We build art collections
for companies.
Strategic art advisory for Canadian companies.
We represent corporate clients directly to the artists and studios we follow. Your only commitment: the works you choose.
- 01
An Asset That Appreciates
We source ascending artists. Their value grows. So does yours.
- 02
Brand & Identity
Your collection tells your story before you say a word.
- 03
A Fiscal Instrument
Original art carries tax advantages most companies never explore. We explain in private.
- 04
The Employee Experience
The spaces where people work shape how they think. Art attracts talent.
- 05
The First Impression
The lobby. The boardroom. The moment a client walks in.
Law · Medical · Finance · Insurance · Technology · Manufacturing · Hospitality · Architecture · Design · Ranches & Estates · Golf & Country Clubs · Real Estate
From a single office to a multi-floor headquarters. Every collection begins with a conversation.
- I
We study your space, your brand, your story.
- II
We curate a private portfolio from our library — Canadian signatures, coast to coast.
- III
We present. You choose. We handle everything.
- IV
A long-term advisory relationship. Your collection evolves with you, quarter after quarter.
A work that did not exist
before you.
For CEOs and business owners new to collecting — privately or corporately — commissioning is often the most honest entry point.
Acquiring an existing work means stepping into a story already written. Commissioning means writing its first chapter. The artist composes for your space, your light, your story — and your name then travels with the work in its provenance, in perpetuity.
- 01
Choosing the signature
We present three to five artists whose language answers your space and your house. Studios visited, galleries consulted, provenance verified.
- 02
The meeting
A conversation — at the studio, by video, or at your premises. The artist listens to the space, the story of the house, the intent. Nothing is drawn before that.
- 03
The proposal and the quote
The artist proposes an intent — maquette, material samples, dimensions, timeline. A fixed quote, signed in three stages: at commission, at mid-point, at delivery.
- 04
The making
Three to eighteen months depending on the medium. We orchestrate the stages, studio visits, photographic documentation, and coordination with your architect or designer.
- 05
Installation and certificate
Insured transport, installation by the studio or an approved installer, signed certificate of authenticity, full provenance dossier — the documents required for insurance, fiscal treatment, and transmission.
A commissioned work is not more expensive
It is often at studio price — without the secondary mark-up of a fair or a resale. Value, in turn, begins with you.
Time is part of the work
A fired ceramic, a cast bronze, a woven tapestry each take their own time. That time is what separates the work from the product.
You do not direct the artist
You give the space, the intent, the constraints. The artist keeps their hand. That is what protects the value — a dictated work does not resell.
Provenance begins with you
Your name enters the work's dossier, the gallery's archives, sometimes the catalogues raisonnés. It is a documentary legacy.
Private or corporate — decided before the commission
The holding vehicle (you, your company, a family trust) is chosen before the quote is signed. It governs the fiscal treatment at resale, donation, and transmission.
Our role
The commission is structured on the studio side — a standard practice in the art world. You handle no coordination.
« A work acquired joins your walls. A work commissioned takes root there. »
Like your investment counsel — except the asset is on your walls. A long-term advisory relationship, no retainer, no contractual lock-in. Compensation is structured on the artist side — a standard practice. You pay only for the works you choose to acquire.
A personal collection follows taste. A corporate collection serves strategy — brand identity, fiscal leverage, employee experience, and legacy. The same work carries different weight in a boardroom than in a living room. We design for that difference.
The Würth family — the German industrialists behind the Würth Group — assembled over 20,000 works and built their own museums. Their collection is not decoration; it is a statement of values, a fiscal instrument, and a cultural legacy. Closer to home: Fednav, the Montréal shipping house, built one of the most cited Canadian corporate collections — patiently, over decades. No museum required. A named collection, visible in the spaces where the work of the house happens. That is the model we propose.
There is a thin but decisive line. Collectible furniture — gallery-represented, museum-acquired, editioned — carries provenance, appreciates in value, and belongs to an artistic lineage. It is acquired as art. High-end artisan work and boutique furniture, however beautiful, serve a different purpose. We focus exclusively on works that function as assets and cultural statements.
An advisory house. We guide a collecting house in its choices, working hand in hand with the artists, studios, and galleries we have chosen to follow. The horizon is the collection; our loyalty is complete.
Canada offers one of the most generous frameworks in the world for acquiring works by Canadian artists. We share the detail in a private conversation — every situation is unique.