What collectors ask us first.

Getting started

What is the difference between an art advisor, broker, and dealer?

The difference lies in whom each acts for and how each is paid. An art advisor acts for the collector, guiding what to buy, how to build and manage a collection, and when to sell. An art broker is the intermediary in a particular sale or purchase, usually privately, and does not own the work. An art dealer buys and sells on their own account, usually from their own stock, and earns a margin on each sale. The roles overlap, and each draws on expertise, though of a different kind. Alcana Art is an independent art advisory and brokerage practice, and we act on behalf of the client.

Why work with an art advisor when buying or selling art?

An experienced, trustworthy advisor brings what is hard to build alone, helps you avoid costly mistakes and a later need to restructure your collection, and often saves money in the long run. The art world is difficult to navigate from the outside: it runs on years of experience, specialist knowledge, and trusted contacts, and much of what matters is never published. Above all, a meaningful collection depends on a discerning eye, developed over many years. When buying, an advisor offers independent judgement and a negotiating strategy suited to where, how, when, and what you buy. When selling, an advisor helps choose the right route, timing, and buyer.

How much do I need to spend to start a collection?

There is no fixed amount. It helps to begin with why you are buying and what you expect from it: art to live with at home, a collection to build over time, a corporate or institutional setting, or a way to combine your passion for art with financial goals. Art is personal, so your taste matters: what you are drawn to. Your budget is just as important, and it also shapes what kind of art is right for you. Many collectors are not sure of either at first, and working them out is part of our conversation.

How does collecting Old Masters differ from collecting contemporary art?

The main difference is how value is judged. For Old Masters, meaning European paintings from roughly 1300 to the early nineteenth century, value rests on research and quality: attribution, condition, and provenance carry great weight, and even a lesser-known artist can command a high price if the quality is exceptional. Contemporary art has no such historical distance. Quality matters here too, but current market value also depends on gallery representation, museum exhibitions, and marketing, and the market is more volatile. Established, blue-chip artists and young emerging ones sit in very different markets. We increasingly see collectors move from contemporary art towards Old Masters, and some move the other way.

Buying and selling

Is it better to buy at auction, from a gallery, or privately?

Each route suits different works. Auctions are public and show prices openly, but you have limited time to decide and the price rises as bidders compete. Galleries give you more time to consider and room to negotiate the price down. Private sales can reach works that rarely appear in public and allow for discretion and negotiation. We advise on all three, and the best choice depends on the work, the timing, and what you want to achieve.

How do you check that a work is genuine and in good condition?

There is no single test, because the risks and the right checks differ by field, artist, and period. Before any purchase we research the work’s provenance, which is its ownership history, together with its exhibition and publication record, and, where needed, seek confirmation from the recognised authorities on the artist or field. Wherever possible we examine the work in person, with a conservator’s report on its condition where needed. No one can offer an absolute guarantee, but careful checking reduces risk considerably, and we tell you plainly what is certain, what is probable, and what remains uncertain.

How do I know I am paying a fair price?

A fair price depends above all on the quality of the work, together with its condition, its provenance, and comparable sales. We research recent sales of comparable works, at auction and through galleries wherever possible, and show you where the price sits against them. The market matters too, as prices in different categories rise and fall over time with changing tastes and fashions, the arrival of new collectors with different priorities, and the state of the world economy.

Can you help me sell a work from my collection?

Yes. We begin with an honest valuation, based on the quality, condition, and provenance of the work and on recent comparable sales, set against the current market. We then advise on the best route, whether auction, gallery, or private sale, and on timing. We negotiate the terms on your behalf. A private sale is also more discreet, protects the owner’s privacy, and, unlike an auction, leaves no public record if the work does not sell. We take care of the whole process, from checking and presenting the work to negotiating the terms and completing the sale.

Working with us

How do you charge?

Every collector has different aims, so our service is bespoke, and we agree the fees with each client to suit their needs and the work involved. Depending on the case, this may be a commission, a retainer, a project fee, or a fee for a single transaction. We take the time to understand what you want to achieve and propose the structure that serves it. We are flexible and transparent, and we work in your interest throughout.

What happens in a first conversation?

We begin by listening and by asking questions: why you want to collect, where the work will live, what your tastes are, and what you expect from your collection, including your budget. It is an introduction, not a commitment, and you do not need to have every answer yet, as we will help you find them. It is also a chance for us to get to know each other. Based on that conversation, we can decide on the next step together.

Is everything kept confidential?

Yes, always. We take our clients’ privacy seriously and handle every matter with confidentiality and discretion. What you own, and where it is kept, is yours to share. We disclose information only when it is necessary and, wherever possible, with your permission.

About Alcana Art

Who leads Alcana Art?

Céline Hongyi Yang leads Alcana Art. She is an art historian and art market specialist educated at Cambridge, with experience in the international art world since 2010, including senior roles at Sotheby’s London.

Where are you based?

Alcana Art is based in London, and we work with clients internationally.

Who do you work with?

We work with private collectors at every stage, from first-time buyers to established collectors, as well as corporations, foundations, museums, and family offices. They come to us to build a collection, for a single purchase or sale, to value works, or to plan what their collection becomes, and they are based around the world, including Europe, Asia, the Middle East, and America.

Can you help me build a collection across periods and cultures?

Yes, and it is what sets our practice apart. Collecting across periods and cultures calls for fluency in more than one world. We bring a cultural and historical understanding of each, the languages, a working knowledge of both the market and the scholarship in the West and the East, and trusted contacts across the art world. A collection of this breadth usually needs a guiding vision. We help you define the idea that gives it coherence, then build around it with care.