- This case study is not presented with the intent to criticize either the lending institution or borrowing organization, but rather as a tool to examine the events that may transpire in an exhibition and to outline some of the lessons learned about planning that may help anticipate problem situations
- Cox , J. and Croog , E. A. 1994 . “ ‘Checklist for exhibition agreements’ ” . In ALI-ABA Course of Study. Legal Problems of Museum Administration 145 – 169 . Philadelphia : American Law Institute . Two useful publications to assist with exhibition contracts are: and C. L. Litsey, ‘Practical tips for creating or avoiding a contract: “What (and what not) to say or do”’, ALI-ABA Course of Study. Legal Problems of Museum Administration (Philadelphia: American Law Institute, 1994) 125–127. For further details see the website: <www.ali-aba.org>
- The Registrars' Committee of the American Association of Museums has developed a form which is very useful when trying to complete a thorough facilities report. This is their ‘Standard Facility Report’ RC-AAM 1998, which may bepurchased at their website: <http://www.aam-us.org/>
- The paintings ranged in size from approximately 22 × 17cm to 214 × 168m
- The Shadow of Death was included in the exhibition as an alternate painting. It was seen as a good substitute for a more valuable, venerable work that could not be lent
- Mecklenburg , M. , ed. 1991 . Art in Transit: Studies in the Transport of Paintings 32 – 38 . Washington DC : National Gallery . In an essay entitled, ‘Lending paintings—the conservator's view’, Sarah Staniforth discusses ‘the need for Museums to have set rules against which they judge the fitness of a painting’. She lists several useful hints for judging the fitness of a painting for loan, such as the stability of an ornate frame, the fragility of a wooden panel and the suitability of the venue. Staniforth points out that the object's treatment record should be considered, as well as its previous loans history. The essay appears in
- A large painting can usually be defined as one over 2.5 to 3 metres large in any direction. Once a work this size is framed and crated, the increase in dimensions begins to make it extremely difficult and expensive to transport
- Mecklenburg , M. , ed. 1991 . Art in Transit: Studies in the Transport of Paintings Washington DC : National Gallery . The two publications resulting from the conference ‘Art in Transit’, held in London from 9–11 September 1991 and organized by the Canadian Conservation Institute, Tate, The National Gallery, Washington, and the Conservation Analytical Laboratory of the Smithsonian Institution, on the packing and transportation of paintings are useful references. They are: (and Art in Transit: Handbook for Packing and Transporting Paintings, eds. M. Richard, M. Mecklenburg, and M. Merrill (Washington DC: National Gallery, 1991)
- Buck , R. A. and Gilmore , J. A. , eds. 1998 . “ ‘Code of practice for couriering museum objects’ ” . In The New Museum Registration Methods 355 – 358 . Washington DC : American Association of Museums . A useful publication to help the courier with their tasks is: (Another good reference for international travelling exhibitions is: Cordelia Rose, Courierspeak: A Phrasebook for Couriers of Museum Objects (Blue Ridge Summit, PA: Smithsonian Institution, 1993)
The Paper Conservator
Volume 27, 2003 - Issue 1