Investment in artworks and collectibles, fakes are always the biggest problem. Moreover, with the development of modern equipment and technology, counterfeiting technology is changing with each passing day, and it is very common to confuse the real with the fake.

If investors buy fakes, it may not be a loss of 20-30%, but will cause all losses, which is incomparable to high-risk financial investments such as securities and futures.

2. It is difficult to measure the valuation of artworks.

Art is an aesthetic thing, and it is calligraphy and painting. Some people like it, others think it's ordinary.

Of course, for some coins, there are some market conditions and prices, but these are also greatly influenced by subjective factors. There is a big difference between the value when investing and the value when preparing to sell. Due to the change of preference or heat, the price difference before and after may be several times or even more, which are all investment risks.

3. Physical risks in the process of holding artworks.

The preservation of works of art and collectibles needs to meet certain conditions, such as not being damp and moldy, some not being exposed to the air, avoiding oxidation, and at the same time preventing damage and theft.

4. The professional requirements for investment are too high.

The investment professionalism of artworks is extremely demanding. Jiafeng Reid financial planner said that a collection, good or not, needs professional judgment, and professional judgment is not necessarily right.

Therefore, it has a great impact on the valuation of the collection, and these are great risks.

5. Liquidation difficulties

Another problem with art investment is that it is difficult to realize it.

Many collectibles often have a price but no market, and there is no buyer willing to make a deal. So you invest a lot of money in art. If you encounter money, it may be difficult to realize it, or it may be realized, but the price may be greatly discounted.

6. Not necessarily a good investment.

Usually works of art can appreciate by dozens of times, but many people forget that there is a time factor. Even if you don't invest in art, you can usually configure a product with fixed income, such as a stable portfolio investment plan. The expected annual income is about 10%. If you invest with compound interest, the investment will be 6.73 times after 20 years and 1 17 times after 50 years. However, after many years, the investment in art still can't reach the "performance" level of this kind of investment.

It seems easy to make money by investing in artworks, but in fact, you also need to consider the cost of investment. In this regard, it is not surprising that investment in art and collectibles lags behind financial investment or bank savings.

What is the reason why it is difficult to realize the antique collection?

Since the 1990s, a large number of collectors have joined the ranks in terms of the activity of the art collection market at home and abroad. No matter the rich or those with small savings, they all run in the north and south of the Yangtze River. As long as you hear what's good there, you flock there to Taobao. Who dares to say that he has no mind to find out? With the news that all works of art are good, everyone thinks it's time to go out and do something. The baby won't give up any more. Today, money is still real. Some people sell things everywhere like headless flies, but they find it not so easy to sell things. So, what is the reason why it is difficult to realize the antique collection?

1. Collection source, no matter whether the channel is legal or not, there is a saying in China that a great teacher makes a great apprentice. For example, many of the calligraphy and paintings collected by Emperor Qianlong mentioned earlier have a family seal, just like some ancient paintings collected by the Qing Dynasty now have an appreciation seal of Emperor Qianlong, which is a problem in stamping the appreciation seal. Many precious collections are inherited in an orderly way. Collections with higher transaction prices in the auction market usually have sources and are clearly written, which makes buyers feel more at ease when trading. When folk collectors collect things, they always say where they come from. The question is, how many people will believe you when you tell the buyer this? No matter whether it is true or not, the source is very clear, and everyone can buy it with confidence. Everyone doesn't want to buy anything, which also violates the legal issue.

2. The variety of collections is too miscellaneous, and the circle of collections negotiated is too narrow. These are actually two questions. Many professional collectors usually do deep homework on their collections, and often only collect one kind of collections, which is a good habit and common sense. If you ask him to talk about the source and background of each collection, he can tell it clearly and professionally because he is careful enough. Ordinary collectors buy everything when they think it's a good thing, and they don't have the professional knowledge of the collection itself. When they want to sell it, they can't tell why, so it's no wonder that others don't believe it. Many collectors usually have their own collection circles for everyone to appreciate, discuss or communicate with each other. There are teachers and students, but they are usually regional and closed, and there are few objective comparisons with the outside world. The road is getting narrower and narrower behind closed doors. If people don't treat each other sincerely, that's true despair. It is a good thing to communicate with professionals, learn more about the outside market and collect information to enrich your experience.

3. True and false mixed, uneven age. Some collectors have a large collection of things, and their economic conditions are good, so they set up a big place for their own exhibition hall. After they go in, they can proudly point out to you his various collections from ancient times to the present, and some of them have even been used by a famous person in history. Unfortunately, there are really few, because there is not enough professional knowledge, and some of them are ridiculous.

Some professional collectors have been systematically formulating the collection direction according to the age. Collections in the same era are usually in a historical environment, and the production process and aesthetics are consistent, which makes it easier to distinguish between true and false. This is the correct collection habit.

4. The personal expectation is too different from the actual situation of the collection, and the price is not based on the market economy or the actual value of the collection. Some collectors, when selling their collections, don't do value evaluation according to the normal market conditions at all, and often open their mouths for hundreds of millions. Buyers are naturally discouraged, and it must be money. Nobody wants to be a big head. Real collection, good attitude and correct market positioning are indispensable.

5. Listening to other people's stories, telling stories to others, and dishonest business contacts. Some collectors, when collecting some collections, may listen to the information given by some "good friends" or introduced by some acquaintances, and even go to the so-called scene, and then listen to a bunch of mysterious stories told by the other party, and immediately feel that this is a good treasure and will not hesitate to accept it. Some collectors went to the countryside with great interest. An old man showed him an object and told him that it was handed down by his ancestors, and he also accepted it. When the time came, they began to tell stories to the buyers, some of which were embellished, but the buyers were not fools. How can dishonest communication succeed? The result will be bleak.