Have you ever walked into a house which, despite having high ceilings, tasteful furniture, art – or an absence of it. “A room without books is like a body without a soul,” declared Cicero in the 1st century BC, but if he had lived in the age of Instagram he’d probably say the same of a room without artworks. What goes on the walls transforms a sterile showhome into a space with true character. But if art is so central to interior design, how can total novices go about building a collection?
The classic advice is to “buy what you love”, but it might take a little time to work out exactly what that is. “The very first step is simply identifying what appeals to you, says Amy McNamara, Associate Director at Adam’s. “This only really comes with looking at art, be it online, at auction viewings, gallery exhibitions, wherever is most easily accessible to you. ” The more artworks you look at, the more you will understand your own taste – and, crucially, develop confidence in it. Begin by casting a broad net: visit national museum collections and figure out which artworks you return to and why. Commercial galleries are free to visit, and opening receptions offer an informal space to ask questions over a glass of wine. Auction viewings, meanwhile, provide “a relaxed, welcoming way to discover new artists and artworks”, says McNamara. Bring a friend and make a day of it: “I feel it’s important to make the process enjoyable for yourself,” she adds.
This process of looking, thinking and discussing feeds into what makes a great collection. “Your collection should ultimately feel like an extension of you,” advises Jessica Taylor, Gallery Manager at Taylor Galleries. Taylor affirms the “buy what you love” approach, but adds a second dimension: “buy with feeling” . “Art is completely subjective, so if a piece speaks to you, that is the beginning of a very personal collection,” she says. “Perhaps it is the palette that draws you in, the narrative, the texture or the way the artist has handled the paint. Or perhaps you simply have no idea why you love it – and that is perfectly valid too. Art doesn’t always need to be rationalised.” Save photos on your phone to track patterns in what draws your eye, or buy artist
monographs to dive deeper.
Once you have an idea of what you like, consider how you’ d like to approach building your collection. Some collectors focus on a particular material, subject, period or style, while others follow gut instinct, leading to eclectic collections encompassing diverse media. Neither approach is superior, it simply reflects your temperament. (Unsure where you fall? Take a look at your wardrobe. Do you buy similar garments with slight variations, or play the fashion field? Your collecting instincts will likely follow similar lines.) Collecting can also express your values – some collectors focus exclusively on women artists, for example – or bolster your existing taste. Love mid-century furniture? Bold abstraction will complement its clean lines. More of a romantic? The softer colours and textures of works on paper feel evocative and intimate.
In art world parlance, ‘primary market’ refers to the first time an artwork is sold (typically through a gallery), while ‘secondary market’ covers re-sold works. “When you purchase from a gallery, you are supporting the artist and their practice directly, ” Taylor explains. “You have access to a much more personal conversation around the work.” When choosing a gallery, look for members of professional bodies like the Contemporary Art Gallery Association (CAGA), which organises Dublin Gallery Weekend (November 5–8), a great way to discover the range of what’s available, meet gallerists and ask questions. “You don’t need to be an expert, curiosity is enough,” advises Taylor, adding that many galleries are happy to facilitate payment plans.
The secondary market, meanwhile, is where to look for pieces with a sense of history. 20th century art is plentiful and has stood the test of time. Buying at auction offers the thrill of a potential bargain – though prices can also rocket, as in this year’s record-breaking sale of Gerard Dillon’s Tea Party for €1.375 million at Adam’s. (Though such sales dominate headlines, McNamara points out that there are also more entry-level online auctions, held in January and July.) To avoid getting swept up in the moment, establish your bidding limits in advance and stick to them, factoring in the buyer’s premium (auction house fees). You can bid online or over the phone, though McNamara recommends viewing works in person first to gauge scale and condition. Buyers on the secondary market should also check provenance: this is an artwork’s ownership and sale history, which serves as your protection against fraudulent or unlawfully acquired works. Reputable houses such as Adam’s will do their due diligence before bringing a work to market.
Of course, art is also an asset class, and many collectors approach it with an eye to investing. Though few professionals advise buying solely as a speculative investment (it’s hardly a way to make a quick buck), it’s prudent to consider potential risk and reward. Look at an artist’s track record and assess whether their career is likely to grow. In industry parlance, artists are categorised as “emerging” , “mid-career” , or “established” (or “blue chip”). Blue-chip artists are safer investments, as they have built solid reputations: these are artists with works in museum collections and many exhibitions to their name. They can command high prices, though limited edition prints offer a more accessible in-road. Take note of edition size, as rarity creates value. Investing in an emerging artist’s work, meanwhile, could turn out to be lucrative if you happen to spot the next Tracey Emin, though it could also fail to appreciate in value if the artist decides on a career change. Some collectors love the excitement of supporting fresh talent either way – this is partly why “buy what you love” is such enduring advice: it’s not a “risk” if you love and cherish your collection regardless. If this sounds appealing, visit graduate shows at art colleges, or the RDS Visual Art Awards exhibition (6 November – 23 January 2027), which showcases promising talent.
Now you’ve discovered what you like, it’s time to take the plunge. “Once you find something you really love, don’t wait too long,” advises Taylor. “We have had clients come back after finding the perfect spot for a painting, only to discover that it has already found a new home.” It can be tempting to overthink, but the key to building a collection you can live with long-term is to view it as an evolving entity that will grow with you. “Your taste will naturally evolve over time,” McNamara concludes, “and if a work no longer resonates with you, you can always sell it and buy something new.”
THE EMERGING TALENT: SIAN COSTELLO
Since graduating in 2020, Sian Costello has already exhibited in a show
curated by Simone Rocha at Lismore Castle Arts, won the 2026 K+M Evans Painting Prize and been selected for the Museum Plinth Project residency at the National Museum of Ireland. “She uses her own body, staged photography and painting to explore ideas around representation, authorship and the history of the female figure in art, ”comments Jessica Taylor of Taylor Galleries, who staged Costello’s solo show this summer. “I think she is one to watch. ”
THE MATERIAL INNOVATOR: ELEANOR MCCAUGHEY
Working across painting, sculpture, and video, Dublin-based Eleanor McCaughey brings a contemporary edge to a collection. Blurring the line between painting and sculpture, she interrogates what it means to live in a female body by layering oil, gouache and sometimes wax on paper, creating a vivid, theatrical interplay between three-dimensional form and painterly surface. Represented by Kevin Kavanagh, institutions are catching on: this year has seen her exhibit at The Glucksman, Cork; The Model, Sligo and Linenhall Arts Centre, Mayo.
THE RISING STAR: SERENA CAULFIELD
Working from County Wexford, Serena Caulfield creates vibrant, layered paintings that merge historical art references, folklore, and memory into imaginative landscapes. Her momentum has been building rapidly: she was shortlisted for the Zurich Portrait Prize in 2021, acquired by the Arts Council Collection in 2024 and, this summer, produced a new textile edition in collaboration with Ceadogan Rugmakers. She regularly exhibits with Solomon Fine Art.
THE ESTABLISHED ICON: ELIZABETH MAGILL
For collectors seeking a blue-chip artist, Elizabeth Magill is one of Ireland’s most internationally acclaimed contemporary painters. Born in Canada and raised in Co.Antrim, her atmospheric landscapes rethink the traditional genre through screen-printing, stencilling, and layered oil. From 9 October – 14 November, Kerlin Gallery presents an exhibition of new work, accompanied by a landmark new publication, Northern Sky, with a text by Colm Tóibín. Her work is also included in Encounters: IMMA Collection at Dublin Castle (1–31 January 2027).
THE HISTORIC ANCHOR: NORAH MCGUINNESS
For those drawn to art history, early-to-mid 20th-century Irish Modernists offer a sense of heritage and enduring value. While major oil paintings by pioneers like Mainie Jellett, Evie Hone, or Mary Swanzy can fetch high prices, works on paper, gouaches, and preliminary sketches frequently surface at auction at accessible price points, providing the opportunity to own a tangible piece of Irish art history. The collector’s tip for this year is Norah McGuinness, whose influence is being celebrated with an exhibition at Highlanes Gallery (14 November 2026 – 20 February 2027).
WORDS BY ROSA ABBOTT
