You don’t need to be an expert to buy original art. Art consultant Jessica Lloyd-Smith shares her advice on choosing artworks, starting a collection and discovering the pleasure of living with art...
“…You only regret the pieces you don’t buy!…”
Buying your first original artwork can seem a daunting prospect. How do you know what to choose? What should you spend? And how do you know whether something you love today will still give you pleasure in twenty years’ time?
Jessica Lloyd-Smith believes buying art should be a joyous experience. As founder of Modern ArtBuyer, an online gallery and art consultancy, she helps people discover and choose artworks for their homes. She also works with the Royal West of England Academy (RWA) in Bristol, advising visitors and supporting art sales, particularly at the Annual Open.
We spoke to Jessica about trusting your instincts, building a collection, the pitfalls of buying art as an investment, and why you may end up regretting the artworks you didn’t buy…
Could you tell us a little about your background and how Modern ArtBuyer came about?
My mum’s a painter. She used to exhibit at the Royal Academy, and she’s still painting now, in her late 80s. She goes to her studio every single day. My father was an architect, so I think it was inevitable that I would end up in the creative world somewhere.
I went to art college and studied graphic design, then worked as a graphic designer for a number of years. That gradually morphed into branding and marketing, and before I knew it I was working in financial services in the City of London.
About 15 years down the line, I suddenly thought, This wasn’t really the plan!
So I took all that experience of marketing and branding and applied it to the art world. I set up Modern ArtBuyer in 2012, initially as an online gallery representing artists in much the same way as a traditional bricks-and-mortar gallery. I did online sales, art fairs and pop-ups, but over the years it has evolved into much more of a consultancy.
What does an art consultant actually do?
Essentially, it’s helping people find pieces that work for them.
There are lots of people who love art and want to own art, but don’t know where to start. They don’t necessarily trust their own choices, and often they don’t have the time.
So I go into their homes, get to know them, their style and any artworks they’ve already got, and put forward ideas that might resonate with them.
At the core of the choices I put forward is quality. We’re looking for excellent artists, so that clients have a piece they can feel really proud of. But it also needs to work harmoniously with them. It needs to suit them as a person and suit their environment.
Sometimes it’s an ongoing relationship over a number of years. They’ll say, “Now we need a piece for here”, or “Have you seen any exciting new artists coming up?” Other times it might be a one-off project where somebody wants me to look at their whole house.
Why do you think so many people feel intimidated by the idea of buying original art?
I think the art world can feel a bit elitist or detached to some people. People can feel judged by their choices, and I find that really sad.
The whole point of buying an artwork is that it should be a joyous moment. It should be a really exciting time when you find a piece you love.
Art is so subjective, and we’re all drawn to different things. But that’s the same with music, literature and so many other things. Everyone’s opinion is valid if it’s relevant to them.
I think people should feel confident that they can choose a piece they really love.
Pricing is another issue. There isn’t a benchmark for pricing art in the way that, for example, there is with gold. People sometimes wonder whether they’re being hoodwinked, or whether they’re paying the right price.
But if you go into a reputable gallery or an exhibition like the RWA Open, you can be reassured that the works have been checked for quality. The gallery will have been to the artists’ studios, or the works will have been through a rigorous judging panel, and the prices should reflect the market value for those pieces at that time.
I find that people’s instincts are genuinely very good. If you show two pieces to someone who says they know nothing about art, they’ll invariably choose the good one. I think quality just shines through.
So I’d encourage people to trust their instincts and feel less intimidated by it all.
Where should somebody begin if they’ve never bought art before?
An exhibition like the RWA Open, a mixed gallery show or an art fair is the perfect starting point. There are so many works to look at, and you get a really broad range of mediums, styles and price points.
Go in with an open mind. Don’t just go straight to the thing you think you like, or the thing you think you should like. See what you’re drawn to.
Walk away, have a think about it, and the piece you can’t forget is the piece you should go back and have another look at.
There are pieces that stay with you, and that means you’re starting to have a bit of a dialogue with that artist’s work. That might sound rather precious, but it’s a genuine feeling. It’s like music that just touches your heart in some way.
And don’t be afraid to ask questions. A good gallery will let you look around without pouncing on you, but speaking to people can really help you find out more about the artworks. Ask about the artists, how they work, what they’ve done and what their plans are.
At the RWA Open, the works have already been selected by a rigorous judging panel of experts, so you don’t have to worry about whether you’re picking a good piece or a bad piece.
Just open yourself up to new ideas and choose the piece you love.
Of course, there are practical considerations too. How much should they influence your choice?
There are absolutely tonnes of practical considerations!
People often come to me saying, “I need a piece for this wall”, or “I need a piece for this room.” And I think it’s wise to have measurements, to think about how the room feels and what you want to add to that space.
Think about your budget as well. You might end up going over it, but it’s sensible to have some parameters.
You might know that you need a medium-sized piece, you’ve got a certain amount to spend, and ideally you don’t want something behind glass because it’s going to hang opposite a window.
Then there are simple things like whether a work needs framing, whether you can fit it in your car to take it to the framer, and what sort of frame you might want.
I get people coming in saying, “I absolutely love this, but I need to come back when my husband or wife is free!” They’ll take a photograph and send it to them.
These things matter because buying an artwork can be a lot of money, and you want to make the right choice.
But within those practical parameters, you’re free to choose from the heart.
Should people think of buying art as a financial investment?
I certainly don’t advocate buying for investment unless you’re right at the top end of the market.
A return on investment can take such a long time to realise. In the meantime, you need to have the artwork on your wall and enjoy it.
And if you eventually decide to sell it, the price you get will depend on the market at that time, the tastes of the time, whether anybody actually wants to buy it and who’s in the saleroom. It’s a really unknown quantity.
So I would always say buy a piece you love. If you eventually sell it and make some money, that’s a huge bonus.
But I think buying for investment slightly misses the point of art.
The whole point is that it should be a joyous thing. There should be a connection, a lifelong dialogue with a piece, or an understanding of an artist’s practice.
Buying something because it’s going to make you money just takes a little of the beauty and joy out of it for me.
And artworks can become treasured possessions over the years, can’t they? Even family heirlooms?
Yes, that’s a really good point.
Suddenly they become more than the artwork itself. They become a moment in time, or something that reminds you of a person or place.
You might have bought something on holiday, and every time you look at it you remember that holiday. You talk about it with your family, and perhaps you pass it down to the next generation.
It’s a different process from buying most other things, which tend to be more functional.
What advice would you give somebody who wants to start building an art collection?
Immerse yourself in the art world. Go to art fairs, exhibitions, pop-ups, art trails and artists’ studios. Speak to artists about their work and their practice.
You’ll start to understand different mediums, how prices work and where your own preferences lie.
You might decide to keep your collection within a particular area. Perhaps you love landscapes, black-and-white photography or ceramics. But within any of those areas, there are huge numbers of artists to discover.
Once you’ve bought your first couple of pieces, which might be limited-edition prints, for example, you begin to realise how happy they make you and how much they’ve transformed your space.
You start to feel more confident. You think, I made a good choice there. Let’s build on that. You might go back to the same artist and look at buying an original piece.
People often ask whether their collection needs to hold together as a complete collection.
I think that if you always choose from the heart, it’s very likely that the works will hold together because they’ll be a representation of what you love and your personal taste.
Our own collection is really varied. We’ve got drawings, prints, original paintings and collages. We’ve got some older works and some really contemporary pieces. It’s a real range.
We just buy things that we feel we can’t live without, for whatever reason.
And there’s one thing I always say, which sounds like a sales line, but I promise you it isn’t: you only regret the pieces you don’t buy!
They’re the ones you can’t stop thinking about. And once they’re gone, they’re gone.
You’re also an art consultant to the RWA. What does that involve?
I’m on the RWA’s commercial steering committee, and I love working with the team. Everyone is so open to ideas, warm and welcoming. You can throw ideas into the melting pot, which is really exciting.
I’ve been coming along to collectors’ breakfasts, and I’ve given talks and tours, including one for the Friends of the RWA.
I’m there to help generate sales and raise awareness around the Open, which the RWA already does brilliantly itself. I’m just very happy to be able to step in and help.
There’s another art consultant, Anna Smithson, who runs a gallery in Bristol, and we’re great friends. We both enjoy being able to help.
It’s a really mutually beneficial partnership. We get as much out of it as we give.
Buying art also supports the artists themselves. How important is that?
It’s a really important part of it.
When you buy a piece from the RWA Open, you’re supporting the RWA, which is a charity, so that’s brilliant to start with.
You’re also supporting an artist by endorsing their practice. What you’re saying is, “I get what you’re doing, I relate to it and I love what you’re doing.”
You’re putting money in their pocket so they can continue doing what they’re doing. But there’s much more to it than that.
Whenever I sell an artist’s work, it doesn’t matter whether they’re emerging or incredibly established, or whether it’s a little piece or a huge piece. They’re always thrilled to know that one of their works is going on somebody’s wall.
There’s a tiny bit of the artist’s DNA in each piece. It’s something they’ve created with their own hands, and knowing that somebody has connected with it is incredibly exciting.
This is their life’s work, so buying a piece gives them an enormous boost. You’re supporting them in more ways than you might think.
And you get an amazing piece of art on your wall!
The RWA’s Secret Postcard Auction is a rather unusual way to buy art because you don’t know who the artists are. What do you think of it?
I think it’s a brilliant idea, and such fun!
It’s a great way for anybody to get involved and have a go at buying an original artwork.
Buying a piece without knowing who the artist is, or anything about their usual prices, is really exciting because it takes away that judgement we were talking about earlier.
You’re just looking at something and thinking, That’s a really fun piece, or That’s intriguing. I want that.
You could end up with a complete steal for an original artwork. But even if you don’t get the piece you really wanted, it’s a thrilling thing to be part of, and it’s all contributing towards the RWA.
I’d say to first-time bidders: absolutely have a go!
As with any auction, it’s worth going in with a budget because it’s easy to get carried away. We’ve bid on a couple that went through the roof, which I was delighted about, although unfortunately we didn’t manage to secure them!
But again, it comes back to following your heart. Find something fun or intriguing, something that resonates with you.
You can take part from the comfort of your own home because the auction is online as well.
We bid for something every year.
Finally, what would you say to someone who’s never bought an original artwork before but is thinking about taking the plunge?
Buying an artwork is something that can last a lifetime.
At the moment when you hand over your credit card, it might feel very transactional. But actually you’re supporting an artist, you’re supporting a gallery like the RWA, and you’re buying yourself something you have a personal connection with, something that’s going to bring you joy.
So follow your heart. Challenge yourself slightly so you don’t get bored with it.
Art is deeply personal, and the pieces you choose will reflect your values and your tastes over time.
Once you start buying, it should be the beginning of a lifelong love affair with art and collecting. It’s a really special thing.
And exhibitions like the RWA Open are the perfect place to start. You can immerse yourself, see what’s around, and get a wonderful snapshot of the best art being produced in the South West.
Find out more about Jessica Lloyd-Smith and her art consultancy at Modern ArtBuyer.
For information about buying art from the RWA, visit the RWA’s art buying guide.
The RWA 173 Open continues until 3 January 2027.
