Many of our clients have been using our fine art shipping services, as well as shipping antiques and other valuables with us for years.

That said, for some of our newer clients, or for people who are new to the industry, the process of fine art shipping or shipping your most prized possessions around the world can often be a daunting experience. That’s why we asked our Logistics Coordinator and fine art shipping enthusiast, James Mitchell-Kempner, what top 3 things you should know before shipping your art.

1. What’s the timeframe for fine art shipping?

2. Do you know the Customs status of the works you plan to ship?

3. Do you need insurance for fine art shipping?

Make sure that fine art, antiques and other value shipments are covered by transit insurance. Your current insurance cover should include it, thus, it’s always worth checking with them first. If you still need insurance, our logistics team can include transit insurance on request. Additionally, we receive very competitive rates, so please ask us and we’d be more than happy to assist.

If I don’t have transit insurance in place, can I still ship works internationally?

Yes, legally you can still ship works without having insurance in place, however, we strongly advise against this. In the event of transporting works without insurance, liability will be restricted to standard carrier terms.

Will my existing cover be sufficient when transporting works internationally or locally?

Many of our clients often have insurance policies already in place for existing works in their collection. Also, it is always worth checking with your existing provider whether works will be covered in transit. However, if you have just bought a new piece, your existing cover may not include any new additions to your collection. We often find many international collectors purchasing from galleries overseas commission a condition report to insure their works upon collection, whether the insurance is provided by ourselves or their existing provider.

When placing my works into storage, do they require transit insurance?

Yes, all works placed into storage with Queen’s require insurance. As referenced above, this can either be provided by your current insurer or we can arrange for this through our insurance partners. We always recommend works are card packed or crated throughout their time in storage to provide the utmost protection. Our expert team can assist with both of these options.

What information do I need in order to get my works insured?

Generally, insuring your works is a relatively straightforward process. All you will need is the value of the work and we would advise having a condition report undertaken, this is something our on-site technicians in storage can provide.

If you have any questions about insuring your works or would like to enquire about a shipment, please email us at info@queensfineart.com and we’d be happy to help.

So, in celebration of International Woman’s day, we spoke to our Shipping Manager, Carola Quirico, to find out what it’s like to be a woman building a career in shipping and art logistics. And we also wanted to share some top tips for women thinking about starting a career within the industry.

As usual, first up, we asked;

How did you get into shipping artworks?

It may sound cliche for someone who works within the ‘art world’ but for as long as I can remember, I’ve always loved art. As a child, my mother used to take my brothers and me to visit museums almost every Sunday . Also, at university, I studied Art and Art Exhibition Management. Thus, it’s always been an area that I’ve been interested in and, luckily, felt accepted in. Even when I was younger, I never felt that, by being a woman, I’d be held back within the industry. But that doesn’t mean that there haven’t been challenges along the way.

I always thought that I wanted to be a museum courier, which would allow me to travel around the world with artworks (my dream come true!) but my first job was as an internship at the Academia Carrara in Bergamo, which I thoroughly enjoyed. I then secured the role of the Gallery Registrar at Massimo de Carlo.

It was during that job that I realised that not only do I really enjoy the challenge of moving art to different locations and managing multiple projects at once, but I also realised early on in my career that I really thrive on working with lots of different people. So, when I got the opportunity to be the Shipping Manager at Queen’s, I jumped at the chance.

What’s it like being a woman working in shipping?

I have to say there are lots of women working in the industry. But maybe that’s because we are quite good at juggling between multiple tasks and nothing goes unchecked or unthought of! However, on a more serious note, there aren’t as many women as I’d like to see in the senior roles. I think that’s something we, as an industry, need to work on.

Of course, I don’t believe that companies should just hire more women into senior roles because that’s not going to solve anything. But I do think it’s very important to create a culture where women can thrive in leadership roles. For example by offering home working, flexible hours, and access to training. That’s something that I’ve found Queen’s to be very good at. But it’s not always the case across the industry and I know friends in roles with much less flexibility and support.

I think that’s really an area as an industry we need to improve on. We should all be open to discussion on how we can improve things for both men and women, as that’s how we get the best of everybody. Thus, it’s important that we keep talking about topics such as this even after International Women’s Day.

What do you enjoy most about shipping artworks?

I absolutely love a challenge. Give me the challenge to ship a big painting to the other side of the world as soon as possible or ask me a tricky import/export Customs question, and I will be the happiest person on earth, truly!

One thing I love about my job in art shipping is that it’s never the same. Every day we transport unique works and I very much like the problem-solving aspect to working as a Shipping Manager. I find it extremely satisfying when the shipment arrives at the destination on time and when the client is happy and satisfied. As they say, a happy client, a happy life!

Any top tips for women looking to get into the industry?

We’ve got it, ladies! If you’re thinking about working in art shipping, I’d say just give it a go and, as I’m sure you will, give it your best shot. Believe that you can make the difference and that your ideas are just as valid as everyone else’s because they are.

I’d also say to make sure to research the culture of the company you want to join as well. Because it’s extremely important that you enjoy where you work and who you work with. Stand up for change and call out any behaviours or comments that are outdated and unnecessary.

Many people often make quick comments subconsciously and without purposefully meaning to be offensive. So I find it’s always important to call things out calmly and discreetly, before anything snowballs. That way, you can make sure that we’re all moving in the right direction. We’re all learning as we go, so it’s important to keep talking.

After all, shipping art internationally needn’t be difficult or complicated, so please find below our handy Q&A. If you have any questions, feel free to contact our team and we’d be more than happy to advise.

Which documents do I need for import/export into the UK/from the UK?

Now that the UK has left the EU moving works to and from Europe is much like moving works to other countries around the globe. You will, therefore, require the below documents for every shipment being imported/exported from the UK.

1. A pro forma / shipping invoice
2. T1 transit document  – for import (Don’t worry, we will produce this for you).

How much time should I factor in for customs clearance when shipping art internationally?

Every single artwork that crosses the UK border (inbound or outbound) is now subject to customs clearance. Please allow a few extra days to avoid disappointment. If you are working to a tight deadline, we also have the facility to go through customs, via a third party, at a specialist warehouse which helps to avoid any delays at the port. Please contact us should this be something you’d like us to arrange for you.

Are there any eco-friendly options available?

The biggest recommendation we can give to clients looking to reduce their carbon footprint is to plan ahead. The more time we have to organise a shipment the more options we have available to us to help us to limit carbon emissions and still meet your deadlines. Sea freight, for example, takes longer than air freight but it’s carbon emissions are much lower. For clients that can be flexible with their delivery timeline, we are able to offer shipments on bi-weekly consolidated vehicles, which means that dedicated transport can be avoided. If you’d like to book a shipment on a consolidated vehicle, please click here.

What taxes will I incur when shipping art internationally?

Collectors will have to pay the import VAT for the country that they are importing the artwork to. This will vary by country and our expert team will be happy to advise on a case-by-case basis.

If I am only transporting the piece for a limited amount of time, do I still have to pay taxes?

If you are transporting works for art fairs or for a limited amount of time, many countries allow you to defer tax until the works are sold, meaning you may not have to pay tax when the goods enter the country. If you plan to return the goods to Britain within 3 years, this will fall under British Returned Goods CPC/Returned Good relief (RGR). To qualify, you must export the piece under a specific name (i.e. your personal name or company name) at a value that won’t change and under ownership that remains the same through the 3 year period. The works can then be reimported with no tax implications.

Do I require any export licenses when shipping art internationally?

You will only require a licence if the piece you are importing/exporting is over 50 years old. The type of licence required will depend on what you are shipping, it’s value and where to.  As such, we would like to share with you the ‘Export Licensing for Cultural Goods following the end of the Transition Period: FAQs‘, created by the Arts Council. This covers the UK License, Temporary Licences, Open Individual Export Licences and many more. Naturally, if you have any questions please feel free to contact our team and we’d be happy to advise.

Are they any items that I cannot ship internationally?

There are some rare and endangered items that are prohibited from entering or exiting a country or which will need a CITES licence. You can find a full list of these items here. As usual, our team will be happy to advise on this if you have any questions.

What about insurance?

All fine art, antiques and other value shipments must be covered by transit insurance. This may be included in your current insurance cover, so it’s always worth checking with them first. If you still need insurance, our logistics team can include transit insurance on request. We receive very competitive rates, so please ask us and we’d be more than happy to assist.

Need help with an up and coming shipment? You can contact the team at info@queensfineart.com. We usually aim to respond within 30 minutes.

For our clients who are less familiar with Nottingham Contemporary, Nottingham Contemporary is an international center of contemporary art with a strong sense of local purpose. Since opening in 2009, they have held more than 60 exhibitions, with over 2 million visitors to date, presenting innovative and interwoven programmes of international exhibitions, learning, partnerships, and research. And if that wasn’t enough, they were shortlisted for Art Fund Museum of the Year 2019.

We caught up with their Head of Exhibitions, Kiera Blakey, to find out a little more about the exhibition, where the idea for the exhibition came from, and what visitors can expect. First up, we asked:

We’re really looking forward to seeing the exhibition open on the 20th of November, but where did the idea for the exhibition originally come from?

Our Silver City, 2094 is imagined as a journey that unfolds across four galleries, orientated to the cardinal points. It traces a route from change to understanding, from inner knowledge to wisdom. Along the way, we encounter a selection of artifacts, remnants, and artworks connecting the long 21st century with what went before. Every exhibition asks us to travel in time, but this one insists upon it. This exhibition asks: How might visual culture be produced, displayed, and experienced in the future? Who were ‘we’ before we became ‘we’? Where are we going now? And how might we get there?

How did you choose the artists to participate in the exhibition and are there any new and noteworthy commissions that we should keep an eye out for?

Our Silver City, 2094 is based on a methodology created by Prem Krishnamurthy; the exhibition takes the form of a speculative fiction, or a process of collaborative world-building. It has been developed over the last two years by artists – Céline Condorelli, Femke Herregraven, Grace Ndiritu – and the novelist Liz Jensen, working in dialogue with Krishnamurthy and the Nottingham Contemporary team.

Its language and texture draw upon conversations across Nottingham, with school children, climate scientists, and geographers. The project also extends throughout our building and into the city via a program developed with young people. There are almost 100 artworks, artifacts and three new major multi-disciplinary commissions by Céline Condorelli, Femke Herregraven, Grace Ndiritu.

Céline Condorelli, Dos Años de Vacaciones (Two Years’ Vacation). Exhibition view, TEA Tenerife, 2021. Photograph Sergio Acosta.

Why did you decide to partner with Queen’s on this initiative?

You reached out to us first and despite having relationships with many other transportation companies we remembered you because you had such a personal touch. After our first meeting we knew right away we wanted to build a working relationship, you helped us problem solve, made an effort to get to know us personally and we felt supported beyond just a transaction! You’ve assisted us with the logistics and movement of over 52 works of varying sizes for the exhibition from over 20 different locations, so it’s great to be working so closely with a team that we can trust for our latest exhibition installation.

Are there any outputs that you’d like to come from such an innovative exhibition?

We hope it will start a dialogue about who are spaces for and the civic role of institutions. Along with yourselves, we’re working on a new green exhibition guide; and we want to empower the young people in our city by providing space and opportunities for them to meaningfully participate and connect to the many components of the exhibition.

Where can our clients find out more if they’d like to attend?

The exhibition opens on the 20th November through to the 18th of April. If you’d like to visit us or find out more information, all the details on the exhibition can be found on our website, here.

For exhibition installation, storage, or shipping requests, your Queen’s contact remains at your disposal. Alternatively, please contact info@queensfineart.com

Could we move to be the first fine art logistics provider to only ship art via sea freight? A recent conversation between our shipping team prompted us to consider exactly why it was that we couldn’t encourage more clients to adopt sea freight instead of air freight.

We have made the commitment to half our carbon emissions by 2026, in line with the Paris agreement, and working towards a sea freight model would drastically reduce emissions whilst also still allowing clients to continue to move their works around the globe as necessary. Moving an artwork via sea freight can, for example, reduces it’s impact on the climate by around 95%.

However, unfortunately, it isn’t all plane sailing.

Time remains a challenge

The long travelling time required for shipping art via sea freight means that in many circumstances sea freight remains a challenge for galleries and collectors who require works to arrive quicker than sea freight can allow. The average time to ship a work from London to New York, for example, takes about 14 days plus loading and unloading at each port. Transporting the work via plane, on the other hand, takes just 8 hours plus loading and unloading which can be completed within the day.

That, in itself, doesn’t seem much of a compromise but it is important to keep in mind that sea freight can be subject to delays that, unfortunately, can not be foreseen until the works are in transit. It can therefore be a risk to ship works via sea freight that are needed for a fair or exhibition if no time is built in to account for this. When we do ship clients’ work via sea freight, we always recommend adding a buffer into your timeline to allow for delays at the port or whilst the shipment is en route.

Works are (statically) at an increased risk

Historically, shipping art via sea freight has been seen to be considerably riskier than transporting works via air freight. Insurance premiums are normally higher when shipping works via sea when compared to air. However, attitudes towards this are now beginning to change and there are several steps that can be taken to mitigate the risk when opting to ship works via sea freight.

We always recommended that works be shipped via FCL (Full Container Load). For art fairs when clients are moving large quantities of art or when logistics companies can consolidate multiple consignors of works this is also generally much more cost-competitive than air-freight and is increasingly possible when timelines are flexible. In certain circumstances, LCL may be an option and your Queen’s contact will be able to advise on this.

As standard, we also recommend that only Reefer (refrigerated) Grade A containers are booked as although this does cost slightly more, it means that the containers themselves offer greater integrity and are in a much better condition. It is also best practice to ensure that all works are loaded with a 4-inch gap on all sides to allow for air circulation. Much like airfreight, it is always recommended that works are packed in bespoke crates to ensure that the works are adequately protected throughout the move.

Not all materials can be shipped via sea freight

As much as the idea of moving to a full sea freight option is attractive, at this point, not all materials are deemed suitable to ship by sea. These include bronze sculptures and unframed works on paper, for example. That said, the more items that are shipped by sea, the more likely this is to change as insurance companies and logistics partners alike become more open to shipping these materials with packing methods suitable for sea transport.

Sea freight is still an option

Although clearly there are still challenges that need to be worked through when considering shipping art via sea freight, we would welcome the opportunity to arrange more sea freight shipments for clients.

Shipping works via sea freight is still a great option when timelines are flexible (if a work is going into storage for instance), or when the works being shipped are bulky or heavy and where costs would be prohibitive via air. Art fair shipments, where large quantities of works are being moved are also a great time to consider sea freight. Providing the works can be scheduled for collection early enough in order to allow for the increased transit time then, in many circumstances, sea freight will be possible.

Should you be looking to explore how to ship more works via sea freight, your Queen’s contact remains and your disposal and will be able to advise on the most appropriate option available to you. Alternatively email info@queensfineart.com and one of our international shipping managers will be in touch. 

As the price of oil surges to record levels ($139 per barrel at the time of writing), we wanted to ensure you have the information that you need regarding surging fuel prices, diverted routes and updated timelines.

Air-Freight

Rail-Freight

With increasing air-freight and sea-freight costs, we had embarked on trials for rail transport between London and China which would have been a fantastic leap forward for our clients looking to move works for fairs such as Westbund in November.

Sea-Freight

If you are planning a shipment via sea-freight in the next six months, we recommend engaging with your logistics provider as soon as possible to allow them to secure the containers necessary. Sea-freight can still be a cost-effective way to move goods around the globe, especially when air freight rates are as heightened as they are currently. Moving works via sea-freight is also much less carbon-intensive. For more information on shipping via sea-freight, you can view our guide here.

For many art fairs, including Frieze New York, Art Basel Miami, and Westbund sea-freight remains an option.

Of course, should you require further information on this, your Queen’s contact remains at your disposal. Alternatively, you can email info@queensfineart.com and the relevant team will be in touch.

As of 31 January 2025, all goods imported from the EU to Great Britain (GB) must be accompanied by a Safety and Security (S&S) declaration, also known as Entry Summary Declaration (ENS). This regulation ensures comprehensive risk assessment and strengthens border security. Queen’s is here to help navigate these new requirements smoothly.

Understanding the ENS declaration

The Entry Summary Declaration (ENS) is a mandatory submission required for all goods entering GB. It enables UK customs authorities to conduct risk assessments prior to arrival, helping to safeguard supply chains. Importantly, the ENS is distinct from import customs declarations and does not account for duties or taxes.

Key information required for ENS

To complete an ENS declaration, the following details are necessary:

• Valid EORI number
• Importer and exporter information
• Exporter reference number
• Freight forwarder (for accompanied vehicles)
• Ferry operator (for unaccompanied trailers/containers)
• Total number and weight of packages
• Border crossing point of entry (port name)
• Expected arrival time
• Vehicle identification number (VIN)
• Trailer seal (if applicable)
• Description of the goods
• Type of packaging
• Any markings and reference numbers

Submission deadlines

To avoid delays, ENS declarations must be lodged at least two hours before goods arrive at the Eurotunnel terminal in Coquelles, France. Meeting these timeframes is essential to prevent disruptions to shipments.

Compliance and enforcement

The UK government will actively monitor adherence to ENS requirements. Failure to comply may result in penalties, border delays, or additional inspections. It is, therefore, crucial for all parties involved in the shipping process to ensure accuracy and timeliness in their declarations.

Can Queen’s take care of this for me?

Yes. Queen’s will prepare and submit the ENS declaration on our clients’ behalf, ensuring full compliance with the new requirements.

For further tailored support and expert advice, reach out to our customs department today.

Carola Quirico
Shipping Manager
T. +44 7704 310253

Coordinating shipments for international art fairs often involves a careful trade-off between managing costs and ensuring delivery certainty. Freight rates to destinations like Seoul can be high, especially during peak periods when multiple fairs coincide and cargo space becomes limited.

For most registrars, cost is a key concern. That often means looking at the most competitive routing rather than defaulting to premium options. For shipments from London Heathrow (LHR) to Incheon (ICN), this typically involves indirect flights via continental Europe, with Luxembourg (LUX) acting as the main hub.

What to expect from the Luxembourg route

While routing via LUX can help manage freight costs, it comes with some key operational considerations.

Luxembourg is a major hub for transhipment freight across multiple industries—not just fine art. Year-round volumes are high, and congestion is common, especially during busy periods. Therefore, delays can occur even in standard conditions.

Another challenge is the lack of guaranteed transhipment timing. Airlines generally don’t commit to fixed transfer windows for indirect routings, which can make them occasionally less predictable.

When direct flights offer an advantage

If predictability is your priority, direct flights from LHR to ICN are a strong option. They reduce handling steps, shorten total transit time and improve schedule reliability. However, direct routes often come with premium costs—particularly in the lead-up to major fairs such as Frieze Seoul. Space may also be limited.

Some airlines offer “must-ride” services that prioritise your shipment if space becomes tight. While these add protection against offloading, they are more expensive and can still be affected by broader disruptions.

External factors to consider

Unforeseen events—such as airspace restrictions and embargoes, labour strikes impacting handling or carrier operations, or regulatory changes affecting customs or security screening—can impact both direct and indirect shipments. These factors are beyond the control of airlines and logistics providers, but they can still cause delays.

No routing is fully immune to disruption. That’s why it’s important to plan ahead and build in contingency.

How much time to allow

To reduce risk, we recommend scheduling delivery to the destination airport at least one week before the fair’s deadline, as specified by your local agent or organiser.

This gives you flexibility to manage any unexpected delays at LUX, protect against disruption on direct services, and avoid needing to escalate to “must-ride” options at the last minute.

Impact on your schedule

Building in this buffer means adjusting your upstream timeline.

You’ll need to:

• confirm packing lists and condition reports earlier,
• move forward with crate production and packing,
• and arrange collections ahead of your typical schedule.

Booking space with airlines in advance also increases your chances of securing the right service level at a better rate.

In summary

When planning shipments to major international art fairs, indirect routings via Luxembourg remain a viable, cost-effective option—provided you allow sufficient lead time. Direct flights and must-ride services can offer greater schedule certainty but typically come at a premium.

Building in a time buffer from the outset gives you flexibility to manage risks tied to congestion, unpredictable transhipment timings, or external disruption. By adjusting your schedule early, finalising logistics ahead of the rush, and securing space in advance, you improve reliability while maintaining control of your costs.

If you’re preparing for an upcoming fair and need support with planning your shipment, contact Queen’s to discuss the best solution for your timeline and budget.

Carola Quirico
Shipping Manager
T. +44 7704 310253

In early 2025, Queen’s was entrusted with a complex international project: coordinating the safe movement of Anselm Kiefer’s monumental works between the Ashmolean Museum in Oxford and the Hall Art Foundation. The project spanned multiple jurisdictions, including Switzerland, Belgium, and the UK, and required precision scheduling, customs expertise, specialist fabrication, and secure handling at every stage.

Our approach

From the beginning, Queen’s worked closely with both institutions to shape a detailed quotation and project plan. Transparent discussions about trucking schedules and routing options ensured clarity for all parties. As the scope expanded, Queen’s adapted, incorporating the fabrication of custom T-frames, the coordination of international shipments, and secure overnight storage at our climate-controlled London facility.

We also advised on complex customs arrangements, ensuring smooth export and import processes for both artworks and exhibition hardware. Dedicated technicians handled loading and installation, while project managers provided clear communication and prompt solutions to emerging challenges.

The result

The project was delivered with precision and care, meeting all deadlines and safeguarding the works throughout their journey. Both the Ashmolean Museum and the Hall Art Foundation benefited from a single point of contact who managed every detail, from fabrication and customs to cross-border logistics and secure storage.

Stephanie Biron of the Hall Art Foundation reflected:

“Queen’s was a great partner for our exhibition of Anselm Kiefer: Early Works at the Ashmolean Museum. They engaged with us on a detailed quotation process, were transparent about scheduling and trucking options, and gave us key advice about customs arrangements. We were very happy with their prompt attention to our concerns and the resolutions offered, and we look forward to our next opportunity to work together.”

Why it matters

For institutions of this calibre, the movement of artworks is as much about trust as it is about transport. By combining expertise in logistics, customs, fabrication, and storage under one roof, Queen’s delivered a seamless service that allowed our partners to focus on the exhibition itself, confident their works were in the safest hands.

Image: © Ashmolean Museum, University of Oxford