Inherited paintings: build an inventory before deciding what to do

When a family home passes to the next generation, its paintings often arrive as a group: hanging in corridors, stored upstairs or accompanied by envelopes of old papers. Before deciding what to keep or sell, make an inventory. A separate record for each work, with photographs, measurements and a list of surviving documents, gives everyone involved the same factual starting point.

This is a practical recording method. It does not settle ownership, establish authorship or replace advice from the professional handling the estate. Its value lies in preserving information before objects and documents become separated.

Why the inventory comes first

Hasty decisions can make later research harder. Removing a frame, cleaning a surface or losing a label may erase evidence. Giving away a work before its documentation is recorded can also break the connection between a painting and the papers that explain its history. An inventory records what is present and where it is kept.

It also helps discussions between family members. Before offering a work for sale, clarify with the relevant parties and the professional handling the estate who is entitled to act. A shared list is useful for that conversation, but it is not itself proof of ownership. Once those questions are resolved, consult the information about selling a work.

Creating a record for each painting

ICOM’s Object ID provides a recognised framework for identifying objects. It is not an authentication or valuation service. For a family inventory, begin with a unique reference number and use it in the record and photograph filenames. Do not attach adhesive labels to the painting or frame.

Take an overall photograph and details of visible signatures, inscriptions and labels. Photograph the back only if safely accessible; do not remove backing paper or dismantle the frame. Record height and width in centimetres, distinguishing the visible image, support and frame where possible. State clearly when only the visible opening can be measured.

Add the current location, materials if known, any damage already visible and the documents that accompany the work. Transcribe inscriptions as they appear, marking uncertain readings. A spreadsheet and a folder of consistently named images are sufficient; the strength of the system is consistency, not complexity.

Keep memories, hypotheses and evidence separate

Family knowledge can be valuable without being conclusive. Use separate fields for emotional significance, suggested authorship and surviving documents. A recollection that a painting belonged to a grandparent should not silently become a documented acquisition date. A name repeated within the family should not automatically become the artist’s name in the inventory.

Consider a hypothetical landscape known at home as “our aunt’s Canaletto”. Put that expression in the family-attribution field, with quotation marks. In the documents field, list the actual invoice or label and what it says. In the memories field, record the story of its purchase. Each piece of information remains available without being mistaken for another kind of evidence.

For paintings thought to predate the nineteenth century, the Old Master Paintings department offers a starting point for further discussion. A proposed date should remain provisional until assessed.

Preserving papers and avoiding unnecessary handling

Keep invoices, letters, catalogues and old photographs together in folders linked to the relevant inventory numbers. Make readable scans or photographs and retain the originals. Avoid adhesive tape and unnecessary metal fasteners. Store documents away from damp and heat.

Do not clean paintings or move them unnecessarily. If you notice lifting paint, tears or mould, record the observation and contact a qualified conservator before further handling. Photographs can help initial triage, but may not be sufficient for a reliable diagnosis or treatment proposal.

When the inventory is ready

With the records assembled and authority to act clarified, you can discuss whether to retain, research or sell individual works. The inventory supports that decision; it does not require the collection to be sold as a whole.

Colucci Fine Art offers a free initial indicative valuation for a potential sale. We receive clients from Switzerland and Italy by appointment at Via San Gottardo 98, 6828 Balerna.

Opening image: Paul Cézanne, Still Life with Apples and a Pot of Primroses, circa 1890. The Metropolitan Museum of Art, New York. Public domain, Open Access. Museum record. This museum work is an illustration and is not offered for sale by Colucci Fine Art.

Colucci Fine Art editorial team