7 Essential Things to Know for Artist Estate Planning in 2025

Artelier
Jul 1
10 min read

Whether you are just beginning an artist estate or have been navigating it for years, this 7-part guide will provide you with essential insights on how to start and run an artist estate the most effectively and smoothly possible in 2025. This guide is useful for artists, their families, advisors, collectors and everyone in-between.

A black-and-white, eye-level photograph shows artist Ruth Asawa working on a wire sculpture.

Asawa is in the center of the shot, her face expressing intense focus. She is looking directly forward, with dark eyebrows, dark lips and short dark hair. She's wearing a light-colored, long-sleeved sweatshirt. Her left hand, with a small piece of fabric protecting her ring and middle fingers, is holding a small piece of wire. In front of her on the flat, light-colored table are two wire sculptures; one is a hollow dome in the lower-right corner, and the other is in the bottom center, partially out of focus. To the left of her working hand is a large coil of wire.

Behind Asawa stands a white door. To her left are white walls, and a doorway leading to another room. In that room is a wire sculpture, which appears to be a set of hollow spheres stacked one upon and inside another. — The Ruth Asawa Foundation preserves and promotes the legacy of the renowned Japanese-American sculptor Ruth Asawa. It supports education, art preservation, and public programming to celebrate her work and contributions to the arts © Imogen Cunningham Trust

Introduction

An artist’s estate is more than a collection—it combines cultural legacy, serious business operations, intellectual property assets, and and a portfolio that is tax-sensitive. But did you also know artist estates are not just for deceased artists?

While they are still alive, an increasing number of mid-to-late career artists are now working with art advisors to make informed decisions about their estates. Because without proper planning, artist estates can fall victim to legal battles, poor management, heavy tax penalties, or - worst still - lost legacies.

This guide is useful for artists, their families, advisors, collectors and everyone in-between. Whether you are just beginning this process or have been navigating it for years, this 7-part guide will provide you with essential insights on how to start and run an artist estate the most effectively and smoothly possible in 2025.

If you see this sign, then expect a useful tip from our team!

Skip to the right chapter:

What does 'Artist Estate' mean?
Legal & Organisational Structures
1. The 4 Common Types
Acting as Brand Managers
'Under-the-radar' Artists
Modern Technologies for Better Management
Rooted in Ethics
Storage Management
Need Help with Artist Estate Management?

This surreal painting of "The Persistence of Memory" by Salvador Dali depicts a desolate landscape with a few objects of interest. The color scheme is primarily earthy tones such as brown and beige, with contrasting elements in blue and gray. Three melting pocket watches are the central focus.

In the foreground, there is a wooden table with one of the melting watches draped over its edge. The clock face is blue with golden trimmings, white numbers, and black hands. A fly rests on the 12-o'clock position. Next to it, an orange, oval-shaped object is covered in black ants.

On the right side of the ground, there's a strange, pale, creature-like form with a watch draped over it, distorted and melting.

The horizon is broken by water and cliffs, which are bathed in a bright light. In the top left, a barren tree branch holds another melting watch. The background shows a flat, rectangular plane that meets the sea or sky.

The overall tone of the painting is unnerving, reflecting Dali's exploration of the subconscious and dreamlike states. — 'The Persistence of Memory' (1931) by Salvador Dali. Salvador Dalí's estate, estimated to be worth €300 million, is primarily managed by the Gala-Salvador Dalí Foundation

What does 'Artist Estate' mean?

"Think of it as everything an artist leaves behind that’s connected to their work and career. This includes not just the physical pieces of art like paintings, sculptures, or music recordings, but also the rights that come with them, such as copyrights and trademarks. Plus, it also takes into account any debts or liabilities tied to the artist’s work. In short, it’s a comprehensive package that represents all that the artist created and owned."

Ella Forster, Senior Curator, Researcher & Editor at Artelier

Rosenquist working on The Light That Won’t Fail I (1961), Coenties Slip studio, New York, 1961. Photo by Paul Berg.An artist is kneeling in front of a large canvas, putting the finishing touches on his artwork. The scene is captured in black and white, emphasizing the texture and depth of the space.

The artist, dressed in a plaid shirt and dark pants, is focused on his work. His dark hair is receding, and his brow is furrowed in concentration. He's kneeling on what appears to be rags or cloths, protecting the floor from paint.

In front of the artist, there are various paint cans and containers. Some have lids askew, and one is labeled with the word "Glazing." The containers are splattered with different colors of paint, showing signs of heavy use.

The large canvas behind the artist features a striking image. On the left, there's a partial view of a woman's face, with bold lips and wisps of smoke curling from her mouth. Above and to the right of the woman's face, there's a close-up of legs and feet clad in socks. The entire image has a surreal and dreamlike quality. Above the painting, there is a striped pattern resembling a comb.

The room itself is an artist's studio, with walls splattered with paint and signs of creative chaos. To the left, a simple wooden chair stands with an article of clothing draped over it. The lighting is soft and diffused, casting subtle shadows but highlighting the details of the scene.

The overall composition is a study in contrast: the focus of the artist versus the grandeur of his artwork, the chaos of the studio versus the order of the composition. — Rosenquist working on The Light That Won’t Fail I (1961), Coenties Slip studio, New York, 1961. Photo by Paul Berg. Visit his estate here

Legal & Organisational Structures for Artist Estates

Where to start? Before managing an artist's estate, do your research and get familiar with legal and organisational structures. You'll typically find three common types in your findings: foundations, trusts, and limited liability companies (LLCs). These bodies help not just with physical works, but also copyrights, licensing, reproduction rights, exhibition loans, and catalogue raisonné* development.

Why use these platforms? Because institutionalising the estate ensures long-term control over both market value and cultural relevance. They can help shape scholarly reception, restrict or encourage market participation, and become grant-making or educational platforms in the artist’s name. To learn the four most common legal & organisation structures for artist estates, keep scrolling.

*Catalogue raisonné (or critical catalogue): an annotated listing of the works of an artist or group of artists and can contain all works or a selection of works categorised by different parameters such as medium or period.

The Robert Rauschenberg Foundation supports art and environmental causes while managing a multimillion-dollar archive © Robert Rauschenberg Foundation A black and white, wide shot shows a fair-skinned person, standing between two wall dividers in front of a wall with papers and images on it, with another wall divider to the left and a wall divider with a chicken on top to the right. The person stands with their arms crossed and their head angled slightly right. They have short hair and stare at the viewer. They wear a tight black long-sleeved shirt and white pants. Behind them, on the wall, is a collage of images. To the person's right is a tall wall divider with an abstract, black painting hanging in front of it. To the left of that is another tall wall divider, on top of which stands a live chicken. The divider features an abstract painting with collaged images. To the left is an upright wall divider with paintings inside of it. In the foreground, at the bottom center is a large goat-like statue. It appears to be made of some kind of fiber. A tire is placed behind its torso. The background wall has vertical stripes. The dividers are resting on a dark-colored floor. — The Robert Rauschenberg Foundation supports art and environmental causes while managing a multimillion-dollar archive © Robert Rauschenberg Foundation

4 Common Legal & Organisational Structures for Artist Estates

FLP (Family Limited Partnership)

An FLP allows an artist (or their heirs) to place artworks and copyrights into a partnership. The artist (or general partner) retains control over how the art is used or sold, while limited partners (typically family members) receive financial interests. For this reason, it facilitates gradual transfer of value without losing control, while also protecting assets from creditors and disputes. This is ideal for artists with valuable portfolios and multiple heirs where legacy curation matters as much as liquidity.

LLC (Limited Liability Company)

Many estates form an LLC to own and manage artworks, archives, and IP rights (e.g. licensing, exhibitions, reproductions). The LLC becomes the legal and operational “face” of the estate, becoming a centralised management for heirs and advisors. It is good for liability protection, promotes revenue from royalties, and licensing can be distributed efficiently, It allows operating control to pass to professionals, not just family. Artists with complex business activities (studio sales, print licenses, international shows) benefit from this structure.

CLAT (Charitable Lead Annuity Trust)

A CLAT allows the estate to donate income from art assets to a charitable cause (often an art foundation) for a set period, after which the remaining assets pass to heirs—often with little or no estate tax. This preserves philanthropic intent, provides heirs with a tax-advantaged transfer of appreciating assets, and positions the artist as a cultural benefactor. This is useful for artists with strong social or cultural missions who want their work to fund scholarships, museum grants, or education during their lifetime or after death.

GRIT (Grantor Retained Income Trust)

A GRIT allows the artist to transfer artworks to a trust while still retaining income from the assets (such as royalties or exhibition fees) for a fixed term. At the end of the term, the works go to the beneficiaries—again with reduced estate/gift tax impact. This retains income over a period, typically during the artist's lifetime, and secures lower current valuations for transfer, reducing estate tax liability. It is especially beneficial if the artist anticipates significant market growth after their passing.

Wealthy collectors should evaluate not only the artwork but who controls the estate and how. Strategic alignment with professionalized estates often signals long-term value stability.

In a black-and-white medium shot, Andy Warhol stands in front of two Marilyn Monroe paintings. Warhol stands in the center, facing directly at the camera, and he has shoulder-length and straight platinum blonde hair that's parted to the side of his head. He has thin lips and a somewhat oblong face. He's wearing a dark color jacket, which is slightly open, and a patterned shirt beneath. His arms are crossed, and his left hand is visible. The two Monroe paintings are Warhol's pop-art style. Monroe's features are painted with broad strokes of black and white, capturing her portrait with an emphasis on her eyes, lips, and the beauty mark near her mouth. Both paintings appear slightly cropped, revealing only partial faces, and are set against neutral tones. The shot is evenly lit, and the focus is sharp, emphasizing both Warhol and his artwork. — The Warhol Foundation, which manages Andy Warhol’s estate, has used an LLC structure to protect intellectual property and manage the financial aspects of the artist’s estate.

Artist Estates Acting as Brand Managers

Artist estates can also act like brand managers. They control how much artwork is available, set prices, choose galleries to showcase the artist's work after their passing, and decide which institutions can display the art.

The choices made by the estate have a big impact on the market. If too many pieces are released too quickly, it can flood the market and lower prices. By holding back some works, they can create demand and a sense of mystery around the artist.

Investors now need to check not just the artwork itself, but also the estate behind it. Buyers should be aware of the estate's release strategy—how many pieces are left, if authentication is available, and what exhibitions are coming up.

The estates of Jean-Michel Basquiat and Francis Bacon carefully control access to unreleased works, partnering selectively with institutions to maintain prestige.

Estates from 'Under-the-radar' Artists

To create an artist estate is open to anyone and everyone, and should rightfully celebrate an artist's lifelong commitment to their practice.

In recent times, we are seeing artist estates rightfully established from underrepresented or poorly managed artists—particularly those of women, BIPOC, and non-Western artists. As museums, institutions, and curators strive to diversify and address historical gaps, the estates of women, BIPOC, LGBTQ+, and artists from the global South are being reassessed, frequently resulting in significant upward price adjustments.

Investors are keen to jump in to support and spot under-the-radar artists before the market fully adjusts, with increasing demand for art advisors capable of pinpointing undervalued estates before they are fully recognised.

Think of it as “legacy arbitrage”: investing in artists whose historical significance is catching up to their market value.

The market for Alma Thomas (top left) and Carmen Herrera (top right) surged after renewed curatorial and scholarly attention, guided in part by their estates. Alma Thomas is celebrated for her vibrant, abstract paintings that incorporate bold colours and geometric patterns, often reflecting her experiences as an African American woman in the 20th century. Carmen Herrera is known for her minimalist, geometric abstractions that explore the relationship between colour and form, often using a limited palette to create striking visual impact.

Modern Technologies for Artist Estates

Technology is revolutionising artist estate management and is quickly setting the standard for ensuring both authenticity and efficient administration. A technologically advanced artist estate not only safeguards authenticity but also opens up new revenue streams, like digital licensing, online exhibitions, or interactive experiences.

Here are some ways technology can help manage your artist estate:

Blockchain Blockchain is great for securely and transparently recording transactions, and it's tamper-proof from hackers.
NFT With NFTs, you can track and manage shared ownership. Each NFT acts like a digital certificate for a specific piece of art, with ownership details safely stored on the blockchain. This makes it easy to identify the original owner of the digital file.
AI Forgery With the recent seizure of 71 paintings in Rome trying to imitate Pablo Picasso and Rembrandt, AI can help spot forgeries by analysing past data on subtle elements like patterns, medium, texture, and composition.
Automated Catalogues AI can automate detailed catalogues, saving you time on admin tasks and cutting down on human error, especially when you're handling hundreds of artworks unique in edition numbers, quantities, and sizes.

Collectors and advisors should assess how tech-savvy the estate is—those who integrate tech will likely fare better in terms of liquidity, legal protection, and cultural impact.

The Uffizi Gallery is turning masterpieces into NFTs, starting with Michelangelo’s Doni Tondo, sold for €140,000, to raise funds. Each digital artwork, made by Cinello, comes with a blockchain-certified NFT, ensuring authenticity and theft-proof uniqueness. © Designboom Two men pose in front of Raphael's "The Madonna of the Goldfinch" with a gold ornate frame. Behind the art piece is a white wall on the right and a wall-mount in light gray.

The man on the left has shoulder-length gray hair, wearing a white shirt, a gray vest, a black blazer, and gray jeans. He is standing with both feet planted on the light gray ground, looking at the camera.

The man on the right is bald and wearing a black suit and black shoes. He has a blue tie and a white button-down shirt. He is positioned squarely, looking at the camera, and his feet are planted on the light gray ground. — The Uffizi Gallery is turning masterpieces into NFTs, starting with Michelangelo’s Doni Tondo, sold for €140,000, to raise funds. Each digital artwork, made by Cinello, comes with a blockchain-certified NFT, ensuring authenticity and theft-proof uniqueness. © Designboom

Local & Global Taxes for Artist Estates

As artists increasingly operate on a global scale, advisors must prioritise the complexities of local and international tax regulations. This includes understanding cross-border estate taxes, repatriation laws, and issues around cultural patrimony.

If cross-border inheritance isn't planned well, it can lead to double taxation, export restrictions, or demands for repatriation. Artworks might face foreign estate taxes even if the artist lived somewhere else.

Advisors should team up with cross-border tax experts and art law specialists to set up structures that guard against risks from different jurisdictions.

Peasant Woman, circa 1884, Vincent Van Gogh This is an oil painting of a woman. She seems to be middle-aged, but there aren't many wrinkles on her face. She wears a charcoal-colored headscarf, presumably to keep her hair out of her face. The woman's face is illuminated from the upper left, causing some of the skin on her face to look quite fair, and the shadows cast by the side of her nose darken the right side of her face. The woman's cheeks are almost rosy in color. She glances off to the left, slightly downcast. The woman wears a dark blue, long-sleeved blouse. The background is mostly grey, but there are shades of dark green and brown. The painting has a somewhat muted and somber tone overall, and it clearly depicts a working-class woman. — Peasant Woman, circa 1884, Vincent Van Gogh

Vincent Van Gogh's Peasant Woman (circa. 1884) was accepted by the UK government in lieu of taxes and allocated to one of many museums across Britain. Acceptance in Lieu, an initiative organised by Arts Council England, allows those who have a bill for Inheritance Tax to pay the tax by transferring important cultural, scientific or historic objects and archives to the nation through allocation to public museums, galleries, archives and libraries.

Artist Estates Rooted in Ethics

These days, estates aren't just looked at for their financial or scholarly worth; they're also checked out for how well they align with today's cultural standards. More and more artist estates are weaving in key qualities like sustainability, social justice, and community involvement into what they’re all about, especially in loan policies and where to run exhibitions.

This is also important to museums and galleries, as well as private collectors. Being linked with estates that show ethical leadership—like focusing on sustainability, equity, and access to education—boosts their reputation as well as their branding.

Collectors who align their collection with estates that embody ethical leadership not only meaningfully boosts their reputation but also strengthens their brand in the art world.

The Joan Mitchell Foundation offers grants to BIPOC artists and maintains a strong climate-conscious footprint. Joan Mitchell in her Vétheuil studio, 1983. Photograph by Robert Freson, Joan Mitchell Foundation Archives. © Joan Mitchell Foundation. In a wide, eye-level shot, a middle-aged white woman is seen seated on a stool, surrounded by paintings and doors in what appears to be an artist's studio.

The woman has short brown hair, parted on the side, and she wears rectangular-framed glasses. She is dressed in a light blue denim shirt and jeans, and appears to be holding a cigarette in her left hand. Her right hand is placed on her hip. She sits atop a tall, golden-colored stool, with one leg resting on the stool's rung.

Behind her are several large paintings. To her right, a large canvas is filled with strokes of green, pink, orange, and white paint, creating an abstract floral scene. To her left, two canvases, stacked vertically, are covered in rapid strokes of blue and white paint.

The walls of the studio are white, and on either side of the paintings are ornate wooden doors. The door to her left is covered in splatters of various colors of paint. To the left, several framed canvases and pieces of artwork are stacked on the floor. The overall composition suggests a creative, artistic environment filled with works in progress and remnants of artistic activity. — The Joan Mitchell Foundation offers grants to BIPOC artists and maintains a strong climate-conscious footprint. Joan Mitchell in her Vétheuil studio, 1983. Photograph by Robert Freson © Joan Mitchell Foundation.

Storage Management for Artist Estates

Storage is crucial, and is a simple must for any artist estate management. Reasons vary, from simply avoiding artwork damage due to extreme heat, cold or moisture, but it can also be more serious; political conflicts in local areas sometimes require a complete relocation of artworks and artefacts.

All these 'disasters' can threaten physical artworks but also archives, studios and legacy infrastructures. They can wipe out or irreparably damage core holdings in an artist’s archive or studio, unique, non-duplicated pieces not yet digitised or insured, fragile documentation and ephemera (letters, sketchbooks, early works), or even site-specific installations or sculptures (especially outdoor works)

How does this affect the overall estate? Well, it can dramatically alter the artist’s posthumous narrative, reduce or destroy potential revenue stream, or even lead to lawsuits, insurance disputes, or reputation damage if the estate is found to be negligent.

Here are some key industry updates in artist estate management that could help with your storage methods:

The 'Art of Storage' as seen in Latvian National Museum of Art © Core77

An eye-level, wide shot depicts a woman opening a gate-like display case filled with framed portraits and landscape paintings, creating a museum-like atmosphere.

The gray, concrete floor underscores the modern aesthetic. Above, a ceiling of parallel, horizontal metal beams with built-in lights is visible in the foreground.

The display is enclosed by vertical and horizontal gray metal bars, creating neat compartments for an array of paintings. These include both landscape pieces and portraiture, with some portraits hung in oval frames. Gold framing is common, although not universal, and these compartments offer visual depth as many are visible through the open gate.

A thin woman with light skin and dark, shoulder-length hair is partially visible. She is dressed in gray trousers, black flats, and a long, dark gray coat. She holds onto one of the metal door frames, partially obscured by the painting grid behind it and is gazing to the left.

A red sign with white text (appearing to read "NE DENAKTI GAZE) is visible on the frame near the door.

The lighting from the overhead bars illuminates the scene, lending a clean and modern feel to this collection of vintage art. — The 'Art of Storage' as seen in Latvian National Museum of Art © Core77

Off-Site Storage in Climate-Controlled Vaults

Wealthy estates are increasingly working with specialised storage facilities (e.g. Crozier, UOVO, ARCIS). For long-term holdings or pieces not currently in circulation, this has become the gold standard. They offer:

Museum-grade environmental controls
Fire suppression systems
Storm and earthquake-resistant infrastructure
Inventory digitisation and access tracking

Digital Archiving

Estates are investing in comprehensive digitisation of works and archives—scanning physical art, photos, letters, catalogues, and contracts for secure backup. Many are storing digital assets on decentralised servers or in blockchain-verified repositories. This not only protects provenance, but enables reconstruction of lost works, while also supporting legal claims after a disaster.

Replica Strategy for Display vs. Storage

High-value works are increasingly being kept in secure facilities, while high-quality replicas or authorised facsimiles are installed in private homes, institutions, or foundations. Some estates now issue certified replica rights as a licensing revenue stream. This allows for:

Public enjoyment
Protection of the original
Reduced insurance burden

Geographical Risk Diversification

Rather than centralising storage in one vulnerable location (e.g. California wildfire zones, flood-prone New York basements), savvy estates are:

Distributing archives across multiple secure sites
Using international storage partners with lower climate risk profiles
Negotiating institutional partnerships for stewardship

Emergency Protocols & Insurance Optimisation

High-net-worth insurance carriers (like AXA XL, Chubb, Hiscox) are now tailoring art-specific climate risk policies for estates and collectors. Estates are also developing emergency response plans including:

Evacuation logistics for large works
Insurance optimisation & total loss
Pre-negotiated conservation/restoration partnerships
Real-time inventory access in case of evacuation

After devastating fires in California, the estates of several West Coast artists relocated archives to high-altitude vaults in Colorado and Switzerland. Remains of Alto Beta Gallery. Photo Courtesy- alto_beta on Instagram. The image shows the devastating aftermath of a fire at the "Town & Country Liquor" store. The once-vibrant storefront is now a scene of destruction, with charred debris and remnants of the building scattered across the ground.

The sign for "Town & Country Liquor" still stands, albeit slightly tilted, displaying its name in bold, red lettering against a tan background. Underneath the name, the sign boasts "We have the best craft beer in town. We accept all type of debit and credit cards".

The building behind the sign is severely damaged. Sections of the brick wall are visible, but the roof and front façade have collapsed, leaving a heap of mangled metal, burnt wood, and other unrecognizable wreckage. The windows are shattered, and the entire structure exudes a sense of ruin and abandonment.

In the foreground, remnants of what was once the store's entrance are visible, with twisted metal and charred debris strewn about. A few resilient plants stubbornly survive amidst the destruction, adding a touch of life to the desolate scene.

The sky above is clear, highlighting the stark contrast between the peaceful, blue sky and the turmoil below. The overall scene conveys a sense of loss and the destructive power of fire. — After devastating fires in California, the estates of several West Coast artists relocated archives to high-altitude vaults in Colorado and Switzerland. Remains of Alto Beta Gallery. Photo Courtesy- alto_beta on Instagram

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'Magma' (2023) by Jeremy Maxwell-Wintrebert, represented by Artelier on display at Hotel de la Marine. © Jeremy Maxwell Wintrebert An outdoor courtyard is captured in a full shot under bright, natural light. In the foreground, a scattering of what appear to be oversized, golden plates or discs covers part of the ground. Their glossy surfaces reflect the surrounding architecture and light, creating distorted mirror-like images.

In the background, an impressive multi-story building forms the backdrop. The building's facade is constructed of light-colored stone, featuring numerous windows arranged in a symmetrical pattern. Arched entryways and architectural details add to the building's grandeur. The overall style suggests a classic European design.

The sky is clear and blue, enhancing the vibrant colors and sharp shadows in the scene. The composition centers on the juxtaposition of the modern, reflective art installation with the historic architecture, providing a unique and visually striking contrast. — 'Magma' (2023) by Jeremy Maxwell-Wintrebert, represented by Artelier on display at Hotel de la Marine. © Jeremy Maxwell Wintrebert

With 20 year's industry experience, Artelier provides extensive services for managing artist estates and art collections, catering to private, corporate, and institutional clients.

Our expertise covers market research, investment evaluation, and provenance analysis, ensuring each collection is appreciated within its complete historical and financial context. Our team handles appraisals, cataloguing, logistics, and installation, ensuring smooth management. We also offer advice on tax and inheritance planning, insurance, and strategic sales, helping to enhance collections for lasting value and impact.

Whether preserving an artist’s legacy or expanding a private collection, Artelier provides trusted expertise with discretion and care.

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