You need money now. You need not sell the collection.

• You need liquidity, and you do not wish to sell works from the collection.
• Capital is locked in a holding that is worth a great deal but does not work.
• A lender against art will require a valuation, provenance and structure you do not yet have.

What the House does

Art lending is a loan against works in the collection as security. The House prepares the borrower’s side: it brings the works into lendable form, builds the ownership and pledge structure to the lender’s requirements, and takes the case to dedicated lending desks — on the best available terms. Where documents are to be drafted, licensed counsel drafts them — instructed and supervised by the House. Counsel answers for the document; the House answers for the result.

• Selection of works for collateral and a recognised valuation to the lender’s requirements.
• Provenance and clean title, set out for the credit review.
• An ownership and pledge structure, aligned with residence and tax.
• Coordination with dedicated art-lending desks — banks and specialist lenders.
• Stewardship of the terms: rate, discount to valuation, custody of the collateral, tenor.

What you get: a recognised valuation of the works to the lender’s requirements · a dossier of provenance and clean title · an ownership and pledge structure · a coordinated path to 2–3 dedicated art-lending lenders

Why this way and not another

• A bank offers a loan, but without a prepared borrower’s side the discount to valuation is steep and the terms are weak.
• An art adviser knows the market but does not build the pledge structure or negotiate the terms.
• Without a valuation and provenance the lender either declines or lends a small share of the value.

What worries you — and the House’s answer

• “To get the money, I’ll have to sell the works.” — Art lending gives liquidity against collateral; the collection stays with you.
• “The lender will give a small share of the value.” — The House prepares the valuation, provenance and structure so that the terms are the best available.
• “I don’t know who lends against art.” — The House takes the case to dedicated art-lending desks rather than sending you to a single bank.

Where this leads

The collection works as capital without leaving you: the loan is drawn against the works as collateral, on terms prepared by the borrower’s side. Liquidity is there, the holding is intact, the pledge structure is aligned with residence and tax. The capital no longer lies still.