5 Questions with Sharon London Liss, Private Dealer and Advisor

Dec 20, 2024

For over 40 years, Sharon London Liss has been a trusted advisor in the art world, bridging the gap between collectors, institutions, and the evolving art market. As the founder of Sharon London Liss Inc., her work encompasses an impressive spectrum—helping private collectors refine their collections, advising corporate and institutional clients, and facilitating significant acquisitions and sales.

In this conversation, we delve into Sharon’s approach to client relationships, her perspective on balancing investment potential with personal taste, and her insights on the evolving role of Canadian art on the global stage. With a deep commitment to integrity and a career marked by unforgettable milestones, Sharon’s expertise continues to resonate across the art world.

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1AN: With such a wide range of clients, from corporate collections to museums, how do you tailor your advisory services to meet the unique needs of each?

Sharon London Liss: Every client - whether private, corporate, institutional, or legal – has my undivided attention. Sharon London Liss Inc offers a broad range of advisory services. What may begin as a single purchase can evolve over the years to expanded acquisitions, insurance appraisals, estate planning, or determining the best manner in which to sell/donate. When I undertake a client it is with the understanding that this will become a long-term relationship, built on mutual trust and integrity.

1AN: I’m sure that’s very much appreciated. So, how do you advise collectors who are looking to invest in art while also building a collection that reflects their personal taste and identity?

Sharon London Liss: I always tell a client who is looking to “invest” that there is no crystal ball. I thoroughly research an artist and their market, and it is armed with the best information at the time that I will encourage a purchase. However, I always ensure that the piece is something that the client truly enjoys, because nobody can predict the future.

Knowing that a piece may have been purchased with an eye to investment, I continue to monitor the artist’s market. At an appropriate time, I advise the client regarding propitious timing to sell.

1AN: What’s been one of your favorite sales or acquisitions, and what made it particularly memorable for you?

Sharon London Liss: A client was referred to me by one of Canada’s major institutions. They owned a painting, received by descent, that somebody thought might be significant. I was asked to assess value and authenticity. Within a very short time, I determined that the piece was both enormously valuable and included in the artist’s archive. The owner asked me to sell this on their behalf. I identified the best options and, together, we made the decision to sell the piece privately. The sale was life-changing for the owner! I continue to receive thank you notes.

This was particularly memorable but there have been many similar events over the course of my 40-year career!

1AN: What a feeling! I know you work with both Canadian and international art, but I’d love to know how you see Canadian art evolving on the global stage.

Sharon London Liss: The primary art market in Canada is quite regional, apart from well-established artists who may have galleries across the country representing them. There are very few Canadian galleries that exhibit at international art fairs which would give artists a global introduction. The major auction houses in Canada have worldwide presence on the internet. Apparently, buyers from around the world are now scouting these websites and purchasing Canadian art. However, this does not add to an artist’s income as these are secondary market sales. 

The Canadian Pavilion at the Venice Biennale regularly garners positive international recognition. Of course, the artist selected to represent the country already has an illustrious career in Canada. This is an incredible opportunity for worldwide exposure.

1AN: No doubt it is. How do you balance the historical significance of 20^th-century art with the growing demand for contemporary and emerging artists in today’s market?

Sharon London Liss: Like many things, I find that the art market is cyclical. This can happen for so many reasons – economic stability, political correctness, and publicity campaigns to mention a few. For example, the market for Impressionism is soft at the moment. This does not mean that there is no market for it. These artists have significant history in secondary market sales and institutional/private collections. The market for contemporary and emerging artists is being made by dealers. This is not necessarily a predictor of what future value may be.

I always tell a client to set a threshold: below, they can purchase if it reflects their personal taste or strategy; above, we need to establish what the artist’s trajectory is.

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 Connect with Sharon London Liss here.

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