Between exhibitions, between sales, and between seasons, artwork goes into storage. For a mid-size gallery, 40 to 60 percent of the inventory may be in storage at any given time — at Crozier, Artex, Gander & White, or a local facility. Every transfer in and out of storage is a logistics event with its own documentation, its own insurance implications, and its own risk of an inventory discrepancy that takes days to resolve.

This guide maps the storage transfer workflow: from the decision to store through intake condition reports, insurance during storage, access scheduling, and release back to the gallery.

Why storage transfers are their own discipline

Storage transfers sit at the intersection of three functions that typically live in different systems:

  • Inventory management — which works are where (Artlogic, ArtCloud)
  • Shipping logistics — how they got there and how they come back (carrier portals, email)
  • Insurance — whether they are covered while they sit (policy PDFs)

When a work moves into storage, the inventory record should update, the carrier booking should be archived, and the storage policy should be confirmed. In most galleries, these three steps happen in three different systems — and the reconciliation happens in the registrar's head.

Choosing a storage provider

Not all storage is the same. The provider you choose depends on the work, the duration, and the access you need:

  • Crozier Fine Arts — the institutional standard. 1.8M sq ft across 12 markets. Climate-controlled viewing rooms. Museum-caliber handling. Best for high-value works and long-term storage where the facility's name carries weight with insurers and collectors.
  • Artex — strong in London and the UK. Climate-controlled, good access provisions, widely used by London galleries.
  • Gander & White — London, Paris, and New York. Strong private client practice. Often used for works that will travel internationally.
  • Local/independent facilities — lower cost, less infrastructure. Suitable for framed works that do not require museum-standard climate control. Verify insurance and security before committing.

The storage contract should specify: climate conditions (temperature and RH range), access hours and advance notice requirements, insurance responsibility, viewing room availability, and release procedures.

Decision to storeInventory reconciliation

Reconcile the inventory listBefore anything moves, confirm exactly which works are going and where. Cross-reference the gallery management system (Artlogic, ArtCloud) against the physical works. Discrepancies caught here save days of investigation later.
Confirm each work's storage-readinessIs it framed? Is it crated? Does it need a crate built before it can move? Works on canvas without frames can be stored on racks; framed works need individual slots or crates.
Produce pre-storage condition reportsPhotograph and document every work before it leaves the gallery. This is the baseline for any claim during storage. Focus on existing condition issues — they will be compared against the intake report at the storage facility.
Update the inventory systemMark each work as "in transit to storage" with the destination facility, the planned arrival date, and the expected duration of storage.

Transfer bookedCarrier and insurance

Book the carrierStorage transfers are typically local or regional — a single vehicle, a single day. Book a carrier that the storage facility knows and trusts. Confirm the pickup window, the delivery window, and whether the carrier will help with racking or placement at the facility.
Confirm transit insuranceThe gallery-to-storage transit is typically covered by the gallery's policy or the carrier's policy. Confirm which applies and that the coverage extends to the full declared value of the shipment. If the work is unusually valuable, a single-item rider may be needed.
Confirm storage insuranceVerify that the storage facility's insurance covers the works while they are in storage — or that your gallery policy extends to the storage location. The gap between transit insurance (which ends at intake) and storage insurance (which begins at intake) must be confirmed in writing.
Send the inventory list to the storage facilityThe facility needs to know what is arriving, in what condition, and where it should be placed. Include: artwork ID, title, artist, dimensions, framing status, crate status, and any special handling instructions.

Intake at storageCondition and placement

Oversee intake (or review the intake report remotely)Each work should be inspected on arrival at the storage facility. Compare against the pre-storage condition report. The facility's intake report should note any discrepancies. If you cannot be present, request photographs and a written intake report within 24 hours.
Confirm placementWorks should be stored according to their medium and condition: paintings on racks or in slotted storage, works on paper flat in plan chests, framed works in individual slots. Confirm the facility has assigned the correct location type.
Record the storage locationThe facility assigns a rack number, slot number, or bin number. Record this in your gallery management system. When you need to retrieve the work, you need the exact location — not "somewhere at Crozier."
File the signed intake reportThe storage facility's registrar or intake handler signs the intake condition report. File it with the artwork's record. This document establishes the condition of the work at the start of storage and is the reference point for any future claim.

During storageOngoing management

Maintain the storage inventoryThe gallery management system should reflect current storage locations. When a work is viewed by a client at the storage facility, log the viewing. When a work is released for an exhibition, update immediately.
Schedule periodic condition checksFor long-term storage (12+ months), schedule a condition check every 6–12 months. The facility can perform this and provide a report. Particularly important for works on paper, works with active condition issues, and works with organic materials.
Renew storage insuranceMost storage policies are annual. Set a reminder 30 days before renewal. Confirm that the declared values are current — works may have appreciated since the policy was written.
Manage access requestsWhen a client, conservator, or dealer needs to view a work in storage, coordinate with the facility. Viewing rooms typically require 48–72 hours advance notice. The work must be retrieved from its rack and brought to the viewing room.

Release from storageRetrieval and return

Submit the release requestProvide the facility with: the artwork ID, the storage location, the requested pickup date, and the carrier details. Most facilities require 48–72 hours notice for a release.
Book return transportArrange carrier pickup from the storage facility. Provide the facility's loading dock hours and contact person to the carrier.
Confirm transit insurance for the returnThe return journey needs its own insurance. This is the most commonly overlooked policy — confirm it explicitly with your broker or the carrier.
Produce a release condition report at the facilityBefore the carrier loads the work, the facility should produce a release condition report. Compare against the intake report. Any discrepancies must be noted and investigated before the work leaves the facility.
Receive and check at the galleryProduce a return condition report on arrival at the gallery. Compare against the release report. If all three reports (intake, release, return) align, the storage cycle is cleanly closed.
Update inventoryMark the work as returned from storage. Update the location in the gallery management system. Close the storage record.

Arpezio holds the storage trail in one record. From the pre-storage condition report through intake, periodic checks, and release — every document linked, every location current. Read our complete logistics guide or find the right carrier for your storage transfer.