5 Common Mistakes New Art Collectors Make—and How to Avoid Them

“Buying art is primarily a personal experience,” Alberto Bemer, manager of the Florence-based Galleria il Ponte, told Artsy. “Choose artists and artworks that resonate with your sensibility and taste—buy only what you genuinely love.” Bemer raises perhaps the most important aspect of buying art: that there is no one-size-fits-all approach.

How and what a collector buys should reflect their own taste, aesthetics, and values, whether that’s to fill a wall or build a collection that they’ll hold onto for years. With countless artists and dealers working worldwide, there are myriad options for collectors, but this abundance can also be intimidating and create confusion. Indeed, mistakes and missteps at all levels of collecting are not uncommon.

Artsy spoke with seasoned dealers and collectors to highlight five common mistakes new art buyers make, as well as tips to avoid them.

When you purchase a work of art, you are acquiring more than the piece itself. You’re also buying the artist’s story and the meaning behind their creation. Not knowing these details can lead to disappointment if, for example, the piece has a message that doesn’t resonate with the buyer.

“We advise collectors to do their homework, and focus on the aesthetics of the work: Do I like it; does it fit my home ‘look’; do I know enough about the artist and the particular work to make the acquisition?” said Hollis Taggart, owner of his eponymous New York gallery.

In addition to asking questions, dealers and seasoned collectors suggest engaging with different art scenes and meeting artists at gallery openings or events. They can also self-educate with the wealth of information available online, such as the artist and gallery’s websites and marketplaces like Artsy. “I got my start collecting in a very organic way—buying directly from artists and tapping into my local networks in New York and L.A.,” said collector Antonio Valverde, who counts among his collection works by Ernie Eugene Barnes, Larry Bell, and Kennedy Yanko. “Back then, it was all about personal connection; I picked pieces that I simply resonated with and could afford.”

Recognizing the importance of education, the Paris- and Geneva-based Bailly Gallery created a popular online series of short videos called “The Story Behind” that provide background on artists and artworks, as well as historical context. In cases where such information isn’t readily available, it’s well advised to just ask the dealer about any questions you may have.

A nuanced and common mistake collectors can make is following the wrong advice. Making false comparisons with auction results, following trends, or buying something because they think it’s the best or most coveted work on offer are some of the ways that this can occur. However, what is the best for one collector is not always the best for another. Buying solely based on outside opinions can lead to a change of heart for the person living with the work. When starting out, self-education and asking questions like those raised by Taggart can help buyers develop their own taste and vision.

They can also avoid this mistake by having open conversations with galleries to learn more about the artists on their rosters and the process of collecting art in general. And, as one progresses in their buying and starts to develop a collection, art advisors can be helpful in navigating the industry. Both professions offer keen knowledge of the market, and advisors can help collectors gain access to works they might not otherwise be offered.

“Our expertise has been cultivated for an extended period of time,” said art advisor Nazy Nazhand. “It is this connoisseurship and sober/detached professionalism that will help a collector build a collection with legacy, invest in the arts for many generations, and establish close relationships and access in the art world.”

In her professional experience, Nazhand has witnessed how an abundance of information can be overwhelming and “create a false sense of knowledge and perception of access and expertise which can sometimes lead to issues.”

It might seem simple, but where you intend to put a work can present challenges for a collector. “I once bought a massive painting by Kylie Manning that’s too big for any wall in my New York apartment,” said Valverde. An optimist, he saw this not as a mistake, but rather as “a bold leap of faith—a bet on myself that the perfect space will eventually come along,” he added. “For me, art is about passion, even if the setting isn’t right at the moment.”

Knowing where a work will live, however, goes beyond the dimensions of a particular wall. Considering the reality of how to use your space is crucial: A fragile sculpture might not be the best choice for a hallway with heavy traffic, just as an unframed oil painting would be a risky choice for a child’s bedroom.

“Hanna [Bailly] once sold a contemporary sculpture made of delicate threads to a home with a particularly mischievous cat,” said Charly Bailly. “To ensure the artwork remained intact, we provided a custom protective solution, preventing any feline ‘artistic interventions.’”

The dealers also sold ceramic pieces by Pablo Picasso to a collector in Paris, which were then framed to be displayed on the wall like paintings. “This clever adjustment kept them safely out of reach from little hands, ensuring both the artwork and the children remained unharmed,” they said.

The provenance of an artwork is a record that tells the history of its ownership. When buying on the primary market—meaning you’re the initial buyer to acquire the work—you become the first owner and would be listed as such in its provenance. Tracking this information over time if a work changes hands can help to determine its authenticity, tell the history of its previous owners, and ensure that it’s being sold ethically and hasn’t, for example, been stolen.

When buying a work that is being resold on the secondary market, new buyers might not know to ask for provenance information. “Provenance is crucial, especially for works created before 1945,” the Baillys said, referencing the year World War II ended, as the global conflict saw widespread looting of artwork, as well as sales made under duress. “A reputable gallery should always provide key provenance details, [which] not only confirms authenticity but also enhances the work’s historical and market value,” they added.

Going hand in hand with provenance is the condition of a work. “A common mistake for new collectors is to bid on works at auctions, or acquire works online, that have not been properly vetted for condition, provenance, authenticity, etc,” Taggart said. “Especially since COVID-19, with online buying becoming far more prevalent, the issues loom larger than ever.” Asking for detailed images and condition reports is crucial, though these, Taggart noted, are not always thorough or accurate. Instead, he suggests inspecting works in person. Still, in today’s increasingly digital world, many people prefer to buy online. These buyers would be well advised to do so from a reputable marketplace like Artsy.