Turn a qualifying painting, sculpture, or collection into working capital without ever putting it up for sale. LQD advances private capital against the work while it remains titled to you, so the upside stays yours. Underwriting is asset-based and AI-assisted, with indicative terms in hours and no credit check or income verification. Eligibility and terms are not guaranteed.
A serious work of art is stored capital. Art-secured lending lets you draw on that capital without selling the piece, so a painting, a sculpture, a work on paper, a photograph, or an entire collection can fund a purchase, a project, or a moment of opportunity while it stays on your wall or in your name. Bring forward a single important work or a full holding for confidential review.
Acceptance is never automatic. LQD weighs attribution and authenticity, provenance, ownership and title, condition, documentation, exhibition and publication history, current demand, its own valuation, and underwriting. A celebrated signature counts for something, but it does not by itself carry a work through review. What decides the matter is the weight of evidence behind the piece.
One point trips up many owners: the numbers attached to a work rarely agree. The price you paid, the figure on your insurance schedule, an auction estimate, a fair-market appraisal, and a likely resale price can all diverge, and none of them is the collateral value. Collateral value is LQD's own read on what the work could realistically achieve in today's secondary market, filtered through its condition, its paperwork, and live demand.
Where a bank sees an object it cannot price, LQD sees a market it already understands, reading comparable results, testing attribution and provenance, assessing condition, and gauging appetite category by category. Underwriting is AI-assisted and asset-based, so there is no credit check and no income verification, and every conversation is handled with discretion. Owners who borrow this way keep their collections whole and their future upside intact.
You do not need any of this to start a submission. When you do have it, though, it firms up the valuation and can mean a quicker read and stronger indicative terms:
Work across many categories comes forward for review. Whatever the medium, ownership, title, LQD's valuation, and underwriting still govern the outcome, and eligibility and terms are not guaranteed.
Paintings are the works we see most often. The questions are always the same: is the attribution credible, is the piece authentic, how does it present, and is there real secondary-market support for this artist and this kind of canvas. A famous name opens the conversation, but each painting stands on its own attribution, condition, and paperwork.
Cast bronzes, editioned pieces, and unique works by documented artists all come forward. Edition number and size, casting and foundry records, and estate or foundation documentation anchor the attribution and point to market depth. Scale, material, and physical state then shape how the piece is read.
Drawings, watercolors, pastels, and gouaches by documented artists are all in scope. Paper is unforgiving of handling, so toning, foxing, and light damage matter, which is why a clear condition record and firm attribution carry extra weight here.
Fine-art photography works when the demand is genuine and the edition is well documented, meaning size, print number, printing date, process, and the artist's hand in it. The image is only half the story; the specific edition can decide whether there is meaningful collateral value at all.
Hand-signed prints and limited editions from artists with a real market are measured against comparables for that exact work and edition. Edition size and number, printer or publisher records, and condition all bear on the read. A print bearing a marquee signature does not automatically hold value.
Living and postwar artists with a documented exhibition history and dependable secondary-market support are all candidates. Attribution, authenticity, condition, provenance, and present demand are weighed together, and how deep the market runs for that particular artist and period matters far more than the label.
Modern pieces and select older paintings and drawings can be reviewed where the attribution is credible and supported. Cataloguing language such as 'attributed to', 'studio of', 'circle of', or 'after' shifts the analysis, and the older the work, the more authentication it usually needs before the review can move.
A collection can be pledged as a single, combined position, whether it centers on one artist or ranges across many. Each work is still examined on its own attribution, authenticity, condition, and market support, while the group is weighed for breadth and overall depth.
These are areas where demand is well established, though the list is far from complete. Every piece is still judged on its own attribution, authenticity, ownership, title, provenance, condition, documentation, exhibition and publication history, demand, LQD's valuation, and underwriting.
Living artists with a genuine presence in both the primary and secondary markets, gallery representation, and a documented exhibition record are strong candidates. Comparable sales, recent shows, and institutional interest all reinforce a work's collateral strength, though appetite shifts by artist and period and a marquee name alone settles nothing.
The years from 1945 into the 1980s, spanning Abstract Expressionism, Pop, Minimalism, and Color Field painting, sit on decades of documented trading. When an artist has sustained institutional backing and a thick file of comparable results, LQD's valuation rests on firmer ground.
Earlier paintings and drawings with solid provenance, a documented exhibition record, and a place in the scholarly literature can be reviewed when recognized experts stand behind the authentication and the attribution matches the accepted catalogue for that artist. As a rule, the older the work, the more authentication it takes to advance.
Bronze editions from the estates of recognized sculptors, unique ceramics by documented artists, large steel and aluminum pieces with institutional exhibition history, and hand-blown glass by artists with a real secondary-market record can all qualify. For sculpture, edition numbering, foundry paperwork, and foundation records are central pieces of provenance.
Limited-edition prints from recognized photographers with dependable secondary-market demand can be reviewed. The documentation that counts is edition size and print number, printing date, process, and paper, along with the artist's signature and any certificate of authenticity. Not every photograph holds meaningful collateral value, and the edition is decisive.
Important drawings, watercolors, pastels, and other works on paper from documented artists, together with hand-signed prints and editions from artists with an established market, are all reviewable. Each is measured against comparables for that exact work and edition, and on paper, condition, edition detail, and documented provenance weigh especially heavily.
Valuing a work for lending is a different exercise from a retail or insurance appraisal. No single number decides it; the factors below are weighed against one another, and none of them is fixed or guaranteed.
The numbers rarely agree. What you paid, your insurance replacement figure, an auction presale estimate, a fair-market appraisal, and a likely private-sale or resale price can all point in different directions, and not one of them is automatically the collateral value. An insurance figure usually tracks replacement cost and sits above collateral value; an auction estimate is a presale opinion, not a valuation. Collateral value is LQD's read on what the work could realistically achieve in today's secondary market, subject to underwriting.
Authenticity and attribution sit at the heart of every art review, and they almost never turn on a single piece of paper. One document rarely closes the question, and neither a certificate nor a signature is conclusive on its own.
Depending on the work, the evidence we draw on can include catalogue raisonne entries, artist-foundation records, authentication-board findings, gallery invoices, auction-house records, certificates of authenticity, estate paperwork, expert opinion, and, where it is warranted, forensic or materials analysis. Older pieces and works with uncertain attribution generally have to bring more of this record before a review can move forward.
A few things are worth saying plainly. A certificate of authenticity does not, by itself, fix eligibility or collateral value. A signature alone does not prove authorship. An auction house accepting a work does not guarantee a capital offer. And cataloguing language such as 'attributed to', 'studio of', 'circle of', or 'after' shifts the review in a real way.
LQD claims no affiliation with, endorsement by, or authority on behalf of any artist, estate, foundation, authentication board, catalogue raisonne publisher, gallery, museum, or auction house. Any names appear only to describe a work accurately.
These distinctions move both valuation and eligibility, and each is judged on the evidence attached to the specific work.
You do not need a full file to open a confidential review, but whatever records you hold help with authenticity, attribution, ownership verification, valuation, title work, and underwriting. The more you can share, the faster a work moves through review, and a missing item does not close the door.
Useful records and images include:
Send what you have and start the conversation; anything outstanding can follow once the review is under way.
A pledged work is kept in insured, climate-controlled fine-art storage for the life of the arrangement. It is logged in on arrival with a documented, photographed condition record and returned in that same condition once the balance is repaid, from intake through to release.
When a piece has to move, LQD arranges specialist handling, proper packing, and insured transport, with cover set at the agreed value for the term. Exactly how a work is handled, shipped, and stored depends on the piece, its medium, and its size.
Owners of several works can structure an arrangement in which a collection stands as combined collateral. LQD works alongside collectors, estate representatives, art advisors, and legal and financial professionals. Each work is still reviewed on its own, and eligibility and terms are not guaranteed.
Selling and borrowing are two different instruments, and neither is the right answer in the abstract. A sale turns a work into cash for good and makes sense when you truly want out of the position. It also means giving up the piece, paying dealer commissions or auction fees, and taking whatever the market offers on the day.
Borrowing lets you hold on to the work, keep a collection whole, and sidestep a forced sale while you meet a separate need or seize an opportunity, all while the piece stays titled to you and any appreciation stays yours. It comes with its own costs: financing, appraisal and diligence, custody, insurance, transport, and storage, plus default risk. If the arrangement defaults, the pledged work may be subject to loss.
Timing usually settles it. An owner who has no wish to sell into a soft market, or who is protecting an estate or a long-term collection plan, often prefers to raise liquidity without letting the work go. Others would rather simply sell. Weigh both against your own situation before you decide.
Every submission and conversation stays private, with provenance review and a documented intake. Your work is never listed, consigned, or advertised.
Works are read through LQD's own valuation and condition record, weighing attribution, provenance, and market support rather than leaning on any single figure.
Specialist handling, insured transport, and climate-controlled storage where it applies keep the work protected for the whole of the arrangement.
Share photographs and any records you have for the piece or collection. Nothing is required to open a confidential review, and whatever documentation you can provide speeds the assessment along.
Specialists examine attribution, authenticity, condition, provenance, and comparable market support while LQD's valuation takes shape. Ownership and title are verified as part of the same review, and AI-assisted underwriting keeps it moving quickly.
Qualifying submissions can receive indicative terms within hours, following authenticity and attribution review, ownership verification, condition review, LQD's valuation, title review, and underwriting. Once an arrangement is approved, funding generally follows within 24 to 72 hours, subject to documentation and review.
Bring a single work or a whole collection forward for confidential review. Qualifying submissions can receive indicative terms within hours after authenticity, ownership, valuation, title review, and underwriting, with funding typically inside 24 to 72 hours of approval. Eligibility and terms are not guaranteed.
Ready to see what your art can do?