Blending expertise and passion at Great American Insurance Group.

Rebecca Al Lahiq’s path into fine art insurance wasn’t linear, but it was deeply personal and undeniably driven by passion. With a career that began in high-net-worth insurance in Vancouver, a life- altering cancer diagnosis led her back to her native London, where a chance interview launched her into the world of fine art underwriting. From managing collections aboard yachts to insuring treasures for institutions like the Louvre, Al Lahiq quickly found her calling in the intricate intersection of art and risk.

Now based in Toronto, she leads the fine art practice at Great American Insurance Group in Canada, blending expertise with a genuine love for the art world. Her role allows her to work closely with collectors, museums and galleries, offering tailored coverage solutions while staying immersed in a creative field she finds endlessly inspiring. For Rebecca, insurance isn’t just a job — it’s a meaningful way to protect cultural value and legacy.

Q: With the art world constantly evolving — digitally, legally and culturally — how has Great American Insurance Group adapted to protecting these new forms of art and ownership?
A: Fundamentally, it comes down to sound underwriting. Whether I’m insuring a museum or a private collection, the things I look for are fundamentally the same. How is the collection being cared for? Is there inventory? How are the values managed? These are indicators of whether the client truly values their collection long-term. It’s true that the Canadian art market is smaller than mega-centers like New York or London. The community here is tight-knit. At Great American Insurance in Canada, we tailor our services specifically to the Canadian market.
We adapt by being flexible with location- specific needs — whether it’s windstorm exposure in Florida or logistics in rural Ontario. The goal is always to provide coverage that matches the clients’ actual, lived experience as collectors.

Q: Your firm distinguishes itself through boutique service and deep appreciation for the art world. Would you say that’s the defining feature of your work at Great American?
A: Absolutely. You said it very well. It’s one thing to have a financially stable and reputable insurer, but in the art world — especially in Canada — relationships matter. I know many collectors, dealers and galleries. So, when a broker comes to me with a request, chances are I’ve been to that gallery or know how that organization operates.
This makes everything more seamless. I don’t want clients to have to call us every time they need extra coverage for a shipment or a temporary exhibition. If they do, we haven’t structured the policy properly. It should be comprehensive and low-touch, so they can go about their business confidently. That peace of mind comes from the expertise and relationships we bring, not just underwriting knowledge. Specialization is a core value of Great American’s business.

Q: For someone outside the art world, what’s the most common misconception about art insurance?
A: That it’s expensive, and that you need to have millions of dollars in art to justify insuring it. Art insurance is often more affordable than homeowner’s insurance and gives you more specific protection. Individuals with modest collections — say $50,000 worth — assume they can’t afford insurance or don’t need it. But $50,000 is a significant investment for most people. You don’t have to be a high net worth individual to care deeply about what you collect.

Q: What continues to inspire you about your work in this field?
A: You never know what you’re going to see or experience next. Whether it’s an exhibition or a creative initiative in the community, art constantly evolves. It’s inspiring because it brings new ideas and conversations into our daily lives. It challenges norms and offers perspectives we may not have otherwise encountered. That keeps the work meaningful and exciting. It lifts you out of the everyday routine.

INTERVIEW BY MARC CASTALDO

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