Online Resources for Collectors, Life Long Learners and Students of Art History - Lending Art to Museums for Special Exhibitions

Lending Art to Museums for Special Exhibitions

TFAO encourages individuals who own important works of art to consider publicly exhibiting single or multiple pieces from their collections. Owners may be heirs of estates of artists or people who have collected over a period of time. A motive for lending a private collection can be to share viewing of the collection with the public in a safe setting with the benefit of professional assistance. Private owners may also wish to add to the monetary value of works in their collections through public exposure. In a September 2006 The Art Newspaper article by Adrian Ellis titled "The Implications of Art Fund Collections Shown in Museums," Mr. Ellis says:

There is, of course, nothing new in museums borrowing from and displaying the works of private collectors. The development of art museums' collections throughout the world can only be understood in the context of the relationship between private collectors and their complex motives on the one hand and museum administrators' desire to harness those motives for the pubic good on the other. Directors, administrators and curators are acutely aware of the symbiotic relationship between public access to works of art that may not otherwise be seen, studied or enjoyed, and the private interest of the collector -- sometimes wholly venal, sometimes wholly altruistic, and usually a deeply conflicted mix of the two.

Where to start?

There are several steps that can be taken leading to lending of art works to museums that are organizing exhibitions.

Some museums organize one-time exhibitions or exhibitions that they in turn rent to other venues in a tour. Other museums renting a touring exhibition may organize a supplemental exhibition or add pieces from their own collection and/or those of private collectors to the touring exhibition. Some other venues just rent exhibitions and do not add pieces for a local showing. Individuals can keep abreast of upcoming institutional exhibitions by following listings in TFAO's National Calendar of Exhibitions. The calendar is a way to find titles of exhibitions that are aligned with individuals' collecting style. Some of the listings in the calendar are for showings at organizing museums while other listings are for showings at renting venues.

Since museums plan exhibit months -- and often years -- in advance, looking at listings for exhibitions to be held well into the future is recommended. Sometimes museums create catalogues or brochures that list all of the works in an exhibition. Since catalogues have a substantial lead time for preparation and printing, it may be necessary for a museum to finalize the choice of works in an exhibition a year or more before it is held.

Tours can last for many years. For this reason collectors need to be comfortable having their works out of their possession for an extended period of time. Even though handlers of art works during tours are usually very careful not to damage art works in their care, long tours do increase the odds of damage.

A pleasant way to meet people that can lead to referrals to museum employees organizing future exhibitions is to join supporting councils of museums. There are also independent non profit organizations that track upcoming exhibits, provide opportunities to socialize with collectors with shared interests, and have interaction with museums. One independent organization of this type is the Historical Collections Council of California Art. Sometimes members of museum councils and independent organizations are independent art curators and museum leaders who have thorough knowledge of the types of art works needed for upcoming shows.

When collectors feel that their works might be a fit for upcoming exhibitions they should identify appropriate curators and discuss their interest. If a piece of art is not needed for a specific upcoming show, the curator may ask the collector to provide pictures and information about works in the collection.

Curators at Museums

Museum curators play a key role in judging the appropriateness of lending art to an exhibition. See Resource Library's Sources of Articles and Essays Indexed by State within the United States for names of museums and art centers in your vicinity. The articles and essays listed for each institutional source provide historical information on the types of exhibits favored by that source and the names of curators for the shows. To learn more about the role of curators, see the Staff page of Museums Explained. In addition to wishing to give public exposure to privately owned art works, museums may also desire to strengthen relationships with collectors to secure future gifts of the art works.

Authentication

Before art works are accepted by museums into special exhibitions, they may require authentication. For information see TFAO's report titled Authentication and Evaluation of Art Objects.

Conservation

Prior to art works being accepted for an exhibition they may need to be cleaned or repaired. TFAO provides references for conservation of art works in a page titled Conservation. To learn more about the role of conservators, see see the Staff page of Museums Explained.

Lending Checklist

In 2004 The Chubb Corporation issued a news release titled "Chubb Provides Tips For Art Collectors Before Lending Art" containing advice to collectors considering lending art works to museums for special exhibitions. Here is the news release in its entirety:

The theft of Norwegian artist Edvard Munch's masterpieces, The Scream and Madonna, from an Oslo museum will lead to greater precaution by museums, cultural institutions and private art collectors lending art overseas, according to the Chubb Group of Insurance Companies.

"Many private collectors lend their art because it can increase the value of the object," says Dorit Straus, Chubb's worldwide fine arts manager. "However, safety standards vary by museum and country, and overseas loans can be particularly complicated because of additional transit, customs regulations and foreign laws."

Below are 10 tips from Chubb, a leading insurer of valuable articles such as art, antiques and jewelry, on how collectors can protect themselves against potential losses when lending works of art overseas:

Is the work of art stable to withstand travel? While the curator may want the work of art because it is important to the context of a show, the museum conservator is key in determining the stability of the piece to travel. Ask the conservator to provide a fully detailed condition report before the work has left your possession.

How will your work of art be displayed? Ask about security cases, security screws, location of the objects in relationship to visitor flow, and distance from the viewing public.

Will the museum travel the exhibition, including your work, to other facilities? If so, obtain the same security-related details for every location where your work would be displayed.

Ask the museum for a facility report and for information about its security systems and procedures.

Obtain specific information about the museum's insurance policy. This is especially important overseas, where many state-owned museums, such as the one housing the Munch paintings in Oslo, do not purchase insurance covering theft and other perils. Is the coverage wall-to-wall and would it respond to terrorism-related losses? Which company underwrote the insurance policy, and what is its financial security? Has the museum not addressed certain recommendations made by the insurer, and if so, what impact may that have on coverage if there is a loss?

Is the exhibition insured through the U.S. Indemnity program? This program authorizes the Federal Council on the Arts and the Humanities to make indemnity agreements with individuals, non-profit, tax-exempt organizations and governmental units for eligible objects from other countries while on exhibition in the United States. Ask for detailed information about the requirements of the program.

Have an updated appraisal completed for your work to establish an accurate current market value. An over valuation will cause the museum to pay for more coverage than it needs. Under valuation will complicate the insurance adjustment process, particularly in the event of a partial loss.

Obtain details on the labeling and identification of your artwork. In addition, make sure that there are no issues about the title or authenticity of your work.

Notify your insurance company, agent, broker prior to lending. Ask their advice prior to waiving any rights of subrogation against the museum, packer or shipper.

Ask about the packing and shipping of your piece from your home to the museum. Will the museum use storage facilities while consolidating the shipments? Obtain full details about fire and burglar protection for the storage location.

Make sure that the loan agreement that you receive from the museum specifies all the requirements that you had negotiated when you agreed to loan your work.

About Chubb The member insurers of the Chubb Group of Insurance Companies form a multi-billion dollar organization providing property and casualty insurance for personal and commercial customers worldwide through 8,000 independent agents and brokers. Chubb's global network includes branches and affiliates in North America, Europe, Latin America, Asia and Australia. The company is noted for its Masterpiece® line of personal insurance products for homes, autos, watercraft and valuable possessions, including antiques, jewelry, fine arts and other collectibles, as well as personal and excess liability protection.

The facilities report referenced in the Chubb article is a standard facilities report. The American Association of Museums Standard Facility Report (ISBN 0-931201-55-1) is often preferred. The blank template for this document may be purchased from the AAM Bookstore (202-289-9127) or through the AAM website. It details the facility's environmental, safety, security, staffing, storage, and exhibition space capabilities and acceptable insurance coverage, specifically naming the lender as an additional insured.

The Arts and Artifacts Indemnity Program page from the National Endowment for the Arts web site explains the program. The Introduction says: "Museums and other non-profit organizations planning temporary exhibitions that involve bringing works of art and artifacts from abroad to this country or sending works of art from this country abroad may be eligible for coverage"

See TFAO's Appraisals of Original Art Objects for information on securing appraisals.

In a book by Michael Reid titled How to Buy and Sell Art, Mr. Reed advises collectors that long term loans of their works to museums can reduce the cost of their home insurance premium when museums agree to insure the works while in their custody. he adds: "Similarly, a long term loan to an established art museum would greatly reduce the security risks and costs, not to mention the burden of appropriate storage."

The Columbia University Libraries created a web page titled "Guidelines for Lending Materials for Exhibition" to explain what is needed to enable the institution to lend its property for exhibition. As an individual collector, substitute yourself in place of Columbia University Libraries to obtain ideas on how to respond to requests for loans from museums.

rev. 2/10/08

Online Resources for Collectors, Life Long Learners, Students and Teachers of Art History

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