Information is golden these days and when it comes to the world of art, you can’t go wrong with knowing who the big players are. Interested in finding out about art collectors from all around the world? Don’t know where to start? There is a modern day solution.
Larry’s List is an extensive premier art collector database entirely accessible online. So far it contains over 3,000 detailed profiles of influential individuals from all over the world, who have built up in their respective homes and institutions an enviable stock of art.
The international company is comprised of 25 art market researchers from 20 countries, and collectively they can speak 24 different languages. This truly global orientation makes it a very powerful and authoritative voice.
Information provided includes the names of artists and works of arts that are collected, the ranking of a collector and how engaged he or she is in the market. These details are constantly updated to accurately reflect any changes.
Each profile can be acquired from the starting price of $9.50 (approximately £5.92), which gives you a year’s worth of access. Other payment options allow you to purchase credits, which can be redeemed at a later date. Artists can access the database for free.
“We want to bring transparency to the art market and here we focus completely on an area which has been untouched so far, which is the art collector scene,” the entrepreneur and brains behind the venture Magnus Resch told Forbes recently.
“The art market is one of last markets in the world to not show transparency. In emerging markets it’s interesting to see art collectors are younger and while we have difficulty researching art collectors in the western world, it’s easy to identify them in emerging markets.”
One of the most interesting features is the way in which Larry’s List ranks collectors. It has six criteria: internet presence, institutional engagement, art fair participation, communication platforms, physical presence and size of collection.
Internet presence is identified through bespoke search algorithms, which analyse more than 200 international art websites; institutional engagement scrutinises a collector’s rapport with galleries and museums; and art fair participation also examines how visible they are will prominent expos.
Meanwhile, for communication platforms, collectors are noted for making their works of art accessible online or in print; physical presence “rewards the physical display of the collection in a museum or exhibition space owned by the collector”; and size of collection is self-explanatory – how many works are owned.
It certainly is a novel service, one that prides itself on its ultimate currency: information. Well-researched, insightful and engaging, it offers gallery owners, art dealers, auction houses, art fairs, art scholars, artists and journalists with insider data that is worth paying for.
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