What got you into valuations and collection management?
I’ve always loved the behind-the-scenes side of art—what it’s worth, which collection it’s held in, and how it moves through time and space. Valuations and collection management felt like a natural fit. It’s about protecting the story of the artwork just as much as the object itself.
Has your approach changed over time?
Definitely. Early on, I only focused on valuations. But over time, I’ve leaned more into the strategic side: why a collection exists, how it’s valued, and how to protect it long-term. Valuation is an essential part of the bigger picture.
What kind of collections do you like working with?
I have the privilege of working with all sorts. I love a focused private collection with a clear story just as much as a big, complex institutional one that’s evolved over decades. From a valuations perspective, I especially appreciate collections that balance emotional value with strategic intent.
Any advice for someone starting out with collection or managing a collection?
Get your paperwork in order early! That includes purchase receipts, provenance information, condition reporting, valuations, and insurance. It might not sound glamorous, but it saves a lot of headaches down the line. And ask questions—there are plenty of us in the art world who love to help.
Is there an artwork or project that’s really stuck with you?
One project that stands out involved a rare folio of 17th-century Dutch watercolours, which was the subject of an insurance claim. The appraisal was a deep dive into art history, conservation, and market research all at once. Projects like that highlight how much value—cultural and financial—can rest with rare and unique items.