The International Journal of Museum Management and Curatorship (198 51, 4. 4 l-52

Moving Pictures

A seminar organized by the Tate Gallery for the Area Museum Service for South-east England, 6 June 1984. (All three papers selected were originally illustrated by photographic slides. Minor alterations have therefore been made by the authors to clarify their texts.)

I. Framing for Loan

PETER BOOTH

Anything which is placed near a painting represents a potential risk to that painting. This is one of two factors which a conservator concerned with outgoing loans cannot afford to ignore. The other is that the average painting on its stretched canvas together with its frame is an unrefined (not to say crude) structure. This crudeness, and even some weakness related to ageing, may be of little relevance if the picture is allowed to hang quietly on a gallery wall but if that picture is moved-and particularly if sent on loan-these inherent defects assume greater importance.

A traditional canvas painting can be thought of as a multilayered membrane. The composition and the permanence of the structure as a whole is complicated by character and behavioural discrepancies in the different layers. The paint film, for instance, is generally rich in oil medium and plastic whereas the priming (the ‘ground’) is relatively stiff and brittle; the canvas is flexible and provides general support for ground and paint, while the stretcher on which the canvas is mounted is relatively stiff and the open nature of its framework provides only localized support for the canvas and paint films. Canvas reacts to changing humidity, oil paint, to all intents and purposes, does not. Without elaborating these points any further it can be seen that the possibilities for structural failure are a permanent feature of a painting and, as mentioned, these inherent defects are made more real by travel. Furthermore, with travel and manhandling of the frame the simple risks of puncture and abrasion are also magnified.

Having painted this somewhat despondent picture it is worth noting that (given enough time) a high proportion of small and average-sized paintings in traditional frames can be made satisfactorily safe for loan. The emphasis here, however, is on the act ofmaking a painting safefor loan, at the same time ensuring that any alterations carried out, such as Perspexing of the frame, do not pose new problems of their own. A close examination of both the picture’s structure and that of the frame forms an essential part of the Tate Gallery’s agreement to lend. The structure of some pictures renders them unsuitable for travel at any time, of course, but in excess of 200 Tate works are approved for loan each year. A high proportion of these have traditional frames which are treated in the way outlined in the short video film Moving Pictures. Much faith is put in the protective role of the picture frame, but the frame nevertheless comes within the category

0260~4779/85/01 0041-12 $03.00 @ 1985 Butterworth & Co(Publishers) Ltd

42 Moving Pictures

of a potentially hazardous object close to the painting, and must first be rendered harmless to the painting. In the process of providing this very elementary form of conservation it proved to be only a short step to transform the frame into something which can offer more positive forms of protection against outside influences. This is done, where possible, within the three basic functions of the frame. These are seen as (i) the decorative or display function, (ii) that of containing and protecting the painting, and (iii) that of providing the means to hang the painting on the gallery wall with security.

The front moulding of the frame-the display aspect-is usually left unchanged apart from carrying out any basic repairs that are necessary. Smaller traditional frames, however, are usually glazed with Perspex, and, in conjunction with a timber build-up to the frame’s reverse to which is attached an oil-tempered hardboard, it is possible to protect the painting from abrasion, puncture, direct pressure and the damaging effects of rapid humidity change. The presence of a dust-sealed and adequately rigid sheet of Perspex at the front and a similarly sealed robust sheet of board at the back helps, by trapping air, to cushion canvas flap during travel. The total enclosure of a painting, the containment, can be considered to have been carried through to its logical conclusion only if this part of the frame remains sealed. Whenever possible, therefore, the picture hanger is provided with an independent timber structure for the attachment of hanging fixtures (Figure 1). Whatever type of hanging fixture is used on a traditional frame its security will depend on firm penetration of sound timber, which must itself be firmly attached to the main body of the frame. At the same time it has to be borne in mind that if the hanging fixture timber is too narrow it will be inclined to split, and if the added fixture timber is softwood and

Figure 1. Frame with double build-up and method of fitting with Perspex and backboard. 1 e Fixture build up P

P. BOOTH, T. GREEN AND C. L. SITWELL 43

of less than, say, 1 cm thickness, it will again be likely to split. It need not split, of course, if the fixture screwholes are carefully pre-drilled but the hanging of a short-term exhibition is invariably a hurried affair with the technicians concerned being given little time and little encouragement to find the best way of hanging a frame. The ‘best’ way of hanging a frame is understood to be one which is secure but which does not imperil the future hanging security.

The design of timbering at the back of an averaged-sized Tate Gallery frame will try to anticipate the use of ‘mirror-plates (as well as other fittings) by ensuring that the fixture timber forms the rearmost and outermost feature of the frame. The depth of timber involved in these modifications will not usually disfigure a large or medium-sized frame, but smaller frames will often appear too chunky if given the usual form of double build-up. When a picture is hanging on the wall, of course, it will be the timbering on the vertical edges which will be readily visible and which may prove disturbing to the gallery visitor. Fortunately it has been found safe to hang small frames using ‘mirror-plates’ at the top and bottom edges, and so an unsightly thickness of hanging fixture timber can often be omitted from the vertical members of frames of this size. Assuming that a frame modified in this particular way has sufficiently thick and sound original timber, it can still be hung from the vertical edges using plate-hooks or screw-eyes if the gallery concerned so wishes (Figure 2). Curiously enough it is also large or, more to the point, heavy pictures which are hung using the top and bottom edges: wall brackets will be used under the

Hanging Batten

Figure 2, Frame with limited build-up: containment and hanging battens only. / n Hanging Batten

44 Moving Pictures

bottom edge to support the main weight of a heavy frame in conjunction with more common fixtures near the top to prevent the frame from toppling forwards. At the other end of the weight scale are those frames with a working section of 11% inches (say 4 cm) or less. If the containment area of the frame is to remain sealed and complete, it must be made clear to the picture-hanger which parts of the frame are for hanging fixtures and which are to be regarded as sacrosanct. If such a frame is 1% inches wide (say 3 cm) at the back, and is being given a new build-up, it will prove worthwhile to provide a shallow rebate for the backboard of about half an inch (say 12 mm) width and leave the remaining three-quarters of an inch (18 mm) free for hanging fixtures. If the frame section at the reverse is any narrower than this, or a new build-up is not being attached, it tends to be more practical to attach the backboard to the full width of timber while shaping it in a way that leaves the principal hanging fixture areas of the frame exposed.

Both the full double build-up, and the type limited to hanging battens at top and bottom, have been used for a hundred years or more. Modern frames by comparison tend to be very much lighter in both weight and general appearance. Unfortunately the protection they can offer the painting is similarly lightweight: both the containment function and the hanging function are frequently neglected. It is a question of practicalities. A light modern frame may prove to be both sightly and safe in a quiet domestic setting, but in a busy public gallery repeated handling, rehanging, transport to store, and loan render the more mundane functions of the frame of paramount importance if the unique museum object it holds-the painting-is to survive. To run over these functions again: the frame should have a pleasing appearance, should contain the painting safely, and should provide the means for hanging the picture securely on the wall. The conservation department’s general approach towards this end will be to make the most of the possibilities at the back of a given type of frame without significantly altering the appearance of the front.

If the Tate then acquires a modem canvas painting which has either no frame at all or one which comprises no more than light battening pinned to the stretcher edges, steps are taken to provide the painting with an alternative form of protection. In the case of a canvas which is displayed without a frame the painting is given a storage frame of simple structure to which it is mirror-plated and in which it can be moved around the gallery and stored with a greatly reduced risk of puncture or abrasion. This frame allows polythene to be stretched over the painting without risk of contact between it and the paint film, and is fitted with drop handles to facilitate handling. This storage framing system can be utilized also when sending paintings on loan. It is, as its name suggests, not a frame in which the painting is displayed but one to which it is returned, after unframed display, for carrying and storage purposes. When confronted with a canvas bearing a simple pinned batten frame it usually proves more practical in the long term to remove the batten and replace it with an L-section display frame which will appear similar from the front but which incorporates at the back a sufficient thickness (and width) of timber for the attachment of hanging fixtures. This sort of frame can be made with a capacity a little larger than the painting to allow for any future keying out of the canvas. After attachment, the L-section of its timbering will help to stiffen and strengthen more flimsy picture supports. Moreover, if the L- section display frame is designed so that its forwardmost edge is proud of the painting’s surface, it reduces the risk of disfigurement caused by fingering during gallery hanging and at other times of picture movement. If, at the design stage, it were thought that this protective projection would be likely to cast an unacceptable shadow along the top edge of the painting, the projecting section of the frame can be moved outwards and away from the painting. A type of frame used widely in the USA follows this principle but includes a recessed, dark-stained beading. The dark- coloured beading immediately next to the painting has the added advantage of facilitating photography of the painting in its frame.

P. BOOI H, T. GREEN AND C. L. SIWEI.I. 4r

Figure 3. This frame section was amongst material shown to those attending the AMSSEE Seminar at the Tate Gallery on 6 June 1984. It illustrates a method of frame adaptation used by the conservation department to protect many of the Tate’s paintings from the hazards encountered on loan. Attached to the frame’s hanging fixture timber is a prototype swivelling plate which would obviate the need for fixture removal, and which, with the ‘double build-up’ principle shown, could be _I a used in either a chain-hung or ‘mirror- plate’ capacity.

In a gallery like the Tate the term ‘painting’ covers an unusually wide variety of artefacts, and the frames in which most are exhibited are similarly diverse in character. It may not always be possible to offer a painting the comprehensive protection of, say, a frame fitted with Perspex and a double build-up, but maximizing a particular type of frame’s potential is always the aim. A damaged painting can only be restored-it cannot be ‘undamaged’-and thoughtful framing before a loan out can go a long way towards avoiding such damage.

II. Packing for Transport

TIMOTHY GREEN

Transporting paintings is always a risky venture. There is the slight possibility that an accident may occur in transit or during loading and unloading. The painting may be subject to changes in relative humidity (RH) and temperature. So a painting used to a particular environment may develop new structural problems. Sufficiently high RH may lead to mould growth, or condensation may even form. Vibration from the transporting vehicle will be transmitted to the painting, possibly weakening its structure. Therefore, paintings are usually provided with some form of protection. For national loans, when loading, transporting and unloading can all occur in a single day, it may be adequate to provide corner protection and to wrap with polyethylene sheeting. Otherwise a packing-case should be provided to protect against high overnight RH. Potentially, the additional protection a packing-case affords is considerable. How close any institution is to designing packing-cases that realize the greater part of this potential is far from certain as surprisingly little assessment has been made of particular packing-case designs.’

At the Tate Gallery a fairly standard specification has been used for several years (see Appendix 1). To see if this could be improved in any way, a series of tests were undertaken.

46 Moving Pictures

These began with environmental tests to measure the response of the case interior as the external conditions varied. RH and temperature were monitored in a test packing-case over a period of several weeks. The packing-case was in an area open to the external environment. A surprising general trend was observed. As the temperature within the case rose in response to external conditions, so did the RH. This occurrence was explained by G. Thomson in 1964.* However, such work has been applied mainly to the problem of controlling the environment within show- cases. Temperature is usually well controlled in museums (at around 2 1 “C) for the comfort of both attendants and the public. Paintings do not protest so vocally and may be exposed to temperatures well outside the usual museum range during transit. This is an important difference especially when RH levels are considered. The key factor is the dimensional stability of the painting support. Losses or gains of moisture result in contraction, expansion or warping. The applied ground and paint films are little changed dimensionally by moisture and so resist the movements in the support. From the stresses that are caused, various forms of deterioration may develop or worsen.

The moisture contents of wood and canvas will not remain stable if the temperature changes but the RH remains the same. This is because wood and canvas are able to absorb increasingly more moisture as temperature falls. (The opposite is true with rising temperature.) In a polyethylene-lined case, such as is used by the Tate Gallery, the large bulk of hygroscopic material dominates the RH of the small volume of sealed-in air. Inevitably the RH changes to a level that is in equilibrium with the moisture content of the wood, canvas and packing foam. However, the response to temperature change should be the same in the various hygroscopic materials in the packing-case. If there is a difference, significant amounts of moisture may transfer between the solid materials via the air. For example, there is approximately 16 per cent difference in the moisture content of wood at temperatures 2 5 “C apart, assuming a stable RH. By comparison, the effect on the moisture content of silica gel with temperature change is negligib1e.j Consequently, including significant quantities of this material in a packing-case, so that a more stable RH is maintained, will in fact result in greater dimensional changes in the painting support. Moisture will transfer between the silica gel and the painting support via the air.

The effect on RH of the polyether chipfoam was displayed in the first series of tests at the Tate Gallery as no frame or painting was included in the packing-case. With changing temperature the chipfoam had an immediate effect on the RH, presumably as a result of the foam’s open structure and hygroscopic nature. These findings do underline the importance of allowing a painting and its packing-case time to reach an equilibrium state with the same environmental conditions, otherwise any imbalance in moisture content will even out during transit (no matter how carefully the temperature is controlled).

The rate at which temperature changes inside a packing-case is important as a longer period allows stresses in the painting’s structure to dissipate more safely. A useful constant factor with which to compare the insulation properties of packing-cases is temperature change half time (t 0.5). For an instantaneous ‘stepped’ change in external temperature, the rate of change of internal temperature will be proportional to the temperature difference between inside and outside the packing-case. To determine the t 0.5 for the Tate case a second environmental test was performed. From the results a t 0.5 was calculated to be 10.4 hours. Whether or not 10.4 h is an acceptable t 0.5 is debatable. Left for sufficiently long, the temperature within a packing- case with even several feet of insulation will eventually change to the ambient level. The more sensible approach is to provide insulated and heated lorries for winter transport. This was in fact done for the Pre-Raphaelite exhibition, the works for which travelled to the Tate during January and February 1984. Provision of a heated lorry allowed 2 inches of insulation to be specified for

P. BOOTH, T. GREEN AND C. L. SITWELL 47

the packing-cases. This insulation was thought necessary for times when the cases would be placed in unheated areas during loading and unloading. However, when heated lorries are used it is crucial that the paintings are sealed in some way. In winter, heating the cold external air will produce low RH levels in the lorry. At the very least, framed paintings should be wrapped with polyethylene and completely sealed.

The limits for RH determined for the museum environment4 at least provide a yardstick with which to assess the conditions within a packing-case. As the RH remained within 40-60 per cent during our enviromental tests, the packing-case can be said to have performed reasonably well. No such limits exist to help assess the performance of the packing-case when subjected to shock and vibration tests, and to allow useful results to be obtained it was first necessary to decide a programme of drop tests to represent the most likely accidents.

1. A 6 inch drop to simulate a fall from handling equipment such as a two-wheeled trolley. 2. An 18 inch drop to simulate a fall from a fork-lift truck. 3. A 3 6 inch drop to simulate a fall from a lorry’s tail-lift platform.

(For this initial series of tests, the drops were made onto the flat base of the case.)

4. One end only of the upright case to be lifted 6 inches and dropped. 5. Test 4 repeated, but with one end dropped from 18 inches.

(These two tests were to simulate the drop which may occur when the packing-case is pivoted on one end to remove a two-wheeled piano trolley from beneath it.)

6. A topple test: for this test the packing-case to be balanced on the long base edge and then released so that the packing-case impacts against one of its large faces.

A framed and primed test canvas on a wooden stretcher was packed into the test case. This was fitted with a tempered hardboard backboard. The maximum impact accelerations in Table 1 are

given in multiples of ‘g’. One g is the acceleration caused by the force of gravity.

Table 1. Results of the Drop Test

Impact against

Flat base (Test 1) (Pivot on end) dropped onto base (Test 4) (Pivot on end) dropped onto base (Test 5) Flat base (Test 2) Flat base (Test 3) Topple onto large face (Test 6)

Maximum force of impact (peak g)

Height measured at:

of the Picture Base of drop (in) frame the case

6 18.4 2F.9

6 7.6 21.3

18 11.4 36.8 18 27.8 83.0 36 49.0 130.4

25.9 32.1

From the results, two points of the standard specification were seen to be unsatisfactory. In the topple test the cushion against the backboard proved to be far too rigid. This is because of the large area of contact this cushion has against the backboard. In the light of this, a polyether foam

48 Moving Pictures

of 6 oz density is now specified. Secondly, it can be seen that the foam strips are generally too rigid to absorb the shock from the 6 inch drop. This can be seen by comparing the ratios of the peak g as measured at the picture frame and base of the packing-case. After the sequence of drop tests had been completed, the packing-case was opened and the contents examined. The primed canvas had suffered no visible damage. However, the top left corner mitre of the frame (as viewed from the front) had opened noticeably. Also, several very small fragments of gesso and gold leaf had detached.

The same test packing-case was also subjected to vibration tests to determine at which frequencies the case resonated. At resonance the packing-case and foam will in fact amplify the vibration energy. In the test, the maximum amplification was found to occur at a frequency of 2 1 cycles per second (2 1 Hz). At this frequency the frame was measured as vibrating with 4.9 times the energy of the vibration being applied to the packing-case. This is of concern, as conventionally sprung lorries vibrate most energetically at IO-20 Hz. It is a fact that any design of packing-case will resonate at one characteristic frequency. However, this should be designed to occur at a frequency of low energy in any of the common transporting vehicles. Some comfort can be drawn from the commercial rule of thumb that amplifications of ten or more are necessary before a packed item is damaged. Also Tate packing-cases are commonly transported on conventional lorries with no visible adverse effect. Further work needs to be carried out to determine what exactly are the effects of vibration on paintings.

Following the tests, several modifications to the Tate packing-case specification have been justified. A less resilient cushion against the painting’s backboard is now specified. Two-inch thick insulation has proved to be sufficient for loans throughout late spring to early autumn. The possibility of changing the type of cushioning foam is being investigated. The test results obtained will hopefully serve as a useful reference for other similar studies. Eventually it is to be hoped that much-needed standards for packing will be established.

References

1. N. Stolow, ‘Standards for the care of works of art in transit’. Lmabn Cmji7ence on Museum Climatology (NC, 1967).

pp. 27 l-284.

2. G. Thomson, ‘Relative humidity-variation with temperature in a case containing wood’. Studier in Conservation (UC), Vol. IX. No. 4, 1964, pp. 153-169.

3 N. Stolow, op. cit. Note 1, p. 272.

4. G. Thomson, The Museum Environment (Butterwonhs, 1978), pp. 84-85.

Appendix: The Tate Packing-case Specification

Construction. The outer wooden casing is fabricated from 12 mm (0.5 in) thick plywood panels. The six faces are joined and reinforced where necessary with 7 5 mm x 2 5 mm (3 in x 1 in) wood battens. All the battens are attached to the outside of the case with screws and glue. Two additional cross-battens are attached to each of the four case edges to locate the case lid but those on the bottom (base) edge are in the form of 7 5 mm (3 in) thick wooden blocks. Usually one of the large side faces is removable and serves as a lid. The lid is attached with captive bolts, approximately one every 3 80mm (15 in) of case edge. The case exterior is covered with three coats of paint.

Packing materials. The inside of the case is lined with a continuous sheet of 1000 gauge polyethylene. This serves as a moisture barrier. The polyethylene is held in position by the packing materials and is folded to make overlapping flaps on the face adjacent to the lid.

P. BOOTH, T. GREEN AND C. L. SITWELL 49

P = 100 mm (4 in) thick insulated expanded polystyrene.

Eg = 3 7 mm (1 .S in) thick polyether chipfoam cushions, 6-8 lb density

III. Packing: A Range of Alternatives

CHRISTINE LEBACK SITWELL

Packing a work of art for local or long-distance travel presents numerous problems for the unfortunate museum staff member on whom this responsibility falls. Although this problem faces both large and small museums, the latter must rely not only on their own experience but also on information which can be gleaned from the larger museums that participate in this exercise on a larger scale and with more frequency. Over the past few years, greater emphasis has been placed on transporting works of art. The concerns have focused not only on the design or construction of the packing-case in relation to its protective capabilities, but also the practical handling aspects and financial considerations in relation to its initial cost, storage and reuse. It is this latter area, or what Wall Street accountants would refer to as ‘financial utilization of

investment’, which is the primary concern of this paper. Just as the Tate packing-case has been designed to be reused, in that it has a robust wooden

exterior and an adjustable interior which can accommodate paintings of relatively similar size, so too have other packing-cases been developed with this consideration in mind. Because of constraints, it is possible to discuss only four types of packing-cases: one modified wooden construction; one aluminium; and two moulded plastic. The National Gallery, in conjunction with Dristyle Products Ltd, have developed a wooden packing-case constructed of phenolic- faced plywood joined and sealed with ‘Dripak’ corners and edges. ‘Dripak’ is an extruded elastomer strip which serves to weatherproof the case and imparts shock-absorbing properties to the exterior of the case. The interior is lined with polyethylene foam, ‘Plastazote’, and has adhesive-backed ‘Plastazote’ corners and edge pieces which can be placed within the case to accommodate different-sized paintings. To overcome the costs of one-off cases which, in

SO Moving Pictures

general, were seldom reused, the National Gallery decided to develop a range of standard-size cases. It undertook a survey of 249 framed paintings in its collection in order to determine the percentage of paintings at certain sizes. From the results of the survey, they were able to select three standard sizes whose internal dimensions could accommodate a range of given painting sizes. Not only did this assist in the manufacturing process but it also provided a system of efficient packing. To pack paintings which fell outside the available sizes, one-off packing-cases could be made by modifying the case construction. Shock, vibration and environmental control were also part of the design proposal and the case has been tested to determine its effectiveness in these areas.

A similar project was undertaken by the West German fine art packing firm, Schenker. The packing-case is called KTS Climasafe. It is a sandwich-type construction consisting of an outer skin of aluminium, several layers of insulating material and an inner skin of plywood covered with velvet. The case has been designed to incorporate the insulating material within the case walls thus the walls are quite thick, being approximately 8 inches. However, this construction strengthens the exterior walls and eliminates the use of insulating block material within the case. The major emphasis has been on environmental control, and a supplementary storage plate can be added to the case to further stabilize the temperature and humidity levels. The internal packing system consists of polystyrene corner blocks or other suitable material which must be cut to fit each particular painting. These packing-cases are available in five standard sizes and tend to be larger in size than the National Gallery cases. Special sizes or versions of the design can be manufactured.

The third type of packing-case is a moulded polyethylene case supplied by Ferranti ORE of Middlesex. The case is a commercial product which has had extensive use in the offshore oil industry for transporting delicate equipment, but it has recently been used by one or two museums in the United States for transporting art objects. The case consists of a double wall of high-impact moulded polyethylene and has been designed specifically as a reusable case. It has been tested for shock and vibration in terms of the structural strength of the case. An internal foam cushioning system is used to protect the object and a variety of different foams and plastics are available. They can be cut to a particular size or design. Although the case is supplied in approximately 60 sizes, the sizes tend to be small and square in format. There are, however, some sizes which are large and rectangular and, therefore, more suitable for single paintings. Its primary use in the United States has been for the packaging of small objects, prints, drawings and paintings.

The fourth packing-case, the Art Networks case, has been designed by the author in conjunction with a London design firm called the Design House. The case consists of two tray- shaped, vacuum-formed, high-impact ABS plastic sections protected by an aluminium framework. The plastic walls of the case are of a sandwich construction with an internal layer of polyurethane foam which acts as the insulating material. The base of the case is a pallet which incorporates shock-absorbing mountings. The interior houses two aluminium suspension frames, each attached by shock mountings to the inner side of each plastic tray. The painting is held on the suspension frame by means of pre-tensioned straps and cushioned buckles and mounting-plates. By sliding the buckles along the straps, the suspension frame can accommodate different-sized paintings. Overlying the painting is an insulation blanket which serves to further protect the painting and helps to maintain humidity levels within the case. Like the other cases, this case is also available in standard sizes. In addition, the case is to be tested for shock, vibration and environmental control. Concurrent with the testing, a pilot scheme involving four packing- cases will be undertaken during which time any interested museum can use the case to assess its suspension system and handling properties.

P. BOOTH, T. GREEN AND C. L. SITWELL 51

Having provided a description of each case and its construction, it is now worthwhile to assess

how effectively the cases can be employed. Firstly, one should consider the reusability of the packing-case. Wooden cases, unless very well constructed, suffer from the inherent defects of wood which can eventually render them useless. The wood can distort if exposed to varying climatic conditions, and it can splinter or split under impact, particularly at the outer edges. On the other hand, the use of treated plywood and composite aluminium or plastic materials renders the case less susceptible to climatic variations and increases its impact strength. Each case has been specifically designed for multiple trips unlike a one-off wooden case which may be designed to last for one trip.

Another important aspect is the use of standard-size cases with adjustable interiors. For a particular standard size, the range of paintings which can be accommodated is established, thus eliminating the cumbersome calculations for a multitude of one-off cases. Except for the Art Networks case, the cases require that the internal packing materials be cut for each painting. This procedure involves time and a ready supply of materials, but should not be considered a complicated process. Technically, the type of packing material and its size will determine the vibration and shock-absorbing characteristics of the case and, therefore, it is necessary to ensure that with each packing the correct amount of cushioning material is used inside the case. On the other hand, the Art Networks case incorporates the major vibration and shock-absorbing elements within the exterior construction of the case and thus it is hoped that the system will provide a consistency in its vibration and shock-absorbing properties.

Standard-size cases also provide an advantage in terms of handling. The transhipment of a large exhibition requires the packing of numerous cases into a lorry or aeroplane. It becomes a juggling act when the cases are of a multitude of different sizes and may be hazardous when small packing-cases are balanced on the tops of larger cases. Standard sizes should reduce the time involved in packing either a lorry or airline container, and could increase the efficient packing of airline containers, thus reducing costs. The storage of a packing-case is a problem which faces any museum. If one has a reusable case it has to be stored in controlled conditions during its periods of inactivity. The KTS Climasafe case and the Art Networks case have attempted to overcome this problem by providing a rental service. The case may have to be stored during the duration of the exhibition but is returned to the company once the exhibition is completed. This idea is still in its infancy but it is hoped that it will prove successful. Although the National Gallery case and the Hardigg case supplied by Ferranti ORE are not available on a rental basis, a small stock of these cases would still be advantageous because of their reusability.

No doubt a major consideration in the selection of a packing-case is its cost. These four packing-cases may be slightly more expensive than a well-constructed wooden case, but because they can be used many times they will prove to be less expensive in the long run. In addition, one must also consider the reduced costs in terms of manpower and time. The adjustable interior packing system reduces the packing and unpacking time and standard sizes decrease the time spent in loading and unloading lorries and airline containers. As previously mentioned, two of the cases are available on a rental basis as well, and the rental price is substantially lower than the cost of a wooden packing-case. Although the KTS Climasafe packing-case is manufactured in West Germany, it is available from Pitt & Scott who act as their English agents. The only drawback to the Hardigg case supplied by Ferranti ORE is that it is manufactured in the United States, and only small stocks are available in England. The cases can be obtained from the States within two weeks but there is a shipping cost and this charge is reflected by the number of cases ordered. Therefore, it is cheaper to order a large quantity at any one time. This means that it would be more economical for several museums to place a joint order should they be interested in the case.

52 Moving Pictures

Although the twentieth century has been termed ‘the throw-away society’, such an attitude is no longer applicable. Museums in particular have to assess the cost of various aspects of an exhibition. The idea of a reusable packing-case is certainly not new, but these four cases have been designed with that as a major consideration, in conjunction with other features which

simplify the packing procedure. Hopefully, the thought and interest which has gone into this area of packing will spread to other aspects of transporting works of art.

Appendix: Suppliers

The National Gallery Case

Dristyle Products Limited 152 Staplehurst Road Sittingboume Kent ME10 1XS

David Fellowes (0795 79246)

The KTS Climasafe Case (manufactured by Schenker of West Germany)

Pitt and Scott 20 Eden Grove London N7 8ED

George Scott (0 l-607 7 3 2 1)

The Hardigg Case (manufactured by Hardigg of the United States)

Ferranti ORE Limited

Ocean House 6 3 Windmill Road Sunbury-on-Thames Middlesex TW16 7DT

David Hampshire (09 3 27 8 18 18)

The Art Networks Case

AK Networks Inc. Saracens House Corton, Nr Warminster Wilts BA 12 OSZ

Christine Leback Sitwell (0985 50227)

Art Networks Inc. 156 15 Memorial Drive

No. 6 Houston TX 77079, USA

(713-493-1454)