Behind every exceptional private collection is a team of experts who have assisted along the way.
Sarah Han
and
Susannah Singh
reveal their top tips and best advice for art collectors.
ART CONSULTANTS & Dealers
Art consultants should provide independent, ethical advice. Discipline is also important, as consultants need to stay within the collector’s budget. When seeking out art consulting services, collectors should consider the consultant’s expertise and:
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Knowledge of the primary and secondary market
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Reputation & previous clients
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Resume & accomplishments
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Contacts in the conservation, framing and installation fields
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Fields of specialisation
Anita Archer from Anita Archer Fine Art emphasises the importance of the consultant-client relationship. “Speak to two or three [consultants], and find the one that works best because it’s a very personal relationship and there needs to be a synergy between the consultant and client,” she says.
Ultimately, consultants should be working together with the collectors, rather than instructing them. “A consultant should be helping a collector develop their own eye, developing their own collection, rather than developing their accumulation of art,” Anthony Smith Fine Art’s Anthony Smith says.
Art Consultants & Dealers in the Collectors Guidebook 2010:
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COLLECTION MANAGEMENT
Collection management can involve documenting and cataloguing and can also help to educate collectors about how to look after and interact with their collection. This also involves instructing collectors how to best manage a collection for long-term storage and identification.
It is essential for the art collector to establish a vision before appointing a collection management service. Look for management services offering a good research background, thoroughness and discretion.
Maxine Holden from Art Guardians says it’s also very important “to consider the digitisation of your collection”. This requires keeping a good record of the collection for both insurance and transport purposes.
Collection management services in the Collectors Guidebook 2010:
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ART TOURS & COURSES
“It’s important, whether you’re a collector of historic or contemporary art, to have a knowledge of the history,” says Anthony Sagona from Travels Through Time.
Marcel Desbiens, who teaches art courses, agrees: “Art history is always good because it helps to situate the collector in the contemporary context”.
Courses offering practical art skills are also advantageous for the collector. Art courses can give collectors a better understanding of the artworks in their collection by expanding their knowledge of art materials and techniques, and the differences between mediums. Collectors should consider not only their interests, but the quality of the teacher and the course curriculum.
Art tourst & Courses in the Collectors Guidebook 2010:
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FINE ART FRAMERS
As Patrick Holmes from FX Art & Framing says the frame has two purposes: “To protect and preserve the piece; and to visually enhance the appearance. The former is essential, the latter is extremely important.”
What goes around an artwork is one of the most important factors in determining a work’s condition. Framing protects artworks from detrimental environmental conditions such as moisture and light and as Jodie Prymke warns: “Incorrect framing can do irreversible damage to artworks.” Cheap or old frames may contain wood pulp products, which contains an acid that eats away at artworks over time.
Tom Mosment from Glebe Picture Frames says collectors should make sure framers use materials that are of conservation or archival quality and not just acid-free. Glass or perspex should have 99 per cent UV block glazing.
Another tip for collectors is getting a ‘health check’ every six to 12 months to ensure the frame hasn’t become compromised says Nathan Waldren from Matrix Framing.
While framing can be a costly process, depending on the relative worth of the work, as Waldren says, “if you’re going to get it framed, frame it properly”.
Fine art framers in the Collectors Guidebook 2010:
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STRETCHER FRAMES
Stretcher frames ensure that sagging won’t occur because the frame is able to expand or contract with the material. While this is only essential for linen canvases and heavy mediums (such as thickly applied paint) it will save the effort of having to re-stretch the canvas later.
When looking for a stretcher, Matt Hoggett from Blank Canvas Co recommends using someone who has extensive experience. “Every artwork is different to some degree. Linen behaves a lot differently to cotton and to polyester and there are a few tricks to knowing how to stretch it,” he says.
Rene Urry from Stretch Canvas Co. also recommends reviewing the quality of materials and timber used, as well as workmanship when hiring a stretcher.
Stretcher frames in the Collectors Guidebook 2010:
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HANGING SYSTEMS
Art collectors should consider the aesthetics, weights, placement and versatility when choosing a hanging system. Darren Bacon from Artperfect says collectors “should also consider using a security locking system which locks valuable artworks into the wall … The works won’t be able to moved with out damaging them so it will protect them from theft.”
When choosing a company make sure it has insurance for transport, accidental damage and public liability. It should be a licensed contractor and use certified fixture and fittings from a reputable building materials supplier.
Take the time to find someone you trust and who understands your needs. As Patrick Holmes from FX Art & Framing says: “Two workmen with drills and ladders working in my house – I’d want a good company!”
Art hanging systems in the Collectors Guidebook 2010:
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CONSERVATION & RESTORATION
“Conservation can add value to artworks,” says Sydney Artefacts Conservation’s Anne Cummins. “If artworks are well maintained … their value will be higher than for items with damage.”
Collectors can also call in conservators to look atpotential purchases to see what work needs to be done. As Sandra Ker from Antiquarian Print Gallery puts it: “Conservation is cheaper and more cost effective than restoration”. Once colour has faded it can’t always be restored without affecting the integrity of the work so it pays to invest in prevention. This is especially important for works on paper, which are particularly susceptible to degradation.
Conservators specialise in specific mediums such as painting or photographs so it’s important to hire someone with the right kind of experience. David
Stein from David Stein & Company recommends choosing a conservator with gallery or museum experience because they are more up-to-date on current technology and techniques.
Conservation & restoration services in the Collectors Guidebook 2010:
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ART TRANSPORT & PACKAGING
Art transport is a risky service due to the handling of sensitive materials and the high value of artworks. When searching for transport and packaging services, collectors should bear in mind the experience of the operator, as well as their:
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Attention to detail
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Quality of packing and crating
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Security
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Suitability of the crating for the means of transport
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Dealings with the International Convention of Exhibition and Fine Art Transporters, which sets the standards for the transport and handling of art
The durability of crating and packaging is also important. A little foresight with regards the potential reuse of crates can cut down on future costs.
Brad Huggett from Rebul Crates emphasises that art transport requires reliability and accountability. He states that collectors need to find “somebody who’s able to be accountable for everything along the way”.
Art Packing & Transport Services in the Collectors Guidebook 2010:
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VALUERS
Valuing an artwork is important for selling and insuring purposes. Valuers warn, however, that the art market is often unpredictable and the value of artworks can be unstable.
Jon Dwyer of Dwyer Fine Art advises that art collectors should find out “the background and pedigree of the valuer, their previous experience, and their level of depth of the commercial market”. Also consider the valuer’s area of specialty, their accreditations and qualifications, knowledge of the market and reliability.
Maxine Holden from Art Guardians stresses that a good valuer needs to be “qualified and professional so that you do have a reliable estimate”. She emphasises that valuing only provides an estimate as the marketplace is always changing.
Valuers in the Collectors Guidebook 2010:
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AUCTION HOUSES
The benefit of buying at an auction is that works will generally find the right market price at that time. A dealer who represents an artist may be uncomfortable changing the pricing of an artist’s work, irrespective of quality or collector interest.
If you’re considering buying an artwork at auction ask for a condition report so you know exactly what you’re purchasing. You can also ask independent conservators or restorers to take a look at the work.
Damian Hackett from Deutscher and Hackett says: “Use the specialists on staff. Make them work for you!” Ask the auction house to justify the estimates and ask where a particular work fits in to the artist’s body of work. And when choosing which auctions to attend, Hackett says a collector should consider three things: “Reputation, reputation, reputation.”
Auction houses in the Collectors Guidebook 2010:
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