Insuring fine art and collectibles
Why the value of a work is agreed rather than established, how a loss continues after restoration, what happens when an attribution collapses or a title is claimed without anything being damaged, where the seam between two policies sits while a crate changes hands, and what a single location, a single deductible or a single defaulting line do to an entire collection.
Art and collectibles·24 modules·3 courses, about 1 hr each
Who it is for
Fine art underwriters, specialist brokers in valuables, art loss adjusters and appraisers, exhibition registrars and collection managers.
What you will be able to do
- ·Separate an agreed value from a declared value, and say which of the two governs depending on whether the loss is total or partial.
- ·Quantify depreciation after restoration and say on what base it is computed, the agreed value or the market value of the day.
- ·Classify a de-attribution and say why no damage cover repairs it, while the destruction of the same work is indemnified.
- ·Locate, in a loan between institutions, the instant custody changes hands, and say which of the two policies answers at that precise instant.
- ·Separate the insurable interests of the owner and of the bailee in one and the same object, and say why their sum can exceed the object's value without over-insurance.
- ·Distinguish the three routes by which a technical document acquires contractual force, and say what its absence produces in each.
- ·Compute what a deductible takes off a collection loss depending on whether it operates per object or per event, and say which of the two protects against what.
- ·Locate, within a tower placed in co-insurance, who bears the share of a defaulting line, and say what follow clauses actually cover.
- ·Separate, on a compromised exhibition, what belongs to damage to the object and what belongs to loss of the event.
- ·Say what the moral right to respect for the work's integrity changes in handling a claim when the artist is living.
- ·Identify, on an installation or a protocol-based work, which of the three objects is the work, and say what damage to each produces.
- ·Locate the boundary of inherent vice from a condition report, and say what a contributing excluded cause does to a claim.
- ·Locate the moment insurable interest changes hands in a sale, and say who carries the risk at each stage.
- ·Follow an object away from its keeping place, restorer's studio or exhibition, and separate damage to the object from loss of the event.
- ·Untangle several interests in one object, shared ownership or undivided title, and say what each can claim.
- ·Apply a deductible to a collection, saying what is deducted and how many times, and read a tower where the insurer is not a single party.
- ·Set inherent vice against accident, and say why the exclusion targets what was certain to happen.
- ·Handle the work whose author is living or whose medium is not the object, and say who decides what a repair must restore.
The syllabus
What is the object worth, and who says so?
8 modules · about 1 hr
- 01Agreed value, or the appraisal that is the policy itself · 9 min of readingFree module
- 02De-attribution, or value that vanishes without damage · 9 min of reading
- 03Depreciation, or the loss that begins after the repair · 8 min of reading
- 04Expert disagreement, or who decides when two views clash · 8 min of reading
- 05The deciding document, or how a technical paper becomes contractual · 8 min of reading
- 06Inherent vice, or the exclusion aimed at what is certain to happen · 8 min of reading
- 07Collectibles, or when the market becomes observable · 7 min of reading
- 08The living artist, or the author with a say in the claim · 8 min of reading
Where is the object, and who answers for it at that moment?
8 modules · about 1 hr
- 01Nail to nail, or the seam where custody changes hands · 8 min of reading
- 02The sale, or the instant interest changes hands · 7 min of reading
- 03The restorer's studio, or the loss during the repair · 8 min of reading
- 04The exhibition, or damage to the object and loss of the event · 7 min of reading
- 05New acquisitions, or the cover that runs before it is asked for · 7 min of reading
- 06Shared ownership, or several interests in one undivided object · 7 min of reading
- 07Provenance, or the loss that strikes the right and not the object · 8 min of reading
- 08The work that is not its object, or what damage means for an installation · 8 min of reading
The collection as a portfolio
8 modules · about 1 hr
- 01The collection and the stock, or two interests in one object · 8 min of reading
- 02The store, or the accumulation one place concentrates · 8 min of reading
- 03Natural catastrophe, or the cover that follows a place and not an object · 9 min of reading
- 04The deductible on a collection, or what is taken off and how many times · 8 min of reading
- 05The tower and the lines, or the insurer that is not one · 8 min of reading
- 06Theft, mysterious disappearance, and what remains to be proved · 8 min of reading
- 07Public indemnity, or a link in the chain that is not a policy · 8 min of reading
- 08Preventive conservation, or prevention that is priced · 8 min of reading
The assessment
The certification is validated by a multiple-choice assessment, unproctored and with a public answer key. It gates delivery of the certificate at the threshold below; it does not prove knowledge under supervision.
40 questions·threshold 80 %
What this certification does not prove
This certification attests to an understanding of the contractual mechanisms specific to valuables and to the handling of an art loss. It attests to no appraisal or authentication competence, no underwriting experience, no professional authorization, and it prepares for no regulatory examination.
Part of the specialization
Private certification issued by AlgoPolis under its sole authority. It is not registered with France Compétences, in either the RNCP or the specific register, and does not qualify for the French personal training account.