The standard text on transporting artworks is Nathan Stolow's
"Conservation and Exhibitions: Packing, Transport, Storage, and
Environmental Considerations," Butterworth's (1987), 266 pp.  The short
answer is that yes, a microenvirnment would probably solve the problem.
 
You might also contact the Conservation Distribution List moderated by
Walter Henry, at Stanford University, to which many conservators
subscribe ([log in to unmask]); Walter will often publish queries
for non-subscribers on topics that draw on the expertise of the list
participants.
 
As a new subscriber to this list, my guess is this concern has been
rehearsed before, but no discussion group really provides an adequate
forum for solutions to thorny, and often idiosyncratic, conservation
questions.  To make sure the inevitably complex issues of protecting an
environment-sensitive object from damage been considered, and that a
proposed solution will most likely handle them, a museum needs to develop
an ongoing relationship with a group of conservators with experience in
the categories of collections the museum holds.  Ideally, over time, those
conservators become familiar with the staff resources of the institution
as well as its collections.  They can then suggest practical solutions
appriopriate to both.  There are almost never universally applicable
answers, and what worked fine in one case might not work in yours -- in
general you need a conservator's knowledge to make a best guess about that
[cf. the recent discussion about labelling, in which some very practical,
but in the *long-term* very bad, suggestions about using White-out were
made].
 
The American Institute for Conservation (202-452-9545) has a referral
service that can usually provide the name and phone number of conservators
in different specialities in each region.  Some states and regions are low
on conservators, but in the case of Wisconsin, the Milwaukee Public Museum
has a respected conservation lab.  You can ask them to suggest other
consultants if they can't help you.  The Upper Midwest Conservation
Association (Minneapolis, 612-870-3120) is the closest not-for-profit
regional center to you.  They, too, have a knowledgeable staff.
 
My experience over the last year or so, following these lists, is that
the people who can answer these questions best stop answering them by
e-mail fast -- it just takes too much time, and in many cases requires a
phone call for additional background information anyway.
 
Please feel free to contact me for information about books, albums and
scrapbooks, documents, art-on-paper, maps and other oversized paper
objects, photographs, microfim and duplication of photos, and similar
paper-based or documentary media.  I know zilch about painting on copper.
 
Karen Motylewski, Director of Field Service Northeast Document Conservation
Center, 100 Brickstone Square Andover, MA 01810; (508) 470-1010; FAX (508)
475-6021; [log in to unmask]
 
>
> Since oil painting on copper is particularly sensitive to changes
> in temperature, what methods have been developed for the safe
> shipping of these objects?  Does enclosing them in microclimates
> offer an effective solution? All information regarding this problem
> and suggestions are welcome.
>
>