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:

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?



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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