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Eva Zanardi’s advice on collecting Art on a Superyacht in Yacht Investor magazine

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5 Rules You Need To Know When Carrying and Displaying Fine Art on Superyachts

Now more than ever, the art world and the yachting community are intertwined. One of the main reasons for this is that major art collectors are often owners of superyachts, and the yachts themselves can considered be the work of artists and starchitects (see Dakis Joannou’s superyacht Guilty by Jeff Koons and Ivana Porfiri and Zaha Hadid’s JAZZ superyachts for Blohm+Voss).

Yachting and collecting art are experiences that have in common the pursuit of ultimate leisure and a passion for beauty and luxury. Works of art help make the on-board experience more intense and thus, more satisfying. Nevertheless, displaying a multi-million-dollar art collection on a yacht presents a very specific set of challenges concerning the environment, insurance and above all, security.

  1. IDENTIFY YOUR ENEMIES:

When choosing art for your superyacht the first thing to do is identify your enemies:

LIGHT, SALT AIR, MOISTURE, SAND and MOVEMENT

 

Light, Salt Air, Moisture & Sand: It goes without saying that luxury yachts often have carefully crafted interiors fitted with state of the art equipment that regulates humidity and temperature with a full crew dedicated to maintaining it. However, faulty AC systems can happen even to the best of us. Display fine arts in your yachts only when the climate can be effectively controlled and the elements shut out. A good rule of thumb is to keep artworks that are placed near doors under UV blocking glass encasements.

 

Movement: Paintings need to be hung professionally, screwed to the wall using security hangers with locking mechanisms, and using Velcro or bolts to secure the corners. Small sculptures and objects can be secured by using “museum glue” a clear product (also called gel, wax or putty) that fixes objects to surfaces (not permanently) to stop them from shifting and falling.

 

AVOID displaying anything of value near a vent, heating or cooling source.

 

  1. CHOOSE THE RIGHT MEDIUM

Oil paintings and sculptures are a ‘yes’, acrylics are also pretty safe. Paper-based works, in particular watercolors and drawings, are particularly susceptible to sunlight. It is important to frame them using a highly protective anti-glare, anti-reflective, conservation glass and hang works way from direct sunlight (when in doubt, ask your trusted art advisor).

 

  1. ABOUT SUBJECT MATTER

Personally, no matter how palatial a superyacht can be, I am always aware of the fact that I am in a confined structure in the middle of a vast ocean. I find abstract, minimalist art very soothing and calming. I advise my clients, unless they have a very specific artwork or artist in mind, to refrain from choosing red and dark purple heavy artworks or any super saturated hues (they are exciting but also in some cases, anxiety inducing). I am more inclined to steer my clientele towards blue, greens, yellows or any pastel color. For ideas and/or inspiration on contemplative, luminous pastel color painting please check this link:

http://www.gr-gallery.com/exhibitions/david-r-prentice-veils-clouds-and-stardust/

 

  1. ALWAYS INSURE YOUR ARTWORKS

Valuable fine art should be covered by proper insurance but be sure to read the fine print.

In some instances, artworks may fall under the insurance of the yacht itself but they are likely to be covered up to a certain amount both individually and as a whole.

 

For major collections, artworks can be bundled into a larger insurance policy. For less substantial collections, insurance may need to be sought on an artwork by artwork basis. To keep in mind: once the artwork is moved from the yacht, which is also the time when it is most vulnerable, it will no longer have coverage. Insurers also may not offer coverage when a yacht is in certain geographical locations such as the sea near Somalia. Some insurance policies may specify that artworks damaged over time by environmental issues such as sunlight, will not be covered.

 

Adequate paperwork, from export licenses, proof of ownership, passports to CITES certificates, must be always available and at hand. Lastly, it is recommended that the captain keep an inventory of all artwork on board with appropriate documentation.

 

  1. ALWAYS PROTECT YOUR ARTWORKS

Needless to say, security is crucial to the protection of any valuable artwork on display. A working alarm system is essential, most likely a condition of your insurance. Most large yachts have multiple security systems, including cameras or contact sensors on the deck. Artwork also can be fitted with virtually unnoticeable GPS tracking devices that allow it to be traced after a theft. Given their super advanced nature, the issue is not the systems but the proper training of the crew to efficiently use those systems and to be constantly thinking about security.

 

Many thanks to Dickie Bannenberg of Bannenberg & Rowell for his contribution in the writing of this article.

 

Should you have any questions or would like to contact me please write to info@ezartconsultingnyc@gmail.com

 

About the contributor:

Eva Zanardi, EZARTCONSULTINGNYC & http://www.theresponsiveiartadvisory.com/

President and Senior Advisor

 

Eva Zanardi is an experienced communications and marketing professional with deep knowledge of internal and external communications, media relations, events planning and contemporary art. During her 13 years long tenure as Director of Communications for the Italian Cultural Institute of New York, Eva organized and curated countless high profile art exhibitions featuring artists from Caravaggio to Alberto Burri.

 

As an experienced art advisor Eva Zanardi and http://www.theresponsiveiartadvisory.com/

offer a full service, private art consultancy specializing in modern and contemporary art, with a focus on Op Art, Kinetic Art, Concrete Art, Spatialism, Programmed Art. http://www.theresponsiveiartadvisory.com/ provides a professional, personalized approach to the business, whether for the purchase of a single painting or developing an entire collection that will enhance a specific corporate image.

 

To find out more about Eva, please check

http://www.theresponsiveiartadvisory.com/

 

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Donald_judd_untitled_schellmann_193
Donald Judd, “Untitled (Schellmann 193)”, 1990,  Woodcut
23 3/5 × 31 1/2 in
“Donald Judd: Prints” at Judd Foundation, New York

 

 

 

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