a guide to transporting works of art and exhibitions
TRANSCRIPT
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
word
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.
Why LP ART has produced a practical guide
Fore
word
LP ART TH E GU I DE • 2
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.
Why LP ART has produced a practical guide
3 • LP ART TH E GU I DE
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.
Why LP ART has produced a practical guide
Exhibitions department
Galleries department
Logistics and routing
Packing workshop
Airport supervision
Customs Department
THE LP ART TEAMS IN PARIS IN
Fore
word
LP ART TH E GU I DE • 3
Lyon
Nice
Toulouse
THE LOCAL LP ART AGENCIES
Why LP ART has produced a practical guide
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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LP ART TH E GU I DE • 1
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
2 • LP ART TH E GU I DE
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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LP ART TH E GU I DE • 2
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
3 • LP ART TH E GU I DE
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 TH E GU I DE • 3
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
4 • LP ART TH E GU I DE
> 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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LP ART TH E GU I DE • 4
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
Boeing 767 Passenger Hold : 163 cm Ten-foot pallets
and containers
Boeing 777 Passenger Hold : 163 cm Ten-foot pallets
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
5 • LP ART TH E GU I DE
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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LP ART TH E GU I DE • 5
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.
6 • LP ART TH E GU I DE
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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LP ART TH E GU I DE • 6
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
7 • LP ART TH E GU I DE
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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LP ART TH E GU I DE • 7
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
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LP ART TH E GU I DE • 1
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.
2 • LP ART TH E GU I DE
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
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LP ART TH E GU I DE • 2
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
3 • LP ART TH E GU I DE
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
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LP ART TH E GU I DE • 3
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
Waterproof seal between crate and 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
Waterproof seal between crate and cover
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
4 • LP ART TH E GU I DE
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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LP ART TH E GU I DE • 4
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.
5 • LP ART TH E GU I DE
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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LP ART TH E GU I DE • 5
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.
6 • LP ART TH E GU I DE
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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LP ART TH E GU I DE • 6
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.
What packing should you use ?
Total
7 • LP ART TH E GU I DE
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,
What packing should you use ?
Pack
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LP ART TH E GU I DE • 7
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.
What packing should you use ?
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).
What packing should you use ?
8 • LP ART TH E GU I DE
Packing a Houdon sculpture.
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LP ART TH E GU I DE • 8
WAREHOUSING
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LP ART TH E GU I DE • 1
2 • LP ART TH E GU I DE
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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LP ART TH E GU I DE • 2
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.
3 • LP ART TH E GU I DE
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.
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.
Oriental antiquities department, Musée du Louvre.
Oriental antiquities department, Musée du Louvre.
4 • LP ART TH E GU I DE
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).
Oriental antiquities department, Musée du Louvre.
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LP ART TH E GU I DE • 4
* 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
LP ART TH E GU I DE • 1
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.
2 • LP ART TH E GU I DE
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
3 • LP ART TH E GU I DE
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.
4 • LP ART TH E GU I DE
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
of the French Ministry of Culture.
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
5 • LP ART TH E GU I DE
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
of the French Ministry of Culture.
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
2 • LP ART TH E GU I DE
> 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.
Coordination methods
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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Coordination methods
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.
3 • LP ART TH E GU I DE
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.
4 • LP ART TH E GU I DE
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
LP ART TH E GU I DE • 1
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).
3 • LP ART TH E GU I DE
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
4 • LP ART TH E GU I DE
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 ART TH E GU I DE • 1
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.
LP SERVICE’s solutions
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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LP SERVICE’s solutions
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
LP ART TH E GU I DE • 1
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 ?
Estim
ates
and
orde
rs
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.
2 • LP ART TH E GU I DE
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
ates
and
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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 !
3 • LP ART TH E GU I DE
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
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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