Thank you for your in-depth process suggestions. I would feel safer having
the original artwork on-board with me. I may schedule the exhibit to be up
only while I'm there so I can travel with it in both directions.

What would be official paperwork proving the artwork is mine?

Plier suggestions, yes.

The show will be in Taiwan. I was there in January and have been invited
back to promote scientific illustration--and, of course, the GNSI. As of
today, I will be in both Taipei in the north, and in Tainan in the south.


On Wed, May 11, 2011 at 6:37 PM, Bruce Bartrug <[log in to unmask]> wrote:

> Gretchen,
> There are two big problems for which you'll need to plan carefully.
> The first, and most important to you, the artist, is getting all your work
> into and out of the country, without theft, loss or damage.  Customs can be
> quite the pain, and the best way to get through it is to make certain
> everything you'll be taking is easily inspected.  That's a difficult
> proposition if you have several pieces wrapped up in the same box, or
> shipped in a wooden box with spacers.  (Actually the latter would be best in
> this regard as the end of the boxes could be opened with a couple screws and
> the pieces slid out by inspectors.  Unfortunately you probably won't be
> there when the inspection is going on to indicate this.)
> So I strongly suggest removing the artwork, separating the pieces with
> paper  and placing it in a portfolio.  Even if a bit oversized, the airline
> might allow you to take the portfolio on board, even if they have to store
> it inside the plane cabin.  You would at least have the piece of mind in
> knowing that you have control of the art work and that you'll be showing it
> to customs officials instead of them pawing through it.  In this regard, as
> I'm certain you're aware, be certain you have the official documents
> necessary to prove this is your artwork and that you're not transporting
> stolen goods.
> The second problem is shipping the bloody frames.  Here I suspect the least
> expensive way would be to remove the backing, matting, and plexi, place all
> that on the bottom of, say, a strongbox or something similar, and stack the
> frames inside.  Depending on the depth of the frame, I think you could get
> three frames into the average strongbox this way.  The corners of the frames
> could be separated with cardboard triangles and the frames "bound" with
> transparent wrap at each corner.  The reason I suggest this is that customs
> inspections would be much simplified with "see-through" picture frames that
> could be removed as a single bundle, if you see what I mean.  I suggest
> packing the mats and plexi with the frames because it would allow all these
> boxes to be fairly light.  If you put all that material in one strongbox
> it's might be fairly heavy.  Maybe I'm not thinking straight there, but you
> get what I mean.  I just checked and Strongboxes do come in deeper sizes.
> The one I have is only 3 inches deep, but 5 and 8 inch deep models are also
> produced.  They also sell unlined boxes.
> If you build wooden boxes for 20 framed pieces, that's 4 or 5 boxes.  The
> wooden-boxed painting I took to Ecuador encased an unframed 24x 36 inch
> painting.  It would have cost US $500 to ship.  That's why I bought a ticket
> and took flew with it.  So I'm certain you can see the expense of shipping
> four or five boxes weighing over 35 pounds.  It will, of course, cost extra
> to take 4 or 5 strongboxes with you when you fly.  I'm sure you've checked
> that out with the airline?
> Best of luck, and if you decide to take the artwork apart I'll draw you a
> suggestion for a pair of pliers that makes it easy to put the backing on.
> What country?
> b
> On Wed, May 11, 2011 at 3:31 PM, Linda Feltner <[log in to unmask]>wrote:
>> Well, I really think the blonde frames are insipid. Now, I know I'm gonna
>> get hate mail from some.... I'm not suggesting that's what you DO.... just
>> that it has been done before (many times).
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Gretchen Halpert
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