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Enjoy the past comments below for When to let them fly away…
Unless there are special circumstances… You should wait till show is over so everyone can see your work… Unfair to not let those fans see all your works!
I’m both an artist and an exhibit installer. Normaly- if I install a gallery space I’d expect the work to hang till the show is over. But there’s a gray area here… This is a 3-person but only a 2-day weekend event. If all 3 artists have replacement work- or just more work than needed to fill the space- and someone doesn’t want to come back the next day- then there may be people who may see someone carrying something out that they in fact wanted… And letting it walk out the door may work to everyone’s benefit.
Seems pretty simple to me. Just indicate that all work is expected to hang till the whole show comes down. Most will understand but if the buyer has an urgent need to take it now they will so indicate. If you can afford to lose a sale or you hate the buyer then refuse to let it go now, if you can’t afford to lose a sale make the show one work smaller take the money and smile. Remember the k.i.s.s. principle and keep it simple, seller.
Dear Robert, When an artist or artists, show a collection, they need to show a cohesive show where everything flows. There is nothing worse than taking time out of your day to go see a show only to discover that this piece has not only sold, it is GONE! Like reading a book or seeing a play where crucial pieces are missing, it just doesn’t make any sense. The artist is also missing out on their chance to shine, with RED DOTS! This shows the collection is selling and this will motivate others to buy, either their favourite piece, or the next best thing. There is also something wonderful that an artist can do and that is what I call “the last 10%”. This is where an artist can have the piece ready for pick up, wrapped and ready to hang. Artists can even take the piece over to a client and help them hang it. God is in the details. When a client is buying directly from an artist, as opposed to a gallery, they want to be as professional as they possibly can. This give them the chance to shine. But, if it’s a deal breaker and the client is leaving forever to some far off forgein land or space station, that is courierless and mail free, by all means, take the dough and let them have their piece. Just quickly adjust the pieces so nobody will know. John Ferrie
That sounds like good sense, John. This has little to do with the topic, but it reminds me of an exhibition of Miro work I visited a few years ago. There was was quite a nice selection of works there, but there were also huge gaps, filled with photographs of the works the museum presumably hadn’t been able to borrow. I found that really annoying. So in a nutshell it’s probably good to have NO GAPS, and expedient to have a few works in reserve to hang in an emergency. If the artist works on commission, there would also be the choice of offering to repeat whatever has been sold. At least it would be an original painting rather than a giclée or a poster!
At shows of my husband Gale Bennett’s (d. 2004) paintings at the Musee Baudy in Giverny, France, I experienced over and over the frustration of would-be buyers saying, “I’d have bought that one if it hadn’t already been sold.” We chose a third path: with the exception of a few very large paintings or a painting which had appeared on that year’s exhibition poster, we let the new owner take the work and replaced it with another one. This involved a bit of extra effort in editing and re-printing the exhibition list. All paintings which had been sold were mentioned at the bottom of the list and marked with tiny red dots. Using this method we increased exhibition sales by 10-15%.
Simple. Put a sold sign on the work and leave the painting up for the duration of the show or exhibition.
As a dealer I am very discriminating in what I take down and let go from the gallery before the show is over. I try not to let the best work go, but some others. When a work goes we can generally replace it with something from the back room that has the effect of refreshing the show and creating more interest. Patrons who return always appreciate surprises.
We have opted to maintain the integrity of all shows and not let anything go out prematurely. Patrons become a better class when you do this and they appreciate that art shows are a serious thing and more than just a commercial event.
The “leave it up” crowd may be talking about a formal gallery exhibit. However, at an outdoor festival and other less formal settings I go with the “let it go” crowd. I agree with those who have seen the public want the one already sold if it’s still hanging in view. J. Ferry talks about a series and keeping it together. Not all of us do things in any type of series and replacement work can be just as good as the one sold. Life is on the edge enough in the art business. My motto might be “never turn down money” take it while the sale is hot and move on.
My preference is to mark SOLD boldly on the display i.d. and keep it in place for the duration of the exhibit. Patrons see that work is selling and artists can take pride in that their work has sold. For gallery purposes, an exhibit should stay intact until the show is finished.
I had an opening in 2010 where most of the stuff was packed up and gone by mid-day. We scrambled into the vault and dug out the patiently awaiting older works. They all went like hotcakes. So I vote for let go and have backups to hang. I wish all the openings were like that. Perhaps in Samoa.
Unless there is special circumstances… You should wait till show is over so everyone can see your work… Unfair to not let those fans see all your works!
Unless you have some pieces in reserve, one of which could take the place of the one that sold, then people could see another painting that was still for sale.
Some have commented on the frustration of hearing “I’d have bought that if it hadn’t already been sold”. So what? Just try to determine what is so good about that particular one and try to repeat that another time – though I’m not saying paint a copy! I strongly believe in leaving sold artworks on view till the end of the show – it’s simple sales psychology; the more red dots there are, the more buyers will think they’re onto a good thing: “this artist must be highly thought of”, so the more likely they are to join the discerning.
Just thought of something else: if someone says they’d have bought that sold painting, have the reserves handy, and offer to show them something similar.
I have had a gallery for decades and so here is my analysis of whether or not to keep sold pieces on the wall: NOT. All the works are on line and so I am more than happy to show someone the works that have sold if they want to see the full range. I have found, over and over, that the ones that sell first are usually the best of the the show and, even if they aren’t, so many new collectors are afraid they must have missed the best ones. I leave all pieces on the wall until after the opening reception. Then, they are dispersed. If I had a museum, I understand completely as I could charge admission. What would be the point of a closing reception? What would be the incentive for collectors to come to it? A mystery idea to me. Thanks for all the knowledge you give to all of us. Even when I don’t agree, I appreciate the questions.
I was recently in a group show at a church. Over eighty artists participated with a Gala “first look” and the the “Artist’s Opening.” I had six new paintings in the show and invited friends, family and patrons to the Artist’s Opening. It was so disappointing to find that four of my six pieces were gone on the night of the opening. I’m not complaining that they sold – only that it seems unfair to both artist, invited guests and the public at large to not be able to see all the artwork – at least on opening night!
my question would be…are you in the exhibition to just show how beautiful your work is…or are you in the exhibition to sell your work? If client wants it now….then let him take it. I like the idea of replacing work to sell more work. I don’t have any room left to “store” paintings that should have been sold.
Many years ago, while living in England, my husband and I were holidaying in my home town on Vancouver Island. We chanced upon a delightful art gallery in nearby Chemainus. It was my birthday, a fact forgotten by my husband. A good thing as it turned out! A small measure of guilt and the excitement of visiting a gallery with a new show about to open left me the proud owner of a red-stickered painting. It hasn’t been mentioned thus far, but from the buyer’s perspective, and perhaps because we were young and unused to buying what we considered significant art, that red sticker on ‘my’ painting was something I have never forgotten. I was so proud to collect the piece at the end of the show, knowing how much it had been enjoyed by others and perhaps a little envied! I returned years later to find the gallery gone. So sad. The nicest proprietor one could imagine. I hope he has moved on and prospered. He certainly deserved to do so. It was a wonderful show. The artist? None other than Robert Genn. The picture? It has graced walls in England and is now back in Canada. Thank you Mr. Genn!
I too would turn down this commission. It blurs the lines of originality and it buys into what some art pirates are doing. I have actually been solicited by some Chinese entrepreneurs to copy 100 copies of my paintings for a price! We artists need to hold onto our integrity.
Re: Commission for copying a painting. It is against the copyright laws. There may be a way around it if the painting is identified as a copy and the artists signs his name and adds “homage to (the original painter)” but I agree with the comment “What’s the point?”
Whether to remove paintings before the end of a show would depend on whether it is more of a ‘show’ than a ‘sale’, or vice versa. If the emphasis is more on the show part, then by all means, keep the show intact until the end, however it it’s a 2-day sale, with more emphasis on sale than show, then let them go and make the most of your 2 days.
When people say, “I would have bought that if it wasn’t already sold,” they’re often just meaning that they really like it– not that they would literally buy it, necessarily.
This is so valuable to me. Thank you everybody.
Spring in Arizona acrylic painting, 8 x 10 inches by Gloria Ainsworth Mout, White Rock, BC, Canada |
I did this to great effect during a 3-day Art Expo in Melbourne a few years ago. New paintings replaced the sold ones and a red sticker went on the pictorial list of sold paintings. The red dots in a group looked impressive.