How to pack artwork and mirrors for moving

Use a mirror or picture box

For anything larger than a small frame, a flat, adjustable-length mirror/picture box is worth the cost. These boxes are built specifically for this shape and protect corners far better than a generic box does. Corners take the most impact if a box is bumped or shifted during loading, unloading, or transit, and a dedicated box absorbs that stress where a standard box would transfer it straight to the frame.

Measure the frame's longest side before buying a box, including any lip if the frame sits inside a mat. A picture/mirror box sized too tightly won't leave room for a cushioning layer of bubble wrap or foam, and one sized too generously lets the piece shift around inside during transit. For anything wider than the largest standard mirror box, most of which cap out well under 80 inches, a moving company can typically build a custom wood crate. That added cost is worth it for an oversized or especially valuable piece where standard protection simply won't suffice.

Prepare the glass on framed art first

• Apply painter's tape in an X or grid pattern across the glass — this holds shards together if the glass cracks, reducing scatter and making handling safer even in a worst case
• Wrap the entire piece in packing paper or a moving blanket, then bubble wrap for extra cushioning
• Add corner protectors (foam or cardboard) to the frame's corners specifically, since they're the most vulnerable point
• Skip taping directly onto an antique, gilded, or painted frame's finish — the adhesive can pull off paint or gilding when it's removed later, so keep tape confined to the glass itself
• For a very large or heavy mirror, ask a professional mover whether the glass can be removed and packed flat, separately from the frame, which reduces the risk of the glass cracking under the frame's own weight in transit

Packing multiple framed art pieces together

Several flat pieces can share one mirror/picture box if each is individually wrapped in bubble wrap or packing paper and cardboard separators are placed between them. Never let two framed pieces touch glass-to-glass or frame-to-frame directly. Even wrapped, direct contact under transit vibration can cause chips in the glass or dings in the frame finish that would not happen with a thin buffer in place.

Load a shared box by weight and size: heaviest and largest pieces toward the back or bottom, lighter and smaller pieces layered in afterward, never the reverse. This prevents lighter pieces from being crushed under weight they were not meant to bear. Most mirror/picture boxes don't list an explicit weight limit, but if a loaded box feels risky to lift alone, that's the signal to split the pieces across two boxes instead of forcing everything into one and risking either personal injury or damage to the contents.

Keep framed art and mirrors upright and stable

Transport framed art and mirrors on their edge, not flat. Flat stacking lets weight from other items press directly onto the glass, which is exactly how cracks and breaks happen even in well-packed pieces. On the truck, they should be positioned where they won't shift or have heavier items placed against them. A stable, upright position keeps the structural load on the frame edges rather than the glass surface.

Many professional movers load framed art and mirrors along a single wall of the truck, standing on edge and secured with straps or a strap-and-blanket combination, rather than scattering pieces among general boxes. This clustering makes it easier to monitor and protect them throughout the move. If you're loading a rental truck yourself, aim for the same setup: one dedicated, strapped-off section for anything flat and fragile, loaded last so nothing gets stacked against it afterward during the rest of the loading process.

Label artwork and mirror boxes clearly for handling

Mark boxed art and mirrors "fragile" and "glass" on multiple sides, and add "this side up" if the piece has a defined orientation — see our full labeling guide. A clearly marked piece is far less likely to end up under something heavy during loading.

It's also worth photographing each piece before it goes into a box, especially anything valuable or irreplaceable. A quick photo of its condition beforehand is useful documentation if you ever need to file a damage claim with a mover or an insurance provider. Keep a simple list matching each numbered box to what's inside, especially when multiple pieces share one box, so nothing gets misidentified when boxes come off the truck and you are trying to assess whether everything arrived intact.

Use glassine or acid-free paper against the surface

Whatever touches the actual painted or printed surface of a piece matters — glassine or acid-free paper placed directly over the front (covering both the glazing and the frame) protects against transfer and scratching without leaving residue. Regular newspaper should never touch the artwork directly, since the ink can transfer onto the surface. (Source: Artfully Walls)

Pieces in shadow boxes or float mounts need extra care around the mount itself. Avoid letting packing paper press directly against a float-mounted piece's edges, since even light, sustained pressure during transit can shift how the piece sits inside the frame. Once that spacing is compromised, the piece may sit crooked or touch the glass, and fixing it properly often requires a return to the framer.

Unframed canvas and paper art for moving

Unframed wall art still needs protection on the printed or painted face — a layer of plastic wrap over that surface, under the packing paper, adds a barrier against moisture and scuffing that framed pieces get automatically from their glass. Large canvases benefit from a rigid backing (a cut piece of cardboard works) taped in place before wrapping, so the canvas can't flex or dent during transit. (Source: The Home Depot)

For an especially large canvas that won't fit a standard box, some professional art handlers roll it around a wide-diameter tube instead, with acid-free tissue between the canvas and the tube to prevent creasing. Treat this as a last resort worth confirming with a framer or art handler first. Rolling isn't appropriate for every paint type or canvas age, and re-stretching afterward isn't guaranteed to go smoothly on every piece. Some paints crack when flexed, and older canvases can develop permanent deformities that no amount of careful handling afterward will correct.

How museum conservators handle paintings — scaled down for a move

The Smithsonian's Museum Conservation Institute recommends handling one painting at a time, with large panels or canvases moved by two people rather than one, and taking off jewelry before touching a piece to avoid scratching the surface — good habits even for a household move, not just museum pieces. Heat is called out specifically as damaging, since it dries out the material of a painting and speeds up aging, which is worth keeping in mind if boxed artwork will sit in a non-climate-controlled truck during a hot part of the year. Rapid humidity swings are flagged as especially hard on wood-panel paintings, which can warp in response — another reason to keep framed pieces away from extreme conditions during transit rather than assuming the frame and glass are enough protection on their own. The same guidance applies to storage in between moves — a hot attic or an uninsulated garage puts a piece through the same swings a non-climate-controlled truck does, just over a longer stretch of time. (Source: Smithsonian Museum Conservation Institute)

Frequently asked questions

Related resources

• All packing tips
• How to pack fragile items
• Moving insurance explained