Employers must protect their workers from the risk of injury from handling tasks. These filters will help you identify low-risk manual handling and decide if you need to carry out a more detailed risk assessment. If you are unsure, complete a more detailed assessment.

The law does not set specific weight limits, so the guidelines are not ‘safe limits’ for lifting and carrying. They use broad assumptions or generalisations where, if met, the risk of injury is considered to be low. But working outside the limits is likely to increase the risk of injury, which can lead to ill health. The guidelines are derived from lifting capacity data which show differences between men and women in the population (rather than individuals).

The filter for pushing and pulling looks at the posture of your workers during pushing or pulling operations.

Find more information here as well as downloadable guides

The Metropolitan Museum of Art in New York houses one of the world's largest and most comprehensive collections of antiquities and works of art. Their preservation is a responsibility that involves everyone who serves the Museum and who has access to the collection. This handbook offers a practical guide to the ways in which different art objects should be handled and cared for, whether they are on display, in transit, or in storage; and it also explains some of the fundamental principles of conservation that underlie Museum practice.

The first part of the book sets out guidelines for dealing with the entire spectrum of works in the Metropolitan Museum: paintings, drawings and prints, textiles, costumes, musical instruments, and three-dimensional objects, whether monumental sculpture or filigree jewellery. In the second part the emphasis is on matters and procedures that affect the collection in general, such as climate controls, light levels, and…

Although this is quite funny it is also informative and socially aware.

At Carnegie Museum of Art in 2015 130 paintings were moved or taken down from a gallery wall so they can be carefully packed and stored or crated and loaned to another institution.

The public could then watch employees examine, photograph and conserve artworks that ranged from a 1904 portrait of “Aurora Leigh” by John White Alexander to a dark contemporary triptych titled “Midgard,” painted by Anselm Kiefer in the early 1980s.

http://www.post-gazette.com/ae/art-architecture/2015/04/08/Uncrated-show-illustrates-secret-lives-of-artworks/stories/201503300157