Archive for the ‘Shipping’ Category

What can we don’t for you?

Tuesday, September 27th, 2011

In a service business, any service business, it’s a good thing to say yes to your customers. Yes, we can help you with that. Yes we can meet your deadline. Yes, we’d be pleased to handle this or that detail for you. Yes, we provide all the services you need. Yes, we’re friendly and helpful and, to particularize to our business, if this is your first time shipping art we will guide you though the process easel to install.

But sometimes the best thing we can say is no, or don’t.

Some examples:

An artist or gallery wants to ship a cardboard soft-packed painting overseas via air freight, as it is, without the protection of a wooden crate. In that case, we respectfully advise against it. If they insist, we politely insist back, and perhaps send them a few photos of the crates we routinely receive with footprints all over them. Or mention the percentage of crates returned to us with the shock watches triggered, suggesting the crate has been dropped or roughly handled.

Or, a potential client who is shipping a very valuable work overseas wants to declare a significantly lower value for customs purposes, sometimes far lower than the insurance coverage they have purchased on the piece. While shying away from using a hot button term like “fraud” we simply advise against it, as the undervaluation, if detected by customs, could result in seizure of the work or other unpleasantness involving financial penalties.

A favorite of our “please don’t” examples comes at holiday time. During peak travel times many airlines which normally carry packages and freight actually “bump” those cargoes in favor of carrying additional passengers. The result is often a glut of freight which can turn 2 day freight for example into 3 or 4 day freight, or worse. And “next day” becomes the next day they have room. We counsel callers during this time to add contingency days to their shipping schedule, especially where they have exhibition or other critical dates to meet. Where the time frame can’t be adjusted, we work with them to place the shipment with a specialty cargo shipper where a firm booking can be obtained in advance. Sometimes this costs more, but “costs more” is a lot better than “still sitting at the airport on the day show opened.”

Professional art handling companies like ours use their experience to guide clients to packing solutions and best carriers under a given set of circumstances. We’ve made quite a few client friends over the years by understanding when to say no and suggest an alternative. Sometimes our advice isn’t taken, and the soft-packed box shipped on December 23rd arrives intact and on time the next day and breezes through customs without the valuation fudge being noticed. Could happen. Undoubtedly has happened, but the probabilities aren’t robust. When the object or objects are irreplaceable, we want the shipping gods and odds on our side.

So if there’s anything we can don’t for you, we’re listening.

Betsy Dorfman

Antiquities looted by U.S. contractors returned to Iraq

Friday, July 8th, 2011

Photo courtesy of the FBI

The FBI has announced recovery and return to Iraq of a variety of pots, terracotta plaques, oil lamps, and other artifacts illegally seized by Department of Defense contractors in 2004. The full article can be found here:

http://www.fbi.gov/news/stories/2011/july/artifacts_070711/artifacts_070711

Estimated at 2,500 to 4,000 years old, the looted goodies were used by the contractors as gifts and bribes, or sold to other contractors who smuggled them into the U.S.  Two of the contractors were prosecuted and are serving prison terms as a result.

Tens of thousands of such artifacts are thought to be circulating in the netherworld of black markets, with the UAE being a major hub of such activity. More than 15.000 items were taken from the National Museum in Iraq alone. Destined for purchase by European and other collectors, smugglers have proven adept at avoiding customs regulations and exporting such goods either deliberately mis-identified as modern pieces or by essentially hiding them in containers and other bulk shipments of legal commodities.

As any shipping professional can attest, there simply isn’t an affordable or rational way for every shipment to be inspected by customs officials. And with terrorism the main focus of interdiction efforts worldwide, who is going to unpack and investigate the provenance of every souvenir pot, fossil, sculpture and ceramic that travels through the worldwide freight system? Unguarded borders also exacerbate the problem, although to a lesser extent. While this latest recovery by the FBI is good news, the problem isn’t going away anytime soon.

Overseas travelers should be aware that most countries have strict laws prohibiting export of  items deemed to be part of their cultural heritage. That cute little clay vase the guy on the corner sold you cheap could get you into big trouble, and as an airline passenger your personal baggage is inevitably screened and inspected. While the law may allow for leniency where the possessor had no way of knowing the item was illegal, items purchased on the street or in a “flea market” setting, and without accompanying paperwork (provenance) may be enough to suggest that you knew, or should have known, that the artifact was possibly, or even likely, illegal. Instead of adding to your knick-knack shelf, you could end up collecting time off for good behavior.

Betsy Dorfman

The Muller-Lyer Illusion — which line is the cheapest?

Wednesday, May 25th, 2011

OK, so you probably know this one… the lines are in fact of equal length. Different cultures, it turns out, react to the puzzle differently. Among westernized nations or where populations encounter right angles with regularity, the illusion holds. Viewers in these “carpentered” cultures are susceptible to the lie. However in more primitive cultures, the lines are more frequently correctly perceived as equal. The how and why specifics of this are of interest, and widely debated in various books and internet citations. I haven’t seen a discussion of this however through the eyes of an artist or sculptor, which thought was the genesis of this entry.

What if the figures above were sculptures rather than line drawings? If we assume that the elements of each are equal in size and weight, then there could be an expectation of parity in the shipping costs. Ah, but unfortunately we have now run afoul of the BSI – Budget Shipper’s Illusion. In fact the two sculptures are identical in shipping terms only if the right angle pieces on the ends of each main member are removable. If they are not removable, then the sculpture at the top would be more expensive to ship. It is longer overall in length, as the “feet” of the arrow or right angle portion extend past the length of the center line. Its volume is thus greater than that of the figure below, and hence it will be more expensive to ship in most cases. In fact it is relatively easy to see that the bottom figure in fact fits readily within the “footprint” of the top figure.

There is nothing in the scientific literature regarding the performance of the hunter gatherers relative to the BSI.  But since, dearth of right angles not withstanding, they had to hunt and then gather, as in lug around, a lot of things, they presumably knew to charge more for a bigger thing than a small one. Unless the big thing was light and the small thing was heavy. But that’s another corollary of the BSI for another day.

Betsy Dorfman

Crate of the month club

Monday, April 11th, 2011

Crates come in all sizes.

This one is from our “extra bedroom” series.

Looks like we might need that handy expand- a-truck tool…

Just another day at the office.


Oops — the big crate that couldn’t

Thursday, March 24th, 2011


Fit through the door, that is.



There’s lots of chatter in the art handling blogosphere (yes, there is one) today thanks to a posting of this video on You Tube. Much commentary along the lines of how this has happened to every art handler at some time or another, which it likely has. In most cases, thankfully, sans police, photographers, and marching band…

However there is a concept we like to call “reverse logistics” or back to front planning, which can help avoid these problems in many cases. This starts by  finding out up front what is going to happen to the shipment at the destination.

What type of building is it going into. Office building? Residence? Museum or gallery? Loading dock or not? Will it need to fit into an elevator? Does it have to fit through a doorway or what is the smallest point of access that needs to be negotiated en route to the final resting place of the goods?

If the right questions are asked in most instances the solution can be built in at the front of the job, by using crate and package specs that conform to conditions at the receiving end.

We haven’t been privy to the next chapter of this delivery. Unless there was alternate access to that building, Plan B would be to unpack the crate in the street, and hope that the travel frame or other package(s) within will fit through the door. This isn’t best in terms of safety for the artworks, but this is any port in a tempest time, clearly.

The doorway size isn’t the only issue seen here.

If there was a very valuable artwork in that crate, which is most likely the case given the fanfare over its arrival, then clearly a better overall receiving plan needed to be made.

Using a pallet jack and bumping the crate over cobblestones isn’t recommended. Better to put down a masonite or plywood runway or have enough manpower to lift the crate and carry it. There also aren’t half enough “hands on” the crate as it comes off the truck – 2 guys isn’t enough to be absolutely sure the crate can’t tilt or tip over. Even if they’re just “spotting” the crate, extra hands show you care.

This might be every art handlers nightmare come to life – the big reception, the towering crate, the looming medieval doorway at the end of the cobbled alley. And to top it off to be You Tubed –this has to be a very special modern ring of Hades.

Our sympathies, guys.

Betsy Dorfman

DOCUMENTED UNPACKING – a quick look

Thursday, March 10th, 2011

When shipments arrive that are insured by others it is vital to open and inspect the contents to make sure that damage has not occurred during shipping and handling. That’s pretty much common sense.

So you open the crate or box, remove any obscuring packing material, and reveal the artwork. If it’s OK, you are lucky. Because if it isn’t OK, you have already made a mess of the job. In forensic terms, you have compromised the crime scene. How? By not carefully documenting the condition of the crate and contents at each stage of the unpacking.

Sometimes called “documented unpacking” the process requires that at least two  observers be present during the opening process and that photos are taken at each stage of the procedure. We often end up with 60 or more photos, so thank goodness for digital photography. Photos show the condition of the crate from the outside before any work is done, and then each stage of the opening procedure thereafter.


As the photo at left demonstrates, the documented inspection process also serves to protect the interests of the company or personnel doing the unpacking. In this case we show that we are indeed opening the correct side of the crate as marked.

Many artworks have been damaged by recipients inadvertently opening the incorrect side of a crate. So you want to document that you have followed any and all unpacking instructions, thus demonstrating that any damage found within was not due to incorrect handling on arrival.


Photos also show interior packing of the crate, materials used, and location of the art with relation to the side of the crate or enclosure. You look to see that there is adequate space and/or foam or other “buffer” between the contents and any rigid portion of the crate or packaging. The type, thickness, and location of the internal packing materials seen also serves to document the care taken by the sender/packer and to mitigate, if they are adequate, liability of the sender for damage due to insufficient packing or poor choice of materials. Packing materials are saved until it is clear that all parties to the shipment have signed off on the arrival condition and that there are no claims issues pending.


In this case we don’t have permission of the owner to show the artwork involved, so the photos will stop short of actually revealing the artwork in the crate pictured. But normally your photo sequence would include a full set of photos of the artwork once uncovered. And with close-ups taken of any problem or suspected areas of possible damage.

A buddy and a digital camera can also be your best ally when receiving any sort of packaged item shipped through freight or the mail, especially if valuable. In the event of any apparent damage,always, always, save the packing materials. The web has sad stories aplenty of consumers who have tossed the packaging on damaged goods upon the advice of the shipping company, only to have the claim denied later by that same company on the basis that, yes, the materials were not available for inspection. Having a photo documentary of your unpacking experience and damage found should also go a long way towards getting you a successful resolution to your claim, assuming you insured the shipment in the first place.

In most cases, professionally packed goods arrive in excellent condition. But you never know which will be the exception. And and if you wait until the artwork is exposed to begin documenting, you may be chasing the proverbial horse that has already denied the claim.

Betsy Dorfman


Mysteries of Art Handling Revealed !

Friday, October 22nd, 2010

Ian Patrick, Crating Manager

Oct 22, 2010

Antique Condition

Friday, August 13th, 2010

 

In addition to describing how some of us feel after a long work week, “antique condition” is a phrase which art and antique handlers use, in my opinion, too frequently. The term comes into play when an item is being picked up and notes made as to its existing condition. In this context “antique condition” is designed to cover a multitude of sins, and save the handler the bother of noting down every scratch, ding, smudge and coffee ring. Hey, the thing has been around the block for fifty years, we can all see that, right? That’s why they call it an antique! Basically a more refined way of saying “used”, this remains however a shortcut that opens the door to problems down the line.

In conjunction with record photography of the piece, noting “antique condition” and leaving it at that, admittedly, does the job much of the time. Despite my managerial grumbling. But not always. Every once in awhile a situation arises where a client will see what they believe is fresh damage, or a compromised area which they maintain has appeared since the piece was last seen  in the showroom or vendor’s shop. So out come the condition notes and photos. The photos may or may not show the exception in question, depending upon the type of mark or loss, and its location. If it then comes down to the handler’s notes made at pickup, and all we have is “antique condition” – basically we have come to a dead end in our ability to firmly establish the problem as preexisting or not. If insured through the art handler, a claim could go either way – but the whole idea of condition reports and notes is to establish condition and avoid gray areas and claims.

Digital photography has helped with this issue, to be sure, and many exceptions do show up in a set of carefully taken photos. But written reports, together with diagrams where precise locations of exceptions are shown, remain the gold standard. Nothing replaces good old descriptive language, and a clear statement of what type of problem is seen – scratch, stain, paint loss, tear in fabric, etc.- together with a note as to its location. These notes are, as attorneys like to say, dispositive ; in the event of a claim they will likely dispose of any question and settle the matter.

Condition notes, prepared by professionals, are meant to be detailed and focused in their findings. You wouldn’t want to see “antique condition” in your medical chart; you shouldn’t see it on a bill of lading, for the same reason –just plain not enough information.

Betsy Dorfman

Our favorite package to date !!

Monday, July 26th, 2010

FINE ART SHIPPING welcomes a granddaughter!!  

Emery Dorfman, born July 11 in Seattle WA

  As you can see, the packaging for this product has been designed with  great attention to safety, style, and utility for re-use. The most vulnerable points of the object are wrapped in suitably soft and archival material, then further bundled into an appropriate shape to  secure the item within the selected vehicle of conveyance. Where appropriate, additional measures have been taken to mitigate environmental exposures, particularly in the top or “head” region.

As is recommended, a minimum of  2″ of foam padding is employed  at the sides, top, and bottom of the enclosure to further protect the shipment in transit. Also included but not seen, certain moisture barrier strategies have been incorporated into the interior packaging where prudent, and based on long established guidelines for care of  such commodities.

Further updates will follow as the shipment is expected to increase in size and weight over time.

Betsy Dorfman

Fun with paper: shipping Greg Lauren’s “Alterations”

Tuesday, May 4th, 2010

Congratulations to L.A. artist Greg Lauren for a terrific write up in the L.A. Times on his current exhibition. We had fun at the opening Saturday night, especially watching the double takes done by (typically well heeled) passers by on Beverly Boulevard. Who could be forgiven for mistaking the show for, well, what it actually looked like: the opening of a super chic men’s boutique. Complete with valet and champagne service and more than a few celebrity sightings.

We’ve packed and shipped these paper art sculptures a number of times, and while obviously the weight is not an issue, keeping the “clothing” intact and with wrinkles only where the artist wants them is a challenge. We’ve shipped them on and off the mannequins, making use of archival paper and good old dish pack boxes and the odd slat crate with good results.

My husband’s brother tells the story of lecturing on a cruise ship where the headline lecturer was a memory expert. The many elderly passengers aboard were constantly cozying up to this guy and asking for tips on how to remember pesky things like names and telephone numbers. They figured he would have clever mnemonic devices to offer. His advice instead: try harder and pay attention.

Similarly, often the best art handling “trick” is to pay attention, keep it simple, and try hard to recognize and respect the integrity of the objects in front of you. This approach worked well with respect to Greg Lauren’s host of perfectly imperfect faux garments. And, yes, we did have to resist the impulse to try them on.

Betsy Dorfman