Core Questions

Answers to the core questions below inform significant transport and packing decisions. Questions A-D should be addressed by the library contact. Assessment by conservation staff is recommended to inform answers to questions E-J.

A. Is this an external (off-campus) loan, an internal (on-campus) loan, or a Preservation Services transfer?

Guidelines for transport are different for external (off-campus) and internal (on-campus) movement of collections, both because the distance is greater and because the collections leave the direct control of the owning institution.

B. How far does the object need to travel?

Both packing and transport decisions are affected by the distance of travel. A fine arts carrier is more likely to be used for a longer distance move. An on-campus, Cambridge-only, or Allston–Cambridge transfer to a Preservation Services facility may use an internal hand carry.

C. Is the object rare, unique, or of high insurance value?

An object’s value and replaceability strongly correlate to the level of security, safeguards, and protection given to the item in transit. Rare, unique, and/or high-value objects will require higher levels of documentation, oversight, and insurance. For external loans, use of a fine arts carrier is recommended. For internal loans and transfers, a security presence is recommended. These are regarded as the best methods to prevent damage or loss to high-value items, thus protecting our most valuable collections from loss and our insurance policy from expensive claims (as well as from possible increases in premiums and/or deductibles).

D. What is the time frame required for arranging and/or executing the transport?

Transit time may increase or decrease depending on the carrier chosen and the specific arrangements made with that carrier. Also, planning time for conservation treatment and preparation time ahead of the transport day is key for stabilizing objects that would otherwise be vulnerable to damage in their untreated state.

E. How structurally stable is the object?

Examples of potentially unstable structural conditions include loose book covers, paper tears, losses, loose or dangling parts, or unusual formats.

F. How large or heavy is the object?

Size and weight of the object play a significant role in the type of transport chosen. The choice is determined by whether a single person can physically carry the object plus its packaging, or if wheels (e.g., hand truck, cart, or motorized vehicle) are needed to transport anything larger or heavier.

G. How well can the object physically withstand the mechanical stresses inherent to shipping (e.g., vibration, jarring, or change in orientation)?

Examples of formats that are vulnerable to vibration, jarring, or change in orientation include cased photographs, pastel/charcoal/friable media, brittle paper, magnetic media, motion picture films, illuminated manuscripts, glazed and framed works, 3D objects with protruding elements made of breakable materials like plaster, deteriorated plastics (e.g., Bakelite, latex foams), and stretched canvases. Large or heavy items, while stable when not moving, may become unwieldy or awkward when moved, and therefore have additional risk of damage.

H. How well is the object physically capable of withstanding exposure to physical and chemical stresses that are possible during shipping (e.g., changes in temperature, humidity, or exposure to pollutants)?

Examples of items vulnerable to temperature and humidity changes include parchment (bindings, text blocks, documents, painted supports), illuminated manuscripts, collages and other complex laminate objects, wood panel paintings, and historic wood furniture.

Examples of items vulnerable to exposure to pollutants include silver-gelatin photographs, items with silver leaf (frames, illuminated manuscripts), and solid or plate silver.

I. Will the object require examination and possibly treatment by a conservator?

Examples of items that require review by a conservator include parchment, cased photographs, illuminated manuscripts, and pastel, charcoal, and other friable media.

J. Is there anything complicated about the installation of the object into the exhibition?

Examples of complicated installation include book cradles with delicate strapping requirements (tight bindings, fold-outs, or angles that need to be adjusted in situ), oversized material that won’t fit into an elevator, awkward exhibit case construction, and wall mounting of oversized textiles or framed items.

To facilitate making decisions using answers to the above core questions, /exhibitonsandloans/decision-making-flow-charts for each type of loan or preservation transfer.