Corporate Art Collections: A Handbook to Corporate Buying

This new volume in the series of Handbooks in International Art Business published in association with Sotheby's Institute of Art offers a timely guide to corporate collecting, examining the history, nature and importance of corporate collecting and the different reasons for starting and maintaining corporate collections, including investment, cultural caché, and asset diversification.

Why do institutions take the plunge into an asset class that is usually very far from their core businesses? The authors categorise modern corporate art collections into four broad categories. First, there is the traditional corporate collection, where works are purchased directly from galleries or artists to enhance the office environments. Many of the collections that fall into this category – largely banks or financial-service organisations – have some of the best-quality works of any corporately held collection. The second category includes those collections that seek to say something about the company's corporate identity: these collections have become very involved with how the company would like to project itself. The third category is philanthropic collections: those that structure their collection strategy around a charitable remit. And finally the all-rounders: those companies whose work with the arts permeates their identity, office environment, social outreach and sponsorship.

Based on interviews with the curators, consultants and investors who run such collections, and more extended case studies of important collections worldwide, the book concludes with an examination of when corporate collecting becomes a liability and the market-impact of deaccessioning, looking ahead to the future of corporate collecting.

- Preface
- Introduction: The Development of the Modern Corporate Collection
- Part One: The Collections: Beginning our Tour
- Group One: Emblematic Collections
- Emblematic Collection: Aspen Re
- Emblematic Collection: Standard Bank
- Emblematic Collection: General Mills
- Emblematic Collection: Cazenove Capital Management
- Group Two: Environmental Enrichment
- Environmental Enrichment: Deloitte (London)
- Environmental Enrichment: Pictet;
- Environmental Enrichment: Deutsche Bank
- Environmental Enrichment: Hiscox
- Group Three: Patronage
- Patronage: Abraaj Capital
- Patronage: Deloitte (Luxembourg)
- Patronage: British Airways
- Group Four: All-Rounders
- All-Rounders: Progressive Insurance
- All-Rounders: Louis Vuitton
- All-Rounders: Monsoon
- Part Two: Changes, Crises, Finances – and What Lies Beyond
- The Art of Disposals by Catherine Higgs
- Dispersal Case Study: The Sara Lee Collection
- The Art of Taxes by Catherine Higgs
- Evolving into a Museum: The Fleming Collection
- Starting a Corporate Collection: An Introduction and Postscript
- Appendix: Collections in Focus – Interviews with Consultants and Artists
- Selected Bibliography
- Index.

Charlotte Appleyard is Head of Patrons and Keeper's House Launch at the Royal Academy of Arts in London. She previously worked at as Director of Development at Outset Contemporary Art Fund, and in the curatorial departments at The National Gallery in London and the Metropolitan Museum of Art in New York. She has contributed pieces on art and visual culture to The Spectator, The Art Newspaper, Literary Review and Huffington Post. James Salzmann is a director of Gurr Johns Ltd, the international fine art advisory firm. He began his career in the arts in the silver and twentieth-century design departments of Sotheby's auction house, and has held strategic development positions there and at the contemporary auction firm of Phillips de Pury & Company.

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