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 23^rd 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

At FINE ART SHIPPING we specify in our estimates how a shipment will be transported, whether by air freight, ocean freight, van lines or other subcontracted trucking service, art shuttle, or exclusive use truck. The type of handing, equipment used, packing standard, security standard, and transit time is different for each of these modes of transport. In some cases the insurer of record may also have criteria that must be met in terms of security or handling. The more a customer understands the terminology the better so that there is a clear understanding of what service is being purchased and performed.

So, what is an ART SHUTTLE and why and when do I want to use one?

COMMODITIES :

Art shuttles are trucks specializing in handling artworks and sometimes antiques. They typically do not ship other commodities, general freight, or household goods. They are staffed by trained art handlers capable of packing and unpacking artworks and handling them appropriately at stops and within the truck. They are essential for transport of very high value and fragile works and are typically full service including the ability to pack, unpack, install, and insure artworks of all descriptions.

EQUIPMENT:

The art shuttle can be a tractor trailer sized truck operating nationwide or a smaller truck making more local or regional stops. Most art handling trucks are museum quality which means they have dual drivers, are climate controlled, and have air ride suspensions. Some art shuttles are not climatized or have only a single driver and in most cases the carrier will note this in their paperwork. Most art shuttle trucks also have logistics systems to assist with tying in and stabilizing packed works in the truck.

PACKING STANDARD:

Art shuttles are suitable for transport of softpacked or crated works. Most will have minimum packing standards and can upgrade packing to their standard or provide packing as needed. “Blanket wrapped” is really a furniture term and does not apply to art shuttles except in unusual circumstances. Art shuttles can be trusted to observe orientation (this way up, or ride flat) markings and will keep artworks properly oriented in transit.

ROUTES and SCHEDULING:

Most art shuttles operate on a route that is pre-scheduled between cities so that institutions and frequent shippers can plan ahead. The time in transit varies based on each shipment’s origin and delivery point. But as a rule of thumb most art shuttles take a week to two weeks to complete a route. This is therefore not a service that is going to work when items need to be moved in just a couple of days. Within their appointed schedules, also, timing may change by a day or so and customers need to have some flexibility in their receiving or releasing schedules. Most shuttles reserve the right to charge an additional fee for “first off” or “last on” or other custom timing requests.

HANDLING:

Many times customers assume that an “art shuttle” will not cross dock or handle a work more than twice: once when it is loaded and the second time when it is delivered. Well, maybe, but don’t count on it. An art shuttle is a consolidated service with items belonging to many customers commingled in the truck. As the truck makes its stops artworks are offloaded and others onloaded and space must be made accordingly. So it is likely that your shipment will be moved around, perhaps several times. Some carriers will cross dock as well which means transfer items from one truck to another at a regional hub. Art shuttles do an excellent job at this and problems are few. However if you have a shipment that can’t be handled several times or where the packing is insufficient for this, an exclusive use truck might be a safer choice.

INSURANCE:

Art shuttles can provide insurance in transit in most cases. Some have restrictions for items packed by the shipper. Insurance ,or declared valuation coverage as it is properly known, must be in place before the artwork is moved or handled. The value of the item or items must be stipulated and the coverage at the stated value will be noted on the related bill of lading. There is no “automatic” insurance except for what is essentially salvage value in some states.

SECURITY:

Most art shuttle trucks are equipped with GPS tracking devices and the trucks themselves have custom locking and other security measures installed as a part of their equipment. Many run “dual driver” trucks which means that the truck is staffed with two people, and in some cases the crew sleeps on board during cross country or longer routes. When in doubt, and if your insurer has specific requirements for coverage, the carrier involved can supply further details of their security arrangements. For ultra high value items an exclusive use truck with a courier on board, or with a security detail in accompanying vehicles, may be elected by the customer or insurer.

COST:

An art shuttle is a costly service due to the custom nature of the equipment and personnel involved. Operating costs are high and shuttles cannot cut corners without jeopardizing their reputation and the safety of the goods entrusted to their care. There is no such thing as a “discount” art shuttle. You wouldn’t want one if there were! Most shuttles charge a minimum and thereafter provide custom quotes based on the dimensions and number of the works to be transported, the locations to be served, and the precise services requested. Costs range from several hundred into the many thousands of dollars.

In figuring costs, mileage is not the most critical factor. Generally costs are most competitive between large markets. For example, it can be relatively affordable to ship a single painting from Los Angeles to New York. That same painting shipped far fewer miles from Los Angeles to a rural location in far northern California however would be considerably more expensive.

OVERVIEW:

So you want a fine art shuttle when you have a valuable or fragile artwork to ship, or one that must be climate controlled or kept in a specific orientation, or where packing, unpacking, installation or insurance is required enroute. A van line, moving company, or general trucker is not going to have trained personnel qualified to properly handle artworks and perform those related services. Art shuttles exist specifically to service this market for custom handling and transport of delicate goods.

WHEN IS AN ART SHUTTLE NOT AN ART SHUTTLE?

For purposes of comparing estimates between companies, always ask the type of service and specifically whether the quote is via art shuttle or some other type of trucking service. Most art shippers, including ourselves, will send shipments subcontracted to van lines or freight carriers as part of our normal constellation of services. There is nothing wrong with this so long as the customer understands the nature of the service and the packages and artworks themselves are suited to the chosen type of trucking and handling.

The term “art shuttle” does have a specific meaning, and it does not mean freight truck, air freight, common carrier, or van line trucking. Look for the terms “climate controlled”, “museum quality” and “air ride trucking” to be sure you are getting a true shuttle where this is needed. If an art services company won’t reveal the actual carrier or define the service in those terms then it is time to try another company who will.

Betsy Dorfman / Fine Art Shipping

Just recently a $300,000 sculpture by artist Carole Feuerman was destroyed enroute to Art Miami.

Here is a link to the complete article with further details:

http://www.miamiherald.com/news/southflorida/story/794402

Needless to say a situation like this is what every art shipper and art handling company works every day to avoid. Worse, there are potential problems collecting from insurers as the timing of the damage is unclear and the basic policy held by the artist apparently does not cover the full value of the artwork under all circumstances. Unfortunately these are critical but all too common mistakes. And while there is never a guarantee that artwork in transit will arrive safely, there are steps that can be taken both to minimize risk and to maximize the likelihood of recovery in the event of a loss.

This article raises many issues and in the next several posts we will examine a few of them, starting today with chain of custody and inspection protocols.

EVIDENT VS CONCEALED DAMAGE

In many cases when artworks are damaged in transit the cause of the damage is clear and matches up to corresponding damage seen on the exterior of boxes or crates. Boxes arrive with a corner crushed or with punctures, crates show evidence of forklift tine intrusion, seams or tops have popped, wood feet have come off etc. These are basic signs of possible mishandling enroute. These “exceptions” are noted on the carrier’s paperwork on arrival, and the damage is assumed henceforth to have occurred in the custody of that carrier who last received the packages in good condition. This is similar to the chain of custody used in police and forensic work. Once received the compromised package is then unpacked in a documented process with photos taken and witnesses at hand; if there is actual damage then to the artwork within, the insurer of record is contacted and the claims process begins. Sad, but at least there is financial recovery possible through insurance.

CONCEALED DAMAGE WAIVER

In the case of the Feuerman sculpture however, there appears to have been no obvious damage to the exterior of the crate. Upon opening the crate however the sculpture was found to be destroyed beyond repair. In shipping terms this situation is called “concealed damage”. Many types of insurance carry a disclaimer or waiver for concealed damage where the goods have been packed by the shipper and are uninspected by the carrier or insuring agent. If the airline had provided insurance, it likely carried such a waiver and so would not respond to a claim under these circumstances. This makes sense, logically, as they would have no way of knowing what was in the crate or its condition prior to taking custody. Big gray area there.

CHAIN OF INSPECTED CUSTODY

While there was a clear chain of custody for handling of the crate, there was no inspection of the artwork itself each time the crate changed hands. The crate apparently left custody of an overseas art handler, was shipped via air freight, handled at Newark airport, then trucked all the way to a receiving warehouse in Miami where it was put away until inspection at a later date by the art handler who was to deliver it to the exhibition. Hence a mammoth gray area i.e. when and where did the damage occur? And who is liable under these conditions?

YOU BROKE IT, YOU PAY, RIGHT? WRONG.

In shipping liability comes down to insurance and specifically, declared value. It doesn’t matter if the airline broke the sculpture if they did not insure it. They are responsible only for what is essentially salvage value unless insurance was purchased and a value declared. In fact most airlines and other freight companies do not insure original fine art. They are protected in their paperwork, signed at the time of shipping, from liability for damage caused in transit where they have not insured the goods. There are always nuances in insurance, and it is true that such an airline might have liability if they can be shown guilty of extreme negligence. If, for example. they left the crate at the wrong address or at a closed dock, or left it out in the rain. But so long as they performed the contracted service i.e. moved the crate from point A to point B according to the terms established with the booking party, they generally have limited liability. Hey, these are freight guys; they are paid to move freight and they moved the freight. Whadda ya want?

IN TRANSIT VS STATIONARY — not as simple as it sounds.

Next in line is the artist’s own policy, which states she can collect $100,000 maximum in transit and $400,000 maximum if the artwork was “stationary.” Oh boy, the attorneys are going to have fun with this one. Stationary usually means in storage, not being moved, in a stable and protected environment. Technically a shipment that has arrived at a warehouse along the way, but which has not yet been delivered to its final destination, is considered IN TRANSIT. Even if it isn’t being moved for a period of time. Under our fine arts all risk policy, in transit status can exist for up to 90 days. Gray area anyone?

Could this situation have been avoided? We’ll take a look at some possible remedies in a future post. In the meantime our sympathies to everyone involved; it is always awful to lose an artwork, period

Betsy Dorfman / FINE ART SHIPPING