Packing and shipping an artwork without disaster

01The essential materials

Packing an artwork requires specific materials that you will not always find in a standard moving box. The first material is acid-free tissue paper, which forms the first layer of protection in direct contact with the work. Newspaper, often used by default, must be avoided: printing ink can migrate onto the surface of the work, especially if the surface is damp or porous.

The second material is bubble wrap, which forms the cushioning layer. Be careful: bubble wrap must never be in direct contact with the surface of the work. The bubbles can leave marks on fresh paint, delicate varnish or a photographic surface. Tissue paper or glassine paper acts as a barrier between the work and the bubble wrap.

The third material is protective cardboard. For a painting on canvas, two rigid cardboard panels placed on each side of the work form a shell that protects against direct impacts. For a sculpture, the cardboard is replaced by polyethylene foam cut to measure, which hugs the forms of the object and absorbs vibrations.

The fourth material is the shipping crate itself. Double-walled corrugated cardboard is the minimum requirement for a small or medium-format work. For larger or higher-value works, a wooden crate is recommended. Wooden crates with foam lining are the standard in professional art transport, and you can have them made by specialist joiners at a reasonable cost.

02Packing a painting on canvas

Canvas is fragile. A knock to the back of the canvas can create a visible bump on the painted face. Prolonged pressure on the painted surface can cause cracking. The packing technique must protect against both risks.

Start by protecting the painted surface with a sheet of glassine or acid-free tissue paper. If the paint is recent and not completely dry, leave a gap between the paper and the surface to prevent the paint from sticking. You can create this gap by attaching small foam wedges to the stretcher frame, outside the painted area.

Then wrap the whole piece in bubble wrap, in at least two layers. Secure the bubble wrap with adhesive tape, but never directly on the frame or the canvas: the tape must touch only the bubble wrap itself.

Place corner protectors made of cardboard or foam on all four corners of the stretcher. The corners are the most vulnerable areas during transport: an impact on a corner can split the stretcher and distort the canvas.

Slide the whole piece into a box adapted to the size of the work, with at least five centimetres of cushioning material on each side. The work must not be able to move inside the box. If it moves when you shake the package, add packing material.

03Packing a work on paper

Works on paper, drawings, prints, watercolours and photographs, are particularly sensitive to humidity, creasing and crumpling. The packing must protect against all three risks.

Place the work between two rigid cardboard panels slightly larger than the work itself. Secure the work to the lower panel with acid-free paper corners to prevent it from sliding during transport. Never stick adhesive tape directly onto the work, not even on the back: the glue can migrate through the paper and damage the image.

Wrap the whole cardboard-plus-work assembly in a waterproof plastic bag to protect against humidity. A clean bin bag does the job in the absence of specialist plastic. This protection is essential if the package must pass through non-climate-controlled warehouses.

The photographer and artist Thomas Ruff, whose prints sell at high prices, requires a strict packing protocol for the transport of his works. At your scale, the same rigour applies: a work on paper damaged by humidity is irrecoverable.

For framed works under glass, an additional precaution is necessary: stick adhesive tape in a cross pattern on the glass surface before packing. If the glass breaks during transport, the tape holds the shards in place and prevents them from scratching or puncturing the work. It is a simple gesture that can save a piece.

04Choosing the right carrier

The choice of carrier depends on the size, value and fragility of the work. For small-format works of moderate value, national postal services with a tracking and insurance option constitute an economical solution. In France, Colissimo allows you to ship parcels up to thirty kilograms with tracking and basic insurance.

For larger or higher-value works, specialist carriers offer superior guarantees: climate-controlled vehicles, specialised handling, artwork-specific insurance. Companies such as Crown Fine Art or Fret Art offer solutions adapted to artists and galleries.

Insurance is a crucial point. Standard insurance from generic carriers often caps at a few hundred euros, which is insufficient for most artworks. Take out supplementary insurance covering the actual value of the work. The cost of this insurance generally represents between one and three per cent of the insured value, a negligible investment compared to the risk. Some insurers specialising in art transport, such as Hiscox or AXA Art, offer coverage tailored to independent artists at accessible rates.

For international shipments, customs formalities are added. Original artworks benefit from specific customs regimes within the European Union, but shipments outside the EU require declaration forms and sometimes certificates of origin. Check with the carrier about the required documents to prevent your parcel from being held at customs.

05Return packaging and return policy

If you sell online, you must anticipate the possibility of a return. The fourteen-day withdrawal right applies to distance selling in Europe, and your packaging must be designed to withstand a round trip. Use reusable materials and include clear repacking instructions in the parcel.

Some artists include a return kit: a roll of adhesive tape, a plastic bag and an illustrated instruction sheet. This professional gesture reassures the buyer and facilitates the return if necessary, which paradoxically reduces the return rate by increasing trust.

If the work was sold with a mat or a frame, make sure the return packaging protects the frame as well as the work itself. A damaged frame is not an artistic disaster but it is an additional cost you will have to bear, and it gives a poor impression to the buyer who, even if they do not return the work, might hesitate to purchase a second time.

06Mistakes that prove costly

The first mistake is underestimating the brutality of transport. Parcels are thrown, stacked, overturned, exposed to rain. Your packaging must withstand the worst-case scenario, not the best. The drop test is simple: if you dropped the parcel from a height of one metre onto a concrete floor, would the work survive? If the answer is no, reinforce the packaging.

The second mistake is failing to mark the parcel correctly. The labels "Fragile", "This way up" and "Do not stack" should appear on all faces of the parcel. They guarantee nothing, but they statistically increase the chances of careful handling.

The third mistake is failing to document the condition of the work before shipping. Photograph the work from all angles before packing it, with the date visible. In case of dispute with the carrier or the buyer, these photographs constitute irrefutable proof of the work's condition at the time of dispatch.

The fourth mistake is shipping on a Friday. A parcel dispatched on Friday spends the weekend in a non-climate-controlled warehouse, exposed to temperature and humidity variations that can damage sensitive works. Ship at the beginning of the week to minimise transit time and avoid weekends in depot. It is a logistical detail that can make the difference between a work arriving in perfect condition and one arriving with a humidity haze.

07Delivering an experience, not just an object

The unboxing is an emotional moment for the buyer. The artist Christo, who wrapped entire monuments and landscapes, understood that the act of wrapping is a staging in itself. At your scale, the care you put into the packaging communicates a message: this work is precious, and the person receiving it matters.

A handwritten thank-you note, a signed certificate of authenticity, a business card: these small gestures transform a parcel delivery into an experience. The buyer who shares this experience on social media offers free publicity that you could not buy. The artist Takashi Murakami accompanies his limited editions with careful packaging that is an integral part of the work. At your own scale, coloured tissue paper, a ribbon, a wax seal with your initials: these small details cost almost nothing but they create an impression of care and singularity that sets your shipment apart from a mundane commercial parcel.

08Selling and shipping with confidence on Artedusa

Artedusa allows you to sell your works to collectors across France and Europe. The sales process is simplified, but shipping logistics remain your responsibility. By mastering packing and shipping techniques, you turn every sale into a positive experience that retains the buyer and strengthens your reputation. Prepare to ship like a pro, sell on artedusa.com.