Reach the collector, respect the work.

Yes, with private viewing rooms and gated content. Not every work belongs in a public catalogue. We build access-controlled areas so specific pieces can be shared with named collectors while staying invisible to search engines and the general public.

Through artist and category search, editorial, and email. Collector acquisition rarely happens on a first visit, so the work is building authority around the artists, periods, and categories you represent, then converting that attention into a mailing list you own and nurture ahead of each fair and sale.

Yes. Catalogue-grade web means full provenance, exhibition history, literature, and condition presented properly, with structured data so individual works and artists surface in search. Serious collectors read this material closely, and thin catalogue entries cost credibility immediately.

Yes, and the calendar should drive the plan. We build campaigns backward from fair dates and sale deadlines: previews to your list first, then public promotion, then post-sale follow-up while attention is still high and collectors are still engaged.

Both, plus private dealers and collectible brands in watches, wine, and design. The mechanics differ. Auction houses work to hard deadlines and need urgency; galleries build relationships over years and need consistency. The underlying collector data strategy is much the same.