Grand Ceremonial Bonfire?

Dear Artist, Recently, Herb Parsons of North Haven, Maine, USA wrote, “It has come to my attention that, at 75, I may not live forever. I recently sold my gallery/gift shop/studio of 28 years and, though my work has enjoyed a modestly steady market, I’m nonetheless faced with storing a lifetime of paintings, drawings and sculpture. How do artists deal with these unsold treasures? Must I face up to some sort of Grand Ceremonial Bonfire?” Thanks, Herb. From what I can see, most of your work is not for burning. Your plan should be to extend your work’s posthumous reach and value through an orderly and calculated distribution, both for the benefit of mankind and for your heirs. Here’s what you need to do: Take a hard look at your work and separate your substandard from your best. So they’re off the market forever, go ahead and have a private GCB for the baddies only. With a paragraph in your will, assign your painting estate to a key manager who is (ideally) a knowledgeable and trusted offspring or other caring family member — preferably of the next generation and not necessarily your executor. Also, request, with prior permission, the down-stream consultation (pricing, distribution, promotion) of two or three trustworthy art dealers or marketers who may be in a position to do something with your work. You may also suggest your key manager consult with others unknown to you. Your key manager, working with your executor, should have the power to release work in a timely manner — over a period of years, if necessary. Your elected dealers, to be effective, need to be given a certain amount of control, long-term security and monetary benefit. Appointing several dealers is preferable to just one. Your will should also stipulate that your key manager is also an heir and any distributions coming via him or her will be by a fore-ordained formula and for the benefit of all heirs. Many artists find this sort of planning difficult. Fact is, many artists leave an appalling mess — a disservice both to their art and their family. Herb — think about choosing a key manager, talk to potential dealers and see a lawyer to clarify your plan. In the meantime, store your art in a clean, dry place. Oh, and, by the way, get a larger space than you think you’ll need — over the next thirty years you may be adding even better work to your legacy. Best regards, Robert PS: “Age acquires no value save through thought and discipline.” (James Truslow Adams) Esoterica: You can gradually reduce your storage requirements by judiciously giving works to charities, fundraisers, friends and relatives. Don’t give anyone the idea you’re trying to get rid of things. Never, ever, in any circumstances have a clear-out, garage, or half-price sale. Your work has value and you need at all times to mete it out wisely and in a dignified manner.   Herb Parsons     No questions asked by Terry McIlrath, West Chester, PA, USA   After cleaning out years of junk from family homes I decided to preempt the problem in my life. There were no lawyers, no executors, just happy friends. I piled years of experimental paintings and drawings along with good paintings that just never sold into a studio and told my mailing list to take what they wanted and leave me any amount of cash or a check in an unmarked envelope. No questions asked. I figured the work was more valuable out in the world where people would enjoy it than packed away in my studio. I received about 25% of the retail, created room for more paintings and my friends were thrilled. Many walked out with paintings they could never “afford” — my “OBO” sale. There are 5 comments for No questions asked by Terry McIlrath   Heirs Choose by Judy Swanson, Old Lyme, CT, USA   At age 73, I also have been thinking about what to do with my growing stack of paintings. I do not want to burden my heirs with having to dispose of all my attempts at being a painter and realize there may be some that they will want to keep for themselves. I am by no means a professional artist but think that some of my art is pretty good and shouldn’t be put on the trash fire. I have been considering that I would have my heirs choose what art they would like to keep for themselves, then take what is left to my memorial service and allow my friends and relatives to choose a piece of art for themselves as a memento. That would make me happy, thinking that when they see that piece of art on their wall they would think of me. There is 1 comment for Heirs Choose by Judy Swanson   Colored stickers by Peter Pook, ON, Canada   I would encourage senior painters to consider the following process for distributing their paintings to those in the family who would love to have them. Buy a bunch of different coloured circular sticky back labels and give a colour to each member of the family you want to give your goods to. Ask them to put one of their dots on the back of paintings they like when they visit you. We did this process with my late mother-in-law’s household goods. After her death we all gathered at her home and divided the property with the dots as our guide. It was amazing how many items had only one dot on it. Where there were two similar colored dots on the back, those two relatives took turns selecting from that pile. Where 3 or more dots were on a piece we asked the individuals to describe why that piece was special to them. Usually there was a compelling story from one of the relatives that made the rest of us comfortable that the piece belonged with them. These short stories also turned out to be a wonderful way for the family to share memories. Obviously, we all know families where this process would be difficult if not impossible to do, but for many I believe this is an excellent way to have your art be in the best of all museums… the homes of your extended family. There is 1 comment for Colored stickers by Peter Pook   Two art collections by Brad Michael Moore, Perrin, TX, USA   This is always a favorite topic of mine – having images dating back to 1975. However, I have an additional issue to add to the top of Herb’s concern. Since 1970, I have slowly, consistently purchased, or bartered, for the art of others (Pen & Inks, Colored Pencil, photographs, oils & acrylic on canvas, and some 3-D pieces). So, I have two collections to deal with, both which may require different paths, unless I can use “My collection,” to sweeten a deal with a small museum to take my best works, and also get (presently a more valuable) International Collection of Artist’s works ranging from Abstract, to realism, from portrait to imaginary characters and worlds. I sold one of my earliest collected works when I broke my back in a cycling accident. I purchased it for $400.00 from the artist in 1984; last time I checked, several years ago, it was worth $40,000.00 at auction (artist & sitter, both passed away {[Trigger]}. That taught me, broke back or not, “Don’t sell art from your collection!!!” Also, it tells me I have an eye for art, and my collection (maybe 100 pieces presently) will certainly continue to become more and more valuable in my life and beyond. I guess I need to find the right kind of art lawyer who has vision beyond his or her craft to help me put something together. I hope to show my collection in the next couple years. Perhaps that will grow some interest. They are both art (mine and my acquired collection), but they are very different animals. I must give each of them direction during my life — perhaps create a “Living Will.”   Retrospective Exhibition/Auction by Anonymous   My plan: I have made a database of all my work, and have marked each piece as available or not. My will has a list of about 20 people to whom I give 1 piece of their choice from the available works on this list, along with the order in which they can choose. To save my executor (an old friend) the many possible hassles, I have given him the power to require that they (or their appointed agent) choose and pick up their piece in person within a certain time. Whatever work is not sold, I have asked that a retrospective exhibition and auction be held at the location of a well-known art auction house, and have included funds to cover the costs of the show, including preparation, repair, conservation, framing, and transportation of works, gallery rental, opening reception, publicity, etc. The entire proceeds of the auction will go to a non-profit art organization that I know and love. All unsold works are to be given to any charity or educational organization that can benefit from them, such as Good Will, Housing Works, schools, colleges, hospitals, etc.   Whittling down the numbers
by Louise Francke, NC, USA   The quandary we reach as we cross the 70-year threshold. If we had a full creative life doing what we enjoyed, we probably have a studio full of art works which didn’t move out or returned home from exhibits. We each come to our own way of whittling down the number. An invitation came to help a fundraising exhibit to benefit a local wildlife association. Since a significant portion of my life has been dedicated to the endangered, wild, and domesticated animals, I feel it behooves me to give many works for the exhibit sale. Percentages for the artist are set by the artist. To support the causes I have followed throughout my life warms my heart. Along with this endeavor I also plan to have a special day for friends to come and pick out a hand-pulled print. My small oil paintings of animals in art historical sets remain in my private chamber of curiosities. I trust that my artist son will figure out how to deal with these. I have left several suggestions.   Focus on Living by Peter Waters, Burlington, ON, Canada   As an old banker, I found the advice given to be wise. However, at the same time I found Herb’s capitulation disconcerting, for unlike him, at 77, I have been aware for some time that I may not live forever. In light of this possibility, I have chosen quite a different route, “Grand Ceremonial Bonfire” be damned. That is, at least until November when the infamous Guy Fawkes can take over, complete with fireworks. Meantime, I am of the opinion that it is better to have fun and live than focus on the process surrounding one’s death. So, having been approached numerous times over the past year or two to show my work, I finally acquiesced. Ego won out, and I am having my first public showing in the form of a One Man Exhibition from January 15th through 27th of March. Quite unexpectedly, sales results, to date, are gratifying, having exceeded expectations. If Grandma Moses can do it, I, too, can give it a shot. A life-long dream has been realized, so I am far from lighting the match at present — I am on cloud nine. Let the rationale thinking wait. I suppose I will face the dogs that nobody wanted in due course, but as I said earlier, throw in a few fireworks next November and celebrate Bonfire Night, British style, and perhaps no one will notice and I can sneak off quietly into the night, having finally taken care of business. There are 3 comments for Focus on Living by Peter Waters   Try Local Galleries? by Christa Rossner, Vancouver Island, BC, Canada   In addition to Robert’s thoughts there are some other options. Do you have a local, provincial or state art gallery who would like some of your pieces for their permanent assets and exhibits? Donating some pieces to them, you’d know they would be properly cared for and could be shared with the public who might recognize your painting sites or wish they had been there. Perhaps allowing your most admiring family members or dear friends choose what moves them at one-on-one tea or coffee dates would be a good way to know some of your work would be in appreciative hands/homes. Giving them some information on how to frame/store/protect the paintings might be a good idea. With the balance of your good, medium and less than stellar work, you could have an exhibit and sale (not as Robert says, at fire-sale prices, but at prices that appreciative non-collectors could manage to pay). I will never forget when Myfanwy Pavelic, one of our local but internationally known artists, was quite incapacitated by arthritis and ill, decided to open her studio to sell what was left of her works after dispensing many. She made it a stipulation that any collectors or gallery owners would be turned away. She said she “wanted to make her work available to the public who had supported and encouraged her over the years but who couldn’t afford to own a piece of her work at gallery prices.” As you can imagine it created quite a stir. Collectors were indignant and were seen (sunglasses and hats) in the crowd. Myfanwy sat regally on a stool and other places in her studio smiling and kindly, quietly answering people’s questions as a line of awe-struck, admiring people filed through and out the other side. Her niece and other friends took payment and people left with pencil sketches, fully fleshed out drawings, rough paintings and completed ones — some framed, some not; everyone feeling very privileged to have met her and feeling they’d had a glimpse of this beautiful artist’s creative world. More importantly they had paid for and could hang on their walls the work of a master — even if some of it wasn’t perfect.   Legacy of Artwork by Alex Nodopaka, Lake Forest, CA, USA   Definitely a worthy and lofty intent about the redistribution of one’s priceless artistic achievements. Unfortunately the likelihood is that the one passing away may be the only artist in the family and his leftovers will remain a burden unless there’s an already established value through auctions and recorded past sales. I furnish but 3 examples of how to handle such cases. My dear friend’s wife passed away leaving a legacy of artwork piled high. Her husband, also an artist in his own right, was overwhelmed by the legacy but for a year, on and off, he buckled down at the expense of his own artwork and collected all the loose sheets and drawn envelopes and canvases and sculptures and put them all together in several books that he gave away to his and her relatives and close friends. Some years later he himself passed away and his son contacted me for help. My advice to him was and still is to choose his own path of either servicing his father’s legacy for a while but not at the expense of his own and for his father’s to be only a past-time hobby when he, the son, had time on his hands.    

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