

area of the six sides. Our price lists take into account the

amounts of materials used (wood, foam, screws and

bolts) and the labour needed to make the crates.

> Packing

This item includes the work of our installers to wrap the works in soft

packing or pack them into crates. If crates are used, the item includes

transport of the empty crates to the packing site and the time spent packing

the objects into the crates.

> Administration

We or our correspondents provide a service involving permanent monitoring

for each operation : fine arts and customs formalities, visits by our staff to

customs offices, regular contacts by fax and phone, updating schedules, etc.

These costs are estimated by the hour.

> Transport

Trucking is estimated by the hour and by the kilometer according to the type

of vehicle used. Air and sea freight prices are obtained from companies for

each operation ; they are calculated either by the kilogram, on the basis of

the actual weight or weight-cubic capacity (at a rate of 166 kg per cubic

meter), or by the pallet or container.

> Courier costs

Courier supervision and assistance are priced on the basis of the time

spent. The cost of air tickets is supplied to us by the airlines.

The key items in an estimate

LP ART TH E GU I DE • 2 Estim

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Why LP ART’s estimates have areputation for being well drawn up

OUR ESTIMATES ARE DETAILED : each item concerns a clearlyidentifiable, measurable service provided. Above all, weexplain our choices: why a particular operation requires fourinstallers, why the consignment should transit via Chicagorather than New York, etc.

OUR ESTIMATES ARE CHRONOLOGICAL AND DESCRIPTIVE : wedescribe the trip as such to provide a clear understandingof all the specific constraints involved in each made tomeasure operation and foresee the overall process.

OUR ESTIMATES ARE PRACTICAL : the schedule can bededuced directly. With information on the number ofconsignments and details of each round, all we have to dois agree on the dates.

OUR ESTIMATES ARE ISSUED QUICKLY : you have to meet thedeadline of an exhibition or other event. It has taken youweeks to assemble all the information for the transport list.Now it’s up to us to save you time.

The key items in an estimate

Are you sure that you have considered everything : transport methodsand times, types of packing approved by the lenders, administrativeand customs formalities ?To avoid unpleasant surprises, ask LP ART’s specialists for advice !


A clear, precise estimate will help you place your order clearly and precisely.

Don’t forget the following :

> place your order in writing for a defined service and a defined price,

> make sure that the order signatory is empowered to sign,

> specify the deadline for completion of our service,

> agree on the payment dates and methods with us in advance. However,

bear in mind that if we are working together for the first time, we will

request payment on delivery.

When you make your next request for an estimate, you can use the following

example :

EXAMPLE OF A LIST COVERING TWO WORKS

How to placean order ?

Town, Type de Lender Collection Title, artist’s name, Techniques

country collection address date of creation and materials

Jackson, Public Museum 50th avenue 27302 Still life 2 Acrylic

Colorado, of Fine Art Jackson Colorado R. Falcon - 1957 on canvas

USA Fax

…………………………………………………

Tél.

…………………………………………………

Buenos Aires, Public Museo Calle 36, Pyramid Polychrome

Argentina de Arte Z.12 M. Duplantier - 1970 wood

Fax

…………………………………………………

Tél.

…………………………………………………

LP ART TH E GU I DE • 3 Estim

ates

and

orde

rs

Dimension Dimension State of Value Courier Comments

without the with the preservation

frame or base frame or base

160 cm x 120 cm 180 cm x 140 cm Good 180,000 € No -

127 cm x 66 cm Very fragile 450,000 € - Existing

x 67 cm insulated

crate

LP ART AGENCIES NETWORK

PARIS - MONTREUILHead offi ce: 274-276, rue de Rosny - 93100 MONTREUILTel. +33 (0)1 49 35 30 00 - Fax. +33 (0)1 49 35 30 10Fine art storage:Tel. +33 (0)1 48 94 95 88Fax. +33 (0)1 48 90 25 25

PARIS - LA COURNEUVEWarehouse: 34-36, rue Paul Vaillant Couturier - 93120 LA COURNEUVETel. +33 (0)1 49 92 90 10 - Fax. +33 (0)1 49 92 90 19

LYONZI Le Broteau - 69540 IRIGNYTel. +33 (0)4 72 39 20 30 - Fax. +33 (0)4 72 39 12 13

NICEZI des 3 moulins - 400, avenue Henri Laugier - Bât A - 06600 ANTIBESTel. +33 (0)4 92 91 10 12 - Fax. +33 (0)4 93 65 81 16

TOULOUSE55, avenue Louis Bréguet - 31400 TOULOUSETel. +33 (0)5 62 47 07 77 - Fax. +33 (0)5 62 47 04 14

NANTES28, rue Louis Pasteur - 44119 TREILLIERESTel. +33 (0)2 51 12 00 98 - Fax. +33 (0)2 28 01 37 37

CAIRO17, AL Ahram St - Heliopolis - Cairo - EGYPTTel. +202 690 56 55 - Fax. +202 690 56 54