Richter Art

A painting can hold a great deal of stillness until the moment it must travel. Then the practical details matter: a tender painted surface, a corner of timber, the pressure changes between one coast and another. This guide to shipping original artwork is for collectors and artists who want a work to arrive as it left the studio – intact, clean and ready to take its place on a wall.

Original art is not simply an object in a box. It carries hours of looking, labour and decision-making. A careful packing process is a quiet extension of that care.

Start with the condition of the painting

Before any wrapping begins, inspect the work in clear, even light. Photograph the front, back, corners, frame and any existing marks. This is useful should a freight claim ever be needed, but it also creates a truthful record of the work as it left your hands.

For oil paintings, the first question is whether the paint is fully cured. A surface may be dry to the touch long before it is ready to be pressed against protective materials or exposed to changing temperatures. If the paint is at all soft, tacky or vulnerable to imprinting, delay shipment where possible. No express service is worth a damaged sky, a fingerprint in a dark passage of water, or packing material caught in fresh paint.

Check the frame as well. Tighten any loose hanging hardware, make sure the canvas sits securely in its rebate and look closely at mitres and ornamented edges. A frame gives a painting presence, but it adds weight and creates corners that require particular protection.

A guide to shipping original artwork: packing well

The safest packing method depends on the size, medium, framing and distance involved. A small unframed canvas travelling across town does not need the same treatment as a large framed oil painting crossing the country. Still, the principles remain consistent: protect the painted face, keep the work from shifting and build strength around its most vulnerable points.

For a dry, varnished oil painting, begin with a clean, non-abrasive barrier. Glassine paper is commonly used because it will not readily stick to the surface. Place it gently over the face without rubbing. Avoid letting bubble wrap touch a painted surface directly, especially in warmth, where its pattern may leave an unwanted impression.

Corner protectors should go on before the outer wrapping. Cardboard corner guards are suitable for simpler frames, while foam protectors offer more cushioning for deeper or more elaborate timber mouldings. A sheet of rigid cardboard or corflute on the front and back provides a useful buffer, particularly for works on stretched canvas.

Wrap the protected painting in bubble wrap with the bubbles facing outward where practical. This keeps the smoother side closer to the artwork and reduces the risk of pressure marks. Secure the wrapping with tape only onto itself, never onto the frame, canvas or paper barrier.

A strong carton is the next line of defence. The artwork should fit without being forced into place, with enough room for cushioning on every side. If it can move inside the box, it can gather momentum in a courier van. Firm foam, corrugated cardboard layers or tightly packed void fill can hold the work steady without placing direct pressure on its face.

For larger, heavier or high-value paintings, a purpose-built timber crate is often the wiser choice. Crating costs more and adds freight weight, but it provides a rigid shell against crushing and puncture. It is especially worthwhile for substantial frames, works travelling internationally, or paintings whose value makes a small saving on packing feel like a false economy.

Framed, unframed and glazed works

A framed canvas needs its corners guarded and its hanging wire secured so it cannot scuff the back of the work. Tape or tie the wire down with a soft, removable restraint. For an unframed canvas, protect the stretcher edges and avoid any wrapping technique that can dent the canvas from the front.

Works behind glass need additional attention. Apply low-tack tape in a loose cross or star pattern across the glass, provided it can be removed safely from the frame finish. The tape will not stop a break, but it may help contain fragments. Then use rigid board and generous cushioning. For valuable glazed work, museum-grade acrylic glazing may be worth considering before shipment because it is lighter and less prone to shattering.

Works on paper should be kept flat where possible, protected by acid-free materials and sandwiched between rigid boards. Rolling is an option only when the paper, medium and conservator’s advice allow it. A beautiful watercolour can be remarkably durable, but a careless bend across an open expanse of sky is difficult to forgive.

Choose a courier for care, not just speed

A courier’s quoted delivery time is only one part of the decision. Ask whether the service accepts artwork, what exclusions apply, whether a signature is required and how compensation is calculated. Some standard services exclude fragile items or cap liability well below the artwork’s sale price.

For local delivery, a specialist art handler or a direct driver may offer the most reassurance, particularly for a large canvas or an awkwardly framed work. The painting stays in fewer hands and the route is easier to trace. For interstate shipping, a reputable courier with reliable tracking, signature on delivery and clear insurance options is usually the practical balance.

Label the parcel with the recipient’s full address, mobile number and any delivery instructions. Use a second address label inside the carton in case the outer label is damaged. Marking a box “fragile” can encourage care, but it is not a substitute for packing that can withstand ordinary handling. Assume the carton may be stacked, turned sideways or carried through rain from a vehicle to a front door.

Avoid leaving an original painting unattended at a depot or on a veranda. A signature requirement and a conversation with the buyer before dispatch can prevent a great deal of uncertainty.

Insure the work and keep the paper trail

Shipping insurance should reflect the full replacement or sale value of the artwork, not merely the cost of materials. Read the policy wording closely. It should be clear about what counts as damage, whether inadequate packaging affects a claim, and what evidence is required.

Keep photographs of the packing stages as well as the finished, sealed carton. Retain the invoice, consignment number, declared value and proof of collection. If damage occurs, the recipient should photograph the unopened parcel, the outer packaging, all internal packing and the work itself before anything is discarded. Carriers often impose tight timeframes for claims.

It can feel overly formal when sending a painting to someone who has been eagerly waiting for it. Yet this record protects both the artist and the collector, and helps keep a difficult moment focused on a fair resolution rather than uncertainty.

Prepare the collector for the arrival

A short note before delivery sets the right tone. Let the collector know the expected delivery window, whether a signature is needed and how to open the box safely. Suggest they place the carton flat on a clean floor, cut tape away from the painting and keep a hand on the frame or stretcher as the final wrapping comes away.

A painting that has travelled through summer heat, a cold cargo hold or a wet winter morning should be allowed time to settle indoors before it is hung. This is particularly sensible for timber-framed work. Give it a calm, stable room away from direct sun, heaters and damp walls.

If the work arrives with a minor concern, prompt, generous communication matters. Most collectors understand that travel has risks. What they remember is whether the person who made or sold the work responds with care.

When international shipping changes the picture

International shipment introduces longer journeys, more handling points and customs documentation. Check destination rules before packing, particularly for works containing restricted materials, antique components or timber that may need declaration. The description on customs forms should be accurate and plain: original oil painting, for example, with the correct sale value and country of origin.

Do not undervalue a work to reduce duties without understanding the consequences. It may affect insurance, customs compliance and the collector’s ability to make a claim. Duties and taxes vary by destination, so clarity before purchase is kinder than a surprise bill after arrival.

For significant works, a fine-art logistics provider can justify its cost. The decision depends on the size, value and destination of the painting, but specialist handling brings experience that ordinary parcel networks do not always have.

A painting may begin beside a harbour, under a silver storm front or in the long amber quiet of a paddock. Its journey to a new home should be practical, considered and unhurried – so that when the wrapping falls away, the first thing the collector meets is the work itself.