Collection management is about preservation, purpose, and long-term planning. While an art advisor strategically guides acquisitions based on a collector’s financial and aesthetic goals, the art collection manager is responsible for the ongoing care of the collection—safeguarding, preserving, documenting, and continuously monitoring its evolving needs.

This role demands a diverse and evolving skill set. First, it requires a strong academic foundation: the ability to conduct in-depth research, cross-reference sources, write effectively—whether in academic or curatorial contexts—and contextualize artworks within their art historical and sociopolitical frameworks. This depth of knowledge is essential not only for navigating research efficiently, especially when pursuing specific or elusive information, but also for guiding the collection along a coherent and meaningful trajectory.

In parallel, the role draws on a wide range of practical and administrative competencies. These include contract law, international shipping and taxation (particularly in the case of cross-border transport), conservation, maintenance, valuation, curation, cataloguing, and fluency in managing digital databases and collection management systems.

An art collection is a living entity. It does not end with the act of acquisition—it evolves, responding both to its own internal needs and to the broader vision of the collector or institution. This is why, in the role of collection manager, you stand with one foot firmly grounded in the business side of the art world and the other in a more intimate, personal realm: that of stewardship.

The vision

When building or managing a collection, it's really important to keep in mind its mission. What defines it? What characterizes it? And where do you want to take it? A collection needs a clear direction—both conceptually and aesthetically. That direction can be as broad or as specific as the collector or institution chooses. And like any living entity, it can evolve: it might broaden, become more focused, or shift entirely over time.

Some collections are shaped around a particular medium, like those built specifically on works on paper. Others are defined by geography—for instance, collections centered on artists based in Latin America or Greece. Some take a more global view but with a thematic lens—focusing on narratives, for example, that explore sociopolitical issues. There are also collections rooted in art historical periods or movements, like the Basil and Elise Goulandris Foundation in Athens, which is deeply engaged with 19th- and 20th-century modern and contemporary art, connecting international movements with Greek artistic developments. And then there are collections shaped around values, like education and cultural inclusion—the Art Gallery of New South Wales in Australia, for example, has made Indigenous art central to its recent expansion, creating a dedicated gallery space and commissioning new works by Aboriginal and Torres Strait Islander artists.

While collectors are always encouraged to buy what they love and connect with, they also need to consider the bigger picture. Without that, collections can easily become disconnected, inconsistent, or overly repetitive. At that stage, restructuring becomes not only a time-consuming task but a complicated one as well.

When passion meets portfolio

Now we get to the second pillar of building a strong collection: investment value, paired with visual pleasure. One thing we often stress in the profession is this—you have to like what you’re buying. Art should never be acquired just for its potential financial return.

That said, many collectors do factor in investment value, especially given the art market’s unique nature and its lack of liquidity. For those looking to diversify their portfolio, art can be a great long-term asset. But investing in art requires caution—not just in choosing the right artist, but also the right work, period, and even medium.

If a collector has the means, they might aim to include works with a proven market track record—like paintings from certain periods of Pablo Picasso’s career. But even within Picasso’s oeuvre, not all works are equal in value. Is it a painting from his Blue Period (1901–1904), which remains among the most sought-after and valuable? Or from his Neoclassical period (1917–1925), which tends to be less favored by the market? Does the work come with full provenance and the necessary documentation? These are strategic decisions that require planning and research—not just budget and storage space.

And no, this doesn’t mean a collector should only go after big names or blue-chip artists. Quite the opposite. Supporting emerging and mid-career artists is essential—for both ethical and market reasons. Ethically, it contributes to a more sustainable and inclusive art ecosystem. From a market perspective, early engagement not only fosters long-term relationships but also gives a collection the chance to grow in value alongside the artist’s own trajectory. In some cases, collectors are drawn to emerging names precisely because of the potential for quicker returns—especially when the artist gains traction through early institutional support or media visibility.

I tend to say, Don’t throw all your eggs in one basket. Diversity is key. What matters most is understanding why you’re making an acquisition. Are you buying for financial security? Are you hoping for a return in a few years? Or are you simply drawn to the work because it speaks to you?

Another important point: not every artist with institutional recognition is a sound financial investment. Take Salvador Dalí, for example. Despite being one of the most iconic artists of the 20th century, Dalí’s secondary market—especially for editions (prints, books, sculptures)—is volatile. Over the years, it’s been riddled with fakes, disputed works, and questionably authorized editions. And with no single, universally recognized body or designated heir managing his estate or authenticating his output, it’s no surprise that auction houses like Christie’s and Sotheby’s are extremely selective about which Dalí prints they accept. Seasoned collectors and institutions often approach his editions with caution—or avoid them altogether unless the provenance is rock-solid.

So yes, a private collection should ideally include works with investment potential in mind. But just as importantly, you should want to live with the art. Art isn’t a commodity like a Patek Philippe or a Hermès Birkin. It’s meant to be seen, felt, and engaged with. The perfect scenario? When a collector acquires a high-value work, they love looking at it every morning while sipping their coffee. That’s a win on both fronts.

And because art is meant to be experienced—not just stored—it’s also worth considering how artworks can be shared with a broader audience. I believe art should be as accessible as possible. Lending artworks to museum and institutional shows—or even gallery exhibitions, under the right circumstances— is a great way to support engagement with works that would otherwise remain unseen by the broader public because they are privately owned. Lending also promotes education, research, and dialogue—making a meaningful contribution beyond the confines of the collection itself.

Collectors should also consider reaching out to artist foundations, particularly when they know a catalogue raisonné is underway or when the foundation is active in research and archival work. Having the work recognized and documented by a foundation not only supports scholarship but can also strengthen the artwork’s provenance and long-term value. Of course, all this should be done with careful planning: loan terms, insurance, transport logistics, and proper crediting must be negotiated thoughtfully. But when managed well, lending benefits the work, the public, and the collection alike.

Documentation, documentation...and documentation

Research and documentation are the invisible backbone of any collection. Keeping detailed records for each artwork—provenance, exhibition history, and literature references—is essential, as it enhances the work’s long-term value, academic credibility, and curatorial relevance.

There are several platforms that help streamline this process, such as Artlogic, FileMaker, Collector Systems, and Artwork Archive. These databases function as the work’s ID, housing everything from condition reports and acquisition details to notes on mounting and location history.

Equally important is maintaining physical and digital records of all supporting documents: certificates of authenticity, invoices, shipping and tax paperwork, and any related material. These records are crucial—not just for sales, insurance, shipping, and valuation, but also for estate planning, inheritance, and future loan agreements.

Proper documentation also serves as legal proof of ownership, which becomes especially critical in cases of resale, theft, disputes, or restitution claims. This is particularly relevant for works with complex or incomplete histories—such as those with gaps in provenance during World War II, where restitution remains an ongoing legal and ethical concern.

From a collection development perspective, thorough documentation facilitates institutional collaboration. Museums and institutions typically require complete provenance and up-to-date condition reports before accepting loans. Well-documented works are also more likely to be included in exhibitions, catalogues raisonnés, and academic research—increasing both their public visibility and market value.

In short, documentation isn’t just administrative—it’s a strategic foundation for protecting, strengthening, and activating the full potential of a collection.