PRINCIPLES FOR LENDING AND BORROWING - JUNE 2021 - National ...
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PRINCIPLES
FOR LENDING
AND BORROWING
JUNE 2021
1
CONTENTS
PRINCIPLES AND GUIDE TO LENDING AND BORROWING 3
INTRODUCTION 3
ABOUT THIS DOCUMENT 3
01 PRINCIPLES FOR LENDING 4
02 PRINCIPLES FOR BORROWING 6
03 GUIDE TO LENDING AND BORROWING 8
RESEARCH 8
PLANNING 10
TERMS, CONDITIONS AND COSTS 11
COSTS 12
INSURANCE 13
COURIERS 14
MAKING A LOAN REQUEST AND THE LOAN PROCESS 15
COMMUNICATION AND WORKING IN PARTNERSHIP 18
LONG-TERM LOANS 19
TOURING EXHIBITIONS 20
04 CASE STUDIES 21
SHEEP EXHIBITION AT CEREDIGION MUSEUM, ABERYSTWYTH, WALES 21
STEPHENSON’S ‘ROCKET’ - A LOAN FROM THE SCIENCE MUSEUM GROUP
TO TYNE & WEAR ARCHIVES & MUSEUMS 24
05 SOURCES OF FURTHER INFORMATION 26
MEMBERS OF THE NATIONAL MUSEUM DIRECTORS’ COUNCIL 28
MEMBERS OF THE LENDING AND BORROWING WORKING GROUP 29
NATIONAL MUSEUM DIRECTORS’ COUNCIL 30
TOURING EXHIBITIONS GROUP 30
2
PRINCIPLES AND ABOUT THIS
GUIDE TO LENDING DOCUMENT
AND BORROWING This practical guide takes you through
the lending and borrowing process and
is designed to be relevant for the variety
INTRODUCTION of organisations engaged in loans-based
activities. The structure of the document
The rich and diverse collections of the UK’s looks first at Principles for Lending and
museums and galleries have the capacity then Principles for Borrowing, section 3
to inspire, excite, educate and bring provides a fuller guide through the process
people together. Lending and borrowing with a Guide to Lending and Borrowing,
enables these collections to be accessed and finally section 4 shows some best
and enjoyed by diverse audiences, practice case studies.
creates opportunities for new research
The Principles and Guide aim to address
and interpretations, and promotes
sector demand for an ease and openness
collections as a valuable public resource.
to lending and borrowing in the UK and
A partnership approach to lending and are informed by Arts Council England’s
borrowing can help build long term ‘Ready to Borrow’ programme, the
collaboration and maximise the impact Weston Loan Programme with Art
for the public and organisations involved. Fund and TEG’s ‘Preparing to Borrow’
Taking the time to understand the process programme and Lending and Borrowing
from both sides helps loans to proceed Experiences Survey Report (2017).
more smoothly and effectively.
The Principles were drafted following
a series of workshops in 2019 with the
assistance of a Working Group (see page
29). This Guide updates NMDC’s Loans
As museums reopen following Between National and Non-national
the UK lockdowns, many are Museums: Standards and Practical
under pressure from reduced Guidelines (2003) and responds to the
resources. However, the national Mendoza Review: an independent review
and regional museums whose of museums in England and the Strategic
leaders form the National Review of DCMS Sponsored Museums
Museum Directors’ Council (both 2017). These reports recognised
the wide-reaching value of lending and
are committed to lending as
borrowing between national and non-
widely as possible to support the
national museums and called for national
sector during this critical period
museums to provide a more supportive
of recovery, to ensure that as
environment for lending and borrowing in
many people as possible across the UK.
the UK can access the UK’s
collections.
3
01
PRINCIPLES
FOR LENDING
Ceramics Gallery, National Museum of Scotland.
Photo: Ruth Armstrong © National Museums Scotland
curatorial contacts, information about
To encourage the growth of good collections held on external databases
lending and borrowing in the UK, or websites e.g. Art UK
NMDC members agree to the k Your loans policy and process, including
following commitments. In doing so, timescales for informal enquiry and
they hope to encourage the wider formal notice period, conditions for
museum community to adopt a clear, borrowing and rationale for decision
helpful and generous approach to making.
lending.
PRAGMATICALLY ADDRESS DELIVERY,
DISPLAY AND ENVIRONMENTAL
We will: REQUIREMENTS
k These may include mounting, crating,
LEND UNLESS THERE IS A COMPELLING
REASON NOT TO couriers, transportation, environmental
conditions, security etc.
If it is not possible to lend, clearly explain
the reasons and offer alternatives if you k Provide the information necessary
can. to maintain the safety of the object
as soon as possible to help avoid
PROVIDE CLEAR INFORMATION FOR unexpected costs for the borrower.
POTENTIAL BORROWERS k Be pragmatic about lending where the
Borrowers will typically begin by nature of the collection allows.
researching your institution’s process
k Take a risk-managed approach to
online - make sure you have an up-to-
lending where the loan conditions -
date loans web page. This should include:
timescale, environment, security - allow
and within the resources available.
k A clear point of contact for enquiring
about loans
USE COURIERS ONLY AS NECESSARY
k Where available, links to a searchable
k Only require a courier (including
collections database
virtual couriers) when this is genuinely
k Sign-posting to other sources of essential. When used, explain why
information about the collection e.g. you’re sending a courier, or using
on-site research facilities, publications, a virtual courier, and share them
wherever possible.
4
k Ensure couriers are appropriately k In particular, work with the borrower
trained to deal with the object(s) on to identify transportation and other
loan. services that meet the standard and
operate from their area.
k Communicate what their role is to
the borrowing institution - will they be k Where costs are passed on, this should
delivering the object or assisting with be on a cost-recovery basis.
installation (in person or remotely)?
MAKE THE MOST OF WORKING IN
CHARGE COSTS ON A NOT PARTNERSHIP
FOR PROFIT BASIS k Help borrowers maximise the impact of
k Provide the borrower with a transparent a loan. For example, provide access to
overview of the related costs as soon as marketing resources such as images.
possible.
‘‘
k National museums will not charge a fee
for the loan itself to other UK museums
(though they may charge some or all of NMDC MEMBERS
the costs incurred in making the loan). WANT TO ENCOURAGE
k Costs should be kept to a minimum. THE GROWTH OF
For example, conserve to the level GOOD LENDING AND
required for exhibition and provide BORROWING IN THE UK
options for glazing, crating, transport
and couriering.
Looking at laser scans of carved stones at National Museum of Scotland. Photo: Neil Hanna © National Museums Scotland
5
02
PRINCIPLES
FOR BORROWING
Learning about the Staffordshire Hoard.
Photo: Andy Stammers © Birmingham Museums Trust
k Be flexible: if your ideal object is not
Loans between museum, galleries available, work with the lending
and other cultural organisations are institution to identify an alternative.
partnerships. These partnerships are
most effective when both parties LEAVE ENOUGH LEAD-IN TIME
consider the perspective of the other, k The amount of time it takes to borrow
collaborate to meet each other’s an object varies between institutions -
objectives and pragmatically share your schedule may differ from that of
time and resources. In the spirit of the lending body.
partnership, those entering into an
k Therefore, it is important to make
agreement to borrow are asked to:
informal enquiries as early as possible.
For example, if you need to submit
a formal loan request 12 months in
FIND THE MOST SUITABLE OBJECT
AVAILABLE advance of borrowing, we recommend
that you begin a conversation 15
k Undertake thorough research of
months in advance.
potential objects to fit your subject.
k Make sure you are speaking to the
k Don’t assume that the best object
right person in the right department,
for your purposes will be in a national
who can give you the most accurate
collection - explore a wide variety of
advice.
lenders.
k Don’t assume that the best object for READ THE DOCUMENTS CAREFULLY
your purposes is one that is on display, SO YOU ARE FULLY AWARE OF THE
TERMS, CONDITIONS AND COSTS OF
explore the museum’s database
BORROWING
and talk to curators at the museum if
possible, to understand what is in store. k The conditions of borrowing are not a
formality and it is crucial to digest them
k If you approach an institution for a
properly to make sure your institution
‘star’ object, the loan may need a
can meet the standard. If they are not
longer lead in time or not be possible
provided early in the process, you can
if the object is on display elsewhere.
either find an institution’s conditions
However, if this is the ideal object for
online or ask the lender.
your work, don’t be afraid to ask.
6
k If some conditions are problematic, k Ensure you provide the lender with
don’t be afraid to start a conversation all the information they require in a
about workarounds or alternatives timely way e.g. facilities, security and
with the lender. You can also seek environmental information, display
clarification if anything in the terms is case details, designs for the exhibition,
unclear. other objects that will be displayed,
your timetable etc.
k These conditions may also indicate
the costs of borrowing – including
BE A GOOD PARTNER
expenditure on conservation,
mounting, crating, framing, glazing, k Be open, flexible and pragmatic in your
couriers and transportation. Again, approach to borrowing - remember
good communication is important: let potential lenders may also be under
the lender know as soon as possible if pressure and needing to manage staff
you can afford these costs and would time and resources.
like to go ahead. k Work together to find solutions. For
example, you may work with the lender
MAKING A STRONG FORMAL to identify transport which meets the
APPLICATION
criteria and is available in your area.
If your initial research and enquiries
k Use the opportunity of the loan
seem promising, make a strong case for
for mutual publicity. Ensure you
borrowing in your formal application.
provide appropriate credit and
Points to emphasise include:
acknowledgement of the loan, and
k Why this object is most suitable for give the lender time to review publicity
your exhibition or research i.e. what is materials.
unique, timely and/or exciting about
the opportunity.
k The outcomes that may benefit the
lender, as well as yourselves e.g.
research, publications, researching new
audiences, contributing to their KPIs.
k All of the practical and contextual
information that will inform the decision-
making process e.g. exhibition title,
Conservation. Photo: Stewart Attwood
dates, audience, other exhibits etc. © National Museums Scotland
These principles were written following a series of workshops bringing together
registrars from museums of all sizes, convened by the National Museum Directors’
Council and the Touring Exhibitions Group (see page 29 for further information).
7
03
GUIDE TO LENDING
AND BORROWING
Egyptian Gallery, Birmingham Museum & Art Gallery.
Photo: Andy Stammers © Birmingham Museums Trust
Whether looking offline or online, research
RESEARCH will always be necessary to find the right
object.
FIND THE MOST SUITABLE Consider all the different types of
OBJECT AVAILABLE
collections that may hold the kind of
k Undertake thorough research of object you’re looking for. It might not
potential objects to fit your subject. always be a national or even a large
k Don’t assume that the best object regional museum that has what you
for your purposes will be in a national need but one of the other incredible
collection - explore a wide variety of collections up and down the country.
lenders. Use your personal network, that of your
organisation and other sector networks to
k Don’t assume that the best object for
help you with your research.
your purposes is one that is on display,
explore the museum’s database National museums will always try to
and talk to curators at the museum if support those wishing to research
possible, to understand what is in store. objects, but their time is limited too, so it is
k If you approach an institution for a important to take this into consideration,
‘star’ object, the loan may need a especially if you are a first-time borrower.
longer lead in time or not be possible Don’t be intimidated, everyone has been
if the object is on display elsewhere. there, just make a call or arrange a visit
However, if this is the ideal object for and start the process.
your work, don’t be afraid to ask.
Try to find out as much as possible about
k Be flexible: if your ideal object is not the object you wish to borrow. Visit
available, work with the lending the lender to view the object to assess
institution to identify an alternative. its suitability, not only from a curatorial
perspective, but also from a practical
It can be difficult to discover what objects
point of view. Seeing the object at the
are available and in which collections;
research stage will give you a clearer idea
museums are continually adding more
of the condition of the object, as well as
collections information to their websites to
any conservation, display, packing and
make this process easier.
transport requirements.
8
Borrowers should conduct due diligence museums should carry out thorough due
when considering a loan. A loan should diligence checks and make this available
not proceed if the lender does not hold a on request to potential lenders.
valid title for the object. Nor if there is any
suspicion that the object was wrongly taken Think about the loans process starting from
during a time of conflict, stolen or illicitly the early research stage, rather than from
exported or traded in ways not explicitly when you make the formal loan request.
allowed by treaties or other agreements. Don’t forget to build research time and
costs1 into your exhibition schedule and
Evidence of lawful ownership in a country budget from the start.
is not necessarily a valid title. Due
diligence should establish the full history of To support this, national museums will
the object from the time of its discovery or provide clear information for potential
production. Before acquiring an object, borrowers.
SUBJECT SPECIALIST NETWORKS
There are some organisations and networks that can specifically help with collections
research. Subject Specialist Networks can be a useful place to start.
Subject Specialist Networks (SSN) offer advice and guidance about collections,
acquisitions, preservation, access and research on a specific subject area.
They provide opportunities to network and provide professional advice, information,
and expertise on a range of subject areas. There are many such SSNs in existence
and you can contact them for support and guidance relating to your own activity.
Some SSNs focus specifically on providing advice, others have a wider role which
include advocacy, research, and other key developmental activity.
There are over 40 SSNs covering a wide variety of subjects. You can view the full list at
www.subjectspecialistnetworks.org.uk
1
Jonathan Ruffer curatorial grants from the Art Fund provide funding for travel and other practical costs, to help curators
undertake collections and exhibition research projects in the UK or internationally.
https://www.artfund.org/supporting-museums/programmes/jonathan-ruffer-curatorial-grants
9
Many national museums also have a
PLANNING national partnership lead who may act as
a gateway to making a loan request.
LEAVE ENOUGH LEAD IN TIME Before you submit a formal loan request,
k The amount of time it takes to borrow it is essential to speak with the lender’s
an object varies between institutions - curator and loans registrar. Between them
your schedule may differ from that of they can share expert knowledge and
the lending body. give practical advice about the object
you wish to borrow.
k Therefore, it is important to make
informal enquiries as early as possible. There can be other factors that affect the
For example, if you need to submit notice period for your loan request. ‘Star
a formal loan request 12 months in objects’, objects on display, a request for
advance of borrowing, we recommend a large number of objects, or borrowing
that you begin a conversation 15 from a museum undertaking a major
months in advance. capital project or storage move can all
k Make sure you are speaking to the mean a longer notice period is required.
right person in the right department, The seasonal exhibition cycle can lead to
who can give you the most accurate busy periods for loan requests. Make sure
advice. to conduct ample research into factors
that may cause disruptions, though
Lending and borrowing should be treated recent events including the UK’s exit from
as a partnership activity and the more the European Union and the pandemic
preparatory work you can do, the more have shown that there are other possible
successful the loan is likely to be. Like with unforeseen circumstances that can
any partnership, it helps to develop the impact lending schedules.
lender and borrower relationship as early
as possible. Whether you immediately If an object cannot be lent, the lender
request a loan or wait three or more years should clearly explain the reasons why
before needing to request one, having and they might be able to suggest an
this relationship in place will help both alternative. It will save you time if you
organisations long-term. know early on that an object is not
available for loan.
Most museums will signpost one central
email contact for loan enquiries on their Remember, a loan is not confirmed until
website. Some have a dedicated loans you have this in writing in response to your
email address, but not all do, so always formal loan request.
start with the collections and loans pages
To support lending, national museums will
of the website to find the right information.
lend unless there is a compelling reason
If you can’t find contact details online,
not to.
call the museum and ask to speak to
the loans out registrar or curator of the
collection from which you wish to borrow.
10There are recognised differences in the
TERMS, CONDITIONS way that individual museums manage
AND COSTS their loans processes, but each museum
operates a system that works for their
operational model and staff. To help
READ THE DOCUMENTS CAREFULLY guide borrowers in the right direction,
SO YOU ARE FULLY AWARE OF THE museums should ensure that their loans
TERMS, CONDITIONS AND COSTS OF
BORROWING policies, processes for borrowing and
rationale for decision making are clearly
k The conditions of borrowing are not a outlined at the start of the process.
formality and it is crucial to digest them
properly and make sure your institution There are some minimum sector standards
can meet the standard. If they are not that the borrower must meet when
provided early in the process you can borrowing from national museums to fulfil
either find an institution’s conditions Government Indemnity Scheme (GIS)
online or ask the lender. requirements (see box below). These can
k If some conditions are problematic, be used as an aspirational standard for
don’t be afraid to start a conversation any loan. Whatever the loan conditions
about workarounds or alternatives and standards, a lender should always
with the lender. You can also seek articulate as early as possible what these
clarification if anything in the terms is are and how they apply to a specific
unclear. loan object(s) to avoid any confusion or
unexpected costs further down the line.
k These conditions may also indicate
the costs of borrowing – including Museums now need to seriously consider
expenditure on conservation, the environmental impact of their work,
mounting, crating, framing, glazing, including borrowing and lending. Many
couriers and transportation. Again, museums are moving towards reducing
good communication is important: let waste, using sustainable exhibition build
the lender know as soon as possible if materials, sharing or recycling unwanted
you can afford these costs and would exhibition items and materials, and using
like to go ahead. virtual couriers where feasible. In 2015
the Bizot Group (a group of the world’s
A lot of information can be found leading museums) agreed the Bizot Green
online, though the volume of it can be Protocol, which provides standards and
overwhelming. When preparing to make guidelines for the sector, particularly
a loan request, always read the available around environmental conditions for
information as it’s there to help. Take the objects. Reducing the environmental
time to familiarise yourself with the policy impact of lending and borrowing can
and procedures of the lender. have the added bonus of reducing the
exhibition and loan costs.
11Museum Collection Centre Open Day, September 2019. Photo: David Rowan © Birmingham Museums Trust
The following factors may affect the cost
COSTS to the borrower:
k preparation of a conservation
2
Although national museums do not assessment and condition report
charge administration fees for loans, they,
k conservation and preparation costs
and many other museums, may need to
(time, materials etc.)
recover the loan preparation costs from
the borrower. Even if a loan is offered k photography and reproduction costs
completely free of charge, museums k valuations and appraisals
may wish to capture the ‘cost’ involved
k indemnity / insurance
to demonstrate the financial impact
and support-in-kind offered through the k packing (time and materials)
lending and borrowing activity. If the k crate hire and storage fees
types of costs are not clearly stated in
k transport
the museum’s loan policy, the borrower
should ask. Having an idea of costs k couriers and installation experts (time,
associated with a loan is essential for travel, accommodation, subsistence)
budget preparation, planning and funding k environmental and security
applications. Awareness of the loan costs requirements
at an early stage can help the lender
k installation costs, including special
and borrower avoid wasting time and
display requirements, fixtures and fittings
resources. Transparency about costs is key
and hire of specialist equipment.
for developing a good working relationship
during the loans process and beyond.
12 2
National museums in this case refers to the national museums that are Arms Length Bodies of Government.
Regional museums charging structure may differ.remember to leave enough time for
INSURANCE the application process; non-national
museums should apply at least three
The borrower usually arranges and pays months in advance and national
for the insurance for a loan, ensuring it museums at least two weeks in advance
provides ‘nail-to-nail’ cover and meets the of the loan itself.
requirements stipulated by the lender.
Commercial insurance can be quicker to
The Government Indemnity Scheme (GIS) arrange than GIS, though most insurance
(see box on page 14) is a cost-effective companies will expect GIS conditions
alternative to commercial insurance for to be met in order to minimise risk,
loans from non-national museums and dependent on the type of object and its
galleries, and private lenders in the UK value. Some borrowers, particularly local
and abroad. National collections are not authority museums, may be required to
covered by GIS. When National collection obtain insurance through their governing
objects are loaned out to another UK bodies. In either case, the borrower
National Institution they do so at their own should be prepared to provide proof of
(lenders) risk or if an approved Non adequate insurance cover in advance of
National or Designated borrower, the the loan being confirmed or proceeding
borrowing venue covers the minimum and the lender should scrutinise the
liability. See the GIS guidelines for insurance premium documents provided
minimum liability arrangements. by the borrower to make sure the object
is appropriately covered for the entire
Carefully read the GIS guidelines period of the loan, in transit and in situ.
on eligibility and how to apply, and
Staffordshire Hoard Gallery, Birmingham Museum & Art Gallery. Photo: Andy Stammers © Birmingham Museums Trust
13To support this, national museums will
COURIERS pragmatically address delivery, display
and environmental requirements, use
Where possible, museums will presume couriers only as necessary, and charge
against using couriers to accompany costs on a not for profit basis.
loans, but sometimes a courier is required.
In such cases, the lender should clearly
demonstrate why a courier is needed
and ensure the courier has the required
information, experience and authority.
Where possible, lenders and borrowers
should work together to share couriers for
multiple objects or consider other options
such as bookend installation, virtual couriers
or incorporating other digital technology to
monitor key parts of the transit.
A courier accompanying a loan can also
present an opportunity for learning and
knowledge exchange; another way of
extending the partnership approach to Learning about the Staffordshire Hoard.
lending and borrowing. Photo: Andy Stammers © Birmingham Museums Trust
GOVERNMENT INDEMNITY SCHEME (GIS) GUIDELINES
The scheme offers an alternative to the cost of commercial insurance. It covers loans
from private lenders in the UK and abroad, as well as loans from UK non-national
museums and galleries. National collections are not covered by GIS. When National
collection objects are loaned out to another UK National Institution they do so at
their own (lenders) risk or if an approved Non National or Designated borrower, the
borrowing venue covers the minimum liability. See the GIS guidelines for minimum
liability arrangements.
To benefit from the scheme, borrowing organisations are subject to a thorough
security risk assessment of the transport, venue and exhibition area, as well as
environmental approval for the exhibition space or research facilities.
It is a requirement that for indemnity to be given, the loan must be made in
accordance with conditions approved by government. These conditions are set
out in guidelines available to download in PDF format from the Arts Council England
(ACE) website.
www.artscouncil.org.uk/protecting-cultural-objects/government-indemnity-scheme
14Borrowers need to submit a formal loan
MAKING A LOAN request, following their informal discussions
REQUEST AND THE with the lender. Museums should provide
clear information to guide this process,
LOAN PROCESS detailing the procedure for applying for
a loan, the conditions for borrowing and
MAKING A STRONG FORMAL the rationale for decision making. Where
APPLICATION applicable they should also advise dates
of board or committee meetings where
If your initial research and enquiries
decisions will be expected to enable
seem promising, make a strong case for
forward planning.
borrowing in your formal application.
It’s always better to make an early start –
Points to emphasise include:
especially as museum sign-off processes
k Why this object is most suitable for for approving loans differ from place to
your exhibition or research i.e. what is place, so the more information you can
unique, timely and/or exciting about obtain and closer ties you can establish
the opportunity. early on the better.
k The outcomes that may benefit the
Check who the formal loan request should
lender, as well as yourselves e.g.
be sent to. This may be the director, a
research, publications, researching new
curator, a registrar, or a generic loans
audiences, contributing to their KPIs.
email address, and will vary from museum
k All of the practical and contextual to museum. If it is not clear who should
information that will inform the decision- receive the formal loan request, ask.
making process e.g. exhibition title,
dates, audience, other exhibits etc. Making a compelling case for your loan
is an important part of this process and
k Ensure you provide the lender with
easy to overlook if you are focussed
all the information they require in a
on providing the object, exhibition and
timely way e.g. facilities, security and
practical information to the lender. Put
environmental information, display
yourself in the lender’s shoes. Create
case details, designs for the exhibition,
a persuasive argument, not only about
other objects that will be displayed,
the impact of the loan on your own
your timetable etc.
organisation and audiences, but also how
the loan will benefit the lender and help
them achieve their objectives for sharing
collections and working in partnership.
In addition to your case for the loan,
the lender will expect some standard
information about the object you wish
to borrow, where and how it will be
displayed, and for how long.
MiniBrum at Thinktank, Birmingham Science Museum.
Photo: Andy Stammers © Birmingham Museums Trust
15You should include the following If applicable to the loan, a completed
information in your formal loan request: UKRG Security Supplement and UKRG
Display Case Supplement may also be
k borrower/exhibition organiser’s name,
requested. Every organisation involved
address and contact details
in borrowing should keep up to date
k complete object information, including copies of these documents on file and
the acquisition number or other unique they should be reviewed at least every
identifier, for the object you wish to three years, and always after any building
borrow work or changes to on-site security,
k exhibition title, dates and venue environment and display conditions.
Blank copies of these documents can be
k brief curatorial summary or scope of
obtained from the UK Registrar’s Group
the exhibition
(see box on page 17).
k reasons for borrowing the object - why
it is relevant and important to the You will receive a formal written response
exhibition or display (by post or email) to your loan request.
k type of loan – temporary, long-term, Be aware that this may take some time
touring exhibition because of internal processes. For
example, loans committees or Trustees
k details of any accompanying exhibition may only meet quarterly to review loan
publication requests.
k who will oversee the loan processes at
each stage? If the loan is agreed, you will receive an
official response, which may also include
k proposed transport company and
a loan agreement or contract. The loan
arrangements
agreement or contract should set out
k proposed insurance company and all of the lender’s terms and conditions
coverage for the loan, including the borrower’s
k a completed and up to date Facilities responsibilities and likely costs. The
Report and, if relevant to the loan, specific security, environmental, display
completed Security Supplement and and transport requirements should be
Display Case supplement clearly stated in the loan agreement.
k if the loan is for a touring exhibition, The loan process requires a commitment
details of the exhibition tour and from both the lender and borrower to
arrangements (see page 20). work together, and information will be
Including the required information in the shared back and forth for the duration
formal loan request will make it easier for of the loan. The Collections Trust has
the lender to consider and turn around produced a visual workflow document
your loan request as quickly as possible. to illustrate the process and direction of
information flow (see Further Information
You may be asked to submit a complete on page 26).
and up-to-date UKRG Facilities Report as
part of the loan request or shortly after.
16Once the loan has been agreed, the IF YOUR REQUEST IS REJECTED
lender and borrower will need to agree
Museums will be pragmatic about lending
on how all aspects of the loan will be
and will try to accommodate loans
managed, including:
wherever possible. However, if they are
k Documentation, paperwork, unable to lend, museums should explain
communication schedule the reasons for refusing an application
k Costs and offer alternatives where available.
Decisions to turn down loan requests are
k Facilities
not made lightly and will often have been
k Security taken at the highest level.
k Environment
The lender may also be able to make
k Display introductions to or suggestions of other
k Condition report organisations that may have similar
objects available, so it’s always helpful
k Photography and reproduction
to develop a good relationship with the
k Insurance or Indemnity
lending organisation. There may be
k Packing opportunities to work together in the
k Transport future.
k Storage There are a range of other paths available
k Couriers to pursue if the object requested is not
available, many museums now offer
k Installation
digital copies of objects which may be
k Maintenance and monitoring suitable to certain displays.
k Deinstallation
k Exhibition tour (if applicable)
k Return of the loan
UK REGISTRARS GROUP (UKRG)
The UK Registrars Group (UKRG) provides a forum for exchanging ideas and expertise
between registrars, collection managers and other museum professionals. The group
strives to establish and promote standards of good professional practice through
publications and seminars and to support national and international standards in
relevant fields of work. Particular emphasis is given to documentation and records,
physical care, loans and exhibition logistics and cultural sector legislation.
Many useful resources related to the loans process are available on the UKRG
website, including the UKRG Facilities Report, Security and Display Case Supplements
(available to non-members as PDFs only).
www.ukregistrarsgroup.org
17Misunderstandings on either side can
COMMUNICATION potentially jeopardise the loan and may
AND WORKING IN put the organisations at reputational risk.
PARTNERSHIP Lending and borrowing should be
undertaken as a partnership activity, not
a transactional exchange. Treating it as
BE A GOOD PARTNER
a partnership will encourage museums
k Be open, flexible and pragmatic in your to feel empowered to work with others,
approach to borrowing - remember no matter what the scale of their
potential lenders may also be under organisation.
pressure and needing to manage staff
time and resources. Borrowing a major object of interest,
whether from a national or a non-national
k Work together to find solutions. For
museum can be a great opportunity to
example, you may work with the lender
engage new audiences, place a spot-
to identify transport which meets the
light on a collection, and cross-promote
criteria and is available in your area.
with the lending organisation.
k Use the opportunity of the loan
for mutual publicity. Ensure you Loans can provide opportunities to build
provide appropriate credit and media plans around the objects in an
acknowledgement of the loan, and exhibition, perhaps highlighting loan
give the lender time to review publicity objects in a way that hasn’t been done
materials. before by the lender. These activities can
give new exposure and visibility to objects,
Regular and clear communication is the allowing new stories to be told and raising
foundation of a successful lending and the profile of both partner museums.
borrowing experience. Whether you are
the lender or the borrower, taking the time Lenders can also use loans as an
to understand the point of view of the opportunity to focus on the object in
other party, and the potential pressures question, if there is no existing imagery
they may be under, will enable you to work of the object this could be a chance
together to solve any issues as they arise. to take new photographs, and similarly,
for museums in the process of digitising
As the borrower, keep the lender up to their collections, a loan could be an
date on any changes to staff contacts, opportunity to digitise.
exhibition schedules, design and display
decisions etc. Working together where opportunities
arise, for example, around marketing
As the lender, ensure that all of the plans can be an excellent way of cross
relevant departments and staff have promotion for both lender and borrower,
been consulted about the loan so take advantage where possible of
before communicating the decision working in partnership.
or loan requirements to the borrower.
18Birmingham Museum & Art Gallery © Birmingham Museums Trust
k how will the object be labelled, not
LONG-TERM LOANS only the public object label but also the
object itself?
The majority of loans between k is the loan documentation (paper
organisations are short-term, usually for and electronic) clear so the loan can
temporary exhibitions or displays. Long- be easily identified, the terms and
terms loans may be agreed for 3 - 5 years conditions adhered to, and the loan
or even longer but they should not be renewed as appropriate, even after
indefinite. The loan should be reviewed many years and several staff changes?
periodically and renewed if the lender
k what is the process, and who will cover
and borrower agree there is still a clear
the associated costs, if the long-term
purpose and benefit to continue the loan.
object is requested for loan by a third-
Long-terms loans will often form part of party?
an organisation’s permanent displays or
contribute to research or reinterpretation
of a collection. They may even be listed
on the borrower’s collection catalogue or
website.
The process for a long-term loan is broadly
the same but there are some additional
considerations:
k will the object be used for any purpose
other than display during the loan
period, such as research, education
programmes etc.?
k what arrangements are in place for
the lender and borrower to monitor the
object on loan, such as site visits and
periodic condition checking, and who
National Museum of Flight. Photo: Ruth Armstrong
will cover any associated costs? © National Museums Scotland
19k if there are any gaps in the tour
TOURING EXHIBITIONS schedule, what storage arrangements
are in place? Will the lender expect
Touring exhibitions are one way for the object to be returned to them
organisations to extend the reach of a if there is a gap or more than a few
temporary exhibition, display or loan. weeks, and who will pay the associated
Often the touring exhibition will first be costs?
displayed at the organiser’s or one k if the exhibition tours internationally, are
of its partner’s premises before touring additional and appropriate measures
nationally or internationally. in place for managing and monitoring
any loans?
For loans that subsequently tour there are
additional considerations: k if the exhibition tours internationally,
are there potential extra costs or time
k who is the tour organiser or, in a
considerations as a result of border
consortium, who is the lead partner
changes post-Brexit?
and has the organiser/lead partner
provided the lender with all of the Where possible, the tour organiser should
tour information – tour venues, dates, draw up and manage all contracts and
transport, display and insurance loans for the tour, rather than lenders
arrangements etc.? having individual agreements with each
tour venue. This means the touring
k will the tour organiser or lead partner
organiser takes on responsibility for the
be responsible for the touring exhibition
exhibition content, including objects on
preparation and management, and
loan, but it will help keep communication,
therefore be responsible for any loans
administration and responsibility clearer
to the exhibition, including the costs,
for all involved.
even if these are subsequently passed
on to the tour venues? The Manual of Touring Exhibitions by the
k will the lender require each tour venue Touring Exhibitions Group (TEG) covers all
to sign a loan agreement, or how will aspects of organising touring exhibitions
the tour organiser ensure that each (see Further Information on page 27).
venue meets the lender’s loan terms
and conditions?
k what insurance arrangements are in
place for the tour? Is responsibility
clearly defined and appropriate cover
in place for each leg of the tour, in
transit and on display?
k does the lender require a courier
to oversee each installation and
deinstallation, or can couriers be
shared with other lenders, or the loan
be overseen by the organiser? East Asia Gallery, National Museum of Scotland.
Photo: Andy Catlin © National Museums Scotland
2004
CASE STUDIES
Defaid/Sheep at Ceredigion Museum, 2019 © Ceredigion Museum
with funding from the Weston Loan
SHEEP EXHIBITION AT Programme with Art Fund and a Ferryman
CEREDIGION MUSEUM, Project bursary from Tate. Funding from
the Arts Council of Wales supported the
ABERYSTWYTH, WALES work with local artists and the farming
community.
This case study from Ceredigion Museum
Ceredigion Museum had long-held
follows the process of borrowing from
ambitions to bring in major loans to
a national museum for the first time,
enhance its temporary exhibitions but
following training, support and funding
had lacked the facilities and confidence
from three programmes designed to
to request loans from national museums.
encourage lending and borrowing.
The desire to borrow nationally significant
The Sheep exhibition was a project art works for ‘Sheep’ was partly for the
designed to create a dialogue around the purpose of audience development.
upland landscape of Mid-Wales. It took However, the increased level of security
place at Ceredigion Museum from April for the building and purchase of a high
to June 2019. The history, heritage and security case also allows the museum
culture of a sheep farming community, to continue to borrow in the future
and in particular the ecology and future - offering opportunities to enhance
uses of the land in relation to current collections knowledge and interpretation
discussions about land management by borrowing artefacts, particularly
and the future of farming in Wales, archaeological ‘treasures’ that were
was explored through exhibits from the originally from the county.
museum’s collection, work by local artists
The exhibition curator, Alice Briggs, had
(including new commissions), supported
been working on the exhibition idea
by a small number of national loans.
and concept for some time but it was
The exhibition was accompanied by a
attending a TEG Preparing to Borrow
symposium and engagement work with
workshop, where she heard about the
local communities.
Weston Loan Programme with Art Fund
Ceredigion Museum borrowed five 2D and spoke with William Brown (National
works from Tate for the exhibition. The Security Advisor), and a Tate workshop
loans, and accompanying programme on sharing works of art, that gave her the
to maximise their impact, were supported confidence to take her idea forward.
21Defaid/Sheep at Ceredigion Museum, 2019 © Ceredigion Museum
The workshops also enabled Alice to Alice identify a number of relevant works
make contact with Tate and learn about for loan. A small number of framed
its loans policy, something that had been 2D works were requested, which were
difficult to do online. Particularly helpful easier to manage. Loans by a major
was the chance to attend a two-day international artist like Joseph Boyce
training session with Tate registrars as part and renowned British artist Henry Moore
of the Ferryman Project after which the helped the museum draw in new and
museum was able to apply for additional repeat local visitors, including those
funds to support the loans. Hearing interested in contemporary art.
national museums express a wish to lend
and do all they can to facilitate loans for Once the loan agreement was signed,
regional, non-national museums helped the process ran smoothly and quickly.
change the long-held perception that However, although the official loan
borrowing from national museums request was submitted nine months in
is difficult. advance of the exhibition opening (and
the exhibition dates were pushed back
Alice originally wanted to borrow to accommodate this), the response and
Tate’s Away from the Flock by Damien information sharing took some time. By
Hirst but it was already committed to the time the loan agreement was signed,
loan elsewhere. Even if it had been it was only six months before the exhibition
available, the loan costs would have opening. For a first-time borrower, it
been prohibitive. After some initial online wasn’t always clear which stages of the
collections research, Tate registrars helped loans process the lead-in times applied to.
22The works had to be transported to TOP TIPS FROM ALICE BRIGGS:
Ceredigion Museum using GIS standard
k Initiate the loan request as early
transport, which meant the museum’s
as possible. The guidelines often
local transport agent could not be used.
represent the minimum time required
In Wales there are limited opportunities for
for straightforward loans to previous
shared transport, so the five works arrived
borrowers. Remember that loans
in their own van. As it was the first time the
committees might only meet quarterly
museum had borrowed from Tate, a Tate
to approve loans.
courier (registrar) travelled separately to
oversee the delivery and installation of the k Start by borrowing from just one
works. national museum to build your
experience and confidence, even if
The scale of the exhibition and broader you have bigger long-term ambitions.
project, and bringing in national loans,
k Give your team and staff a detailed
was a major learning curve for the small
briefing at an early stage to ensure
team at Ceredigion Museum. A recent
they understand the impact of bringing
major changeover in long-term staff
works in from a national museum.
meant that several new museum staff had
Make sure you bring them all along as
relatively little museum experience. Many
part of the learning journey.
staff only realised the scale and impact
of the exhibition once it had opened. k Sometimes the works you think might
The exhibition represented a large step- be easier to borrow are not. Although
change for the museum, its staff and not a ‘physical’ loan, artist films may
volunteers in particular. come with very specific installation
requirements and require permissions to
The exhibition and symposium were a be cleared.
great success, bringing many different
k Make sure you understand what
people together to start conversations
the courier’s role is and have their
about important local issues. There
telephone number in case of any
were no guarantees of success and the
transport delays.
obvious challenges of limited budgets
‘‘
and staff were not easy to overcome.
A lot of determination and juggling of I feel so grateful to have had the
responsibilities was required to make support from the Art Fund and Tate
everything happen. The time and effort that made the exhibition possible.
invested was worth it though. Ceredigion Although challenging at times, it has
been an amazing experience and
Museum, with the addition of a large extremely rewarding.
high security case and GIS level security Alice Briggs, Curator, Ceredigion Museum
clearance, now has the facilities to bring
in major loans. Relationship building
has begun with a wide range of local With special thanks to Alice Briggs,
communities and stakeholders, which will Curator, Ceredigion Museum
hopefully lead to further major projects in www.artfund.org/news/2019/04/30/
the future. curator-of-the-month-alice-briggs-
ceredigion-museum
23loaned once before - to a Japanese
STEPHENSON’S exhibition in 1998 - and this was the first
‘ROCKET’ - A LOAN time it had returned home to Newcastle in
over 150 years.
FROM THE SCIENCE Rocket was displayed at the Discovery
MUSEUM GROUP Museum on a special plinth alongside
TO TYNE & WEAR ‘Charles Parson’s Turbina’, a 32m long
steamship, drawing comparisons between
ARCHIVES & MUSEUMS what was once the world’s fastest
locomotive and what was once the
This case study summarises the lending fastest ship.
experience from a national museum’s
point of view, exploring the strategic TWAM’s objectives for displaying
reasons for lending and the impact of Rocket were to:
lending star objects. k create a headline attraction telling the
story of Innovation in the North
Stephenson’s ‘Rocket’ (1829) designed by
Robert Stephenson (1803 - 1859) and his k relate the inspiring story of Rocket and
father George Stephenson (1781 - 1848) northern innovation to the modern
was the first modern steam locomotive. It world
became famous after winning the Rainhill k inspire children and young people
Trials, a competition staged in 1829 to to become innovators through
establish the most efficient locomotive for programmes focussed on imagination
haulage on the Liverpool and Manchester and invention for schools and families.
Railway.
Rocket is a large and complex object.
The Science Museum Group (SMG) has The loan was agreed in October 2016 and
longstanding relationships with Tyne & SMG was actively involved in the feasibility
Wear Archives & Museums (TWAM) since study and development of the method
the Science Museum helped set up statement for the installation. Given the
the Municipal Museum of Science and complexity of the installation, SMG sent
Industry in Newcastle upon Tyne (now the two experienced couriers to oversee
Discovery Museum) in 1934. the handling, unpacking, condition
checking and installation of Rocket. As
SMG loaned Rocket to TWAM from June
with all loans out from the SMG, TWAM
to September 2018 for the Great Exhibition
(as the borrower) covered all of the costs
of the North. SMG was particularly keen
associated with the loan - preparation,
to contribute to the exhibition and to
packing, transport, installation etc.
lend star objects with local significance.
Rocket was made in Newcastle at the Kim McGuinness, who was then Cabinet
locomotive works on Forth Banks and has Member for Cultures and Communities for
been on display at the Science Museum, Newcastle City Council said “as part of the
London since 1862. Rocket had only been Great Exhibition of the North, Stephenson
24Rocket is returning home to Newcastle,
on loan from the Science Museum Group.
Rocket was built here at a time when the
North really was a powerhouse, and led
the world in terms of innovation and vision.
It went on to unite two more great northern
cities, and moved forward the world
of steam locomotion and the industrial
revolution.”
The Rocket display was a great success,
attracting over 175,000 visitors, a 79%
increase on the same period in the
previous year. 12% were new visitors to
the museum. Over 5,500 school children
engaged with the learning programme, a
143% increase on the previous year.
Stephenson’s ‘Rocket’ © Tyne & Wear Archives & Museums
In addition to Rocket, TWAM also
borrowed the Sokol space suit (1991) from museums across the UK every year, both
the SMG. Born and educated in Sheffield, to first-time borrowers and longstanding
Helen Sharman was the first British and first partners. Displaying objects in different
female astronaut to visit the Mir space venues and in different contexts is
station. Discussing the loan, Sharman said important and can bring new life, new
“It’s fantastic to see that the Sokol space stories and new love for collection objects,
suit from my 1991 journey to the Mir space although it can also be challenging to
station will feature in the Great Exhibition take much loved star objects off display in
of the North. I’m delighted that the loan their ‘home’ locations. As Ian Blatchford,
of my space suit by the Science Museum Director, SMG wrote in an article for the
Group will help the Great Exhibition of the Guardian, “The norm is that star pieces
North to celebrate the many incredible stay put, perhaps not surprisingly given
scientific, technological and cultural that they are key attractions for visitors to
contributions made by northerners. I our major museums. Taking them on the
hope that the story of a young person road can be costly and complex, though
from Sheffield becoming the first Briton in the truth is that the risk of touring objects is
space will inspire young visitors to believe often exaggerated.”
that they too can achieve something
With special thanks to Laura Frampton,
completely unexpected.”
Head of Strategic Partnerships and
SMG is committed to providing greater Nicole Simoes da Silva, Registrar, Science
public access to its collections through Museum Group
its work with organisations in the UK and www.sciencemuseumgroup.org.uk/our-
internationally. It loans a significant services/object-loans/
number of objects to non-national
2505
SOURCES
OF FURTHER
INFORMATION
East Asia Gallery, National Museum of Scotland.
Photo: Andy Catlin © National Museums Scotland
American Alliance of Museums - Loans The Bizot Green Protocol
www.aam-us.org/programs/resource- www.nationalmuseums.org.uk/what-we-
library/collections-stewardship-resources/ do/contributing-sector/environmental-
loans/ conditions
Art Fund - Weston Loan Programme British Museum - Collections Skills Training
www.artfund.org/supporting-museums/ resources
programmes/weston-loan-programme www.youtu.be/XuW2wSKOgtU
Art Fund Weston Loan Programme - Advice Collections Trust - Loans in Workflow
from existing grant holders on planning www.326gtd123dbk1xdkdm489u1q-
and delivering a loan project wpengine.netdna-ssl.com/wp-content/
www.artfund.org/assets/supporting- uploads/2017/09/Spectrum-5-0-workflow-
museums/weston-loans/wlp-advice-from- Loans-in.pdf
grantholders.pdf
Collections Trust - Spectrum 5.0
Arts Council England - Government www.collectionstrust.org.uk/spectrum
Indemnity Scheme (GIS)
www.artscouncil.org.uk/protecting- ICOM International Committee for
cultural-objects/government-indemnity- Documentation (ICOM CIDOC) - Exhibition
scheme and Performance Documentation
www.network.icom.museum/cidoc/
Arts Council England - Museum and working-groups/exhibition-and-
Gallery Exhibitions Tax Relief performance-documentation/
www.artscouncil.org.uk/supporting-arts-
museums-and-libraries/museum-gallery- International Council of Muesums (ICOM)
exhibitions-tax-relief - Code of Ethics
https://icom.museum/en/resources
Art UK standards-guidelines/code-of-ethics/
www.artuk.org
Museum Collections Management:
Association of Registrars and Collections A Handbook - Freda Matassa (Facet
Specialists (ARCS) Publishing, 2011)
www.arcsinfo.org
Museums Association - Code of Ethics for
Museums
www.museumsassociation.org/ethics/
code-of-ethics
26Museums Association - Smarter Loans: Touring Exhibitions Group (TEG) - Manual
principles for lending and borrowing from of Touring Exhibitions
UK museums www.touringexhibitionsgroup.org.uk/
https://ma-production.ams3. research-resources/manual-touring-
digitaloceanspaces.com/app/uploa exhibitions
ds/2020/06/18145331/31012012-smarter-
loans-principles.pdf UK Registrars Group (UKRG)
www.ukregistrarsgroup.org
Organizing Exhibitions: A handbook for
museums, libraries and archives UK Registrars Group (UKRG) - Courier
Freda Matassa (Facet Publishing, 2014) Training Framework
www.ukregistrarsgroup.org/resources/
Sharing Collections: the future of courier-training-framework/
borrowing and lending (webinar series)
www.artfund.org/supporting-museums/ UK Registrars Group (UKRG) - Guidance
programmes/weston-loan-programme Notes: The Virtual Courier (UK and Europe)
www.ukregistrarsgroup.org/wp-content/
Touring Exhibitions Group (TEG) - Lending uploads/2020/06/UKRG-Virtual-Courier-
and Borrowing Experiences Report Guidance.pdf
www.touringexhibitionsgroup.org.uk/
research-resources/preparing-to-borrow/
Round Room at Birmingham Museum & Art Gallery © Birmingham Museums Trust
27Manchester Museum
MEMBERS OF THE www.museum.manchester.ac.uk
NATIONAL MUSEUM Museum of London
DIRECTORS’ COUNCIL www.museumoflondon.org.uk/museum-
london
Beamish Museum of the Home
www.beamish.org.uk www.museumofthehome.org.uk/
Birmingham Museums Trust Museums Sheffield
www.birminghammuseums.org.uk/bmag www.museums-sheffield.org.uk
National Army Museum
Black Country Living Museum
www.nam.ac.uk
www.bclm.co.uk
National Galleries Scotland
Bristol Museums, Galleries and Archives www.nationalgalleries.org
www.bristolmuseums.org.uk
National Gallery
www.nationalgallery.org.uk
British Library
www.bl.uk National Library of Scotland
www.nls.uk
British Museum
www.britishmuseum.org National Museum of the Royal Navy
www.nmrn.org.uk
Cornwall Museums Partnership
www.cornwallmuseumspartnership.org.uk National Museums Liverpool
www.liverpoolmuseums.org.uk
Derby Museums Trust
www.derbymuseums.org National Museums NI
www.nmni.com/Home.aspx
Glasgow Museums
www.glasgowlife.org.uk/museums National Museums Scotland
www.nms.ac.uk
Horniman Museums and Gardens
www.horniman.ac.uk National Portrait Gallery
www.npg.org.uk
Humber Museums Partnership
www.humbermuseums.com Natural History Museum
www.nhm.ac.uk
Imperial War Museums
www.iwm.org.uk Norfolk Museums Service
www.museums.norfolk.gov.uk
Ironbridge Gorge Museum Trust
www.ironbridge.org.uk Royal Air Force Museum
www.rafmuseum.org.uk
Leeds Museums and Galleries
www.museumsandgalleries.leeds.gov.uk
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