Buying Fine Art

To the uninitiated the prospect of buying fine art for investment can be as daunting as being asked to paint the Sistine Chapel or construct St Paul’s Cathedral out of match sticks. A glimpse of the plush interiors of the major auction houses or trip to one of central London's sometimes intimidating galleries can give the casual visitor second thoughts about purchasing a piece of art. Alternatively the individual might be unsure about the value or authenticity of the painting or drawing they are proposing to buy, but press ahead with the transaction anyway on the principle that they may not know much about art, but they know what they like. And the gallery assistant has gone to all this trouble and seems to know what they’re talking about, so it would be churlish to pull out now.

The best way to make the subjective practice of buying a piece of fine art is to be as objective as possible. In other words, to ensure that you get what you pay for, it is worthwhile learning a bit more about how the art market works and gathering as much information about the particular artist or style or period that you are interested in as you can. There are two principle ways of doing this. You can research the artist’s output and historical significance in art books and exhibition catalogues or read reviews by local and national art critics, and you can look through the sales records available in most major public libraries and art galleries to determine how much their work goes for.

A natural place to start researching price would be with the seller of the piece you are interested in. Judge whether the artist has a track record of selling works of art similar to the piece you like for amounts comparable to what you’re being asked to pay. A reputable dealer should have this information on file and be willing to discuss it with you; any reluctance to do so suggests that they have something to hide either about the piece or the amount they are asking for it. As an additional measure, it is worth reviewing the artist’s general sales history over the past five years to determine that their price has remained consistent, paying particular attention to the average price fetched.

Once you have established the price that the artist sells for, the research you have done about their life and output should give you an indication of the significance, and relative value, of the piece you are interested in. Is the piece a typical or atypical example of the artist’s output? Is it from the artist’s mature period or an early work which indicates how the artist’s mature style evolved (bear in mind that the majority of an artist’s earliest pieces are usually in museums or private hands, so invariably sell for a higher than usual price when they come onto the market)? Does it have any special significance in the artist’s life or interesting stories associated with it? Has it ever been discussed in print by experts or the artist themselves?

This investigation should also include uncovering its provenance, exhibition history and ownership history. As human beings require a passport to move from country to country, so do works of art, and the gallery should be able to provide you with the necessary certificates of authenticity. There are a number of areas to be mindful of, though, including the extent to which the individuals who authenticate or attribute the art to a particular artist are qualified to do so. Unless their authority is backed by some professional association with the artist, such as publishing papers in respected journals, curating museum or major gallery shows or having an extensive experience of trading in them, then their opinion is not worth a great deal. Alternatively they could be relatives, employees or descendants of the artist or have some form of legal or estate-granted entitlement to pass judgment on the work of art. And if the artist is alive, don’t hesitate to ask the gallery to get in touch with them in person to confirm that the art is authentic.

A further issue to consider is whether the art is original or reproduced by mechanical means, because one of the principle ways art dealers make money is by trading in limited edition prints, where the artists only input in the creative process has been signing a digital or photographic copy of the original. A thorough investigation of the piece, combined with asking questions about it, should uncover this, with the added benefit of revealing how much the seller knows about what they are selling. When you are happy with the asking price and ready to buy, ensure you get a detailed receipt describing the art and its condition and including a money back guarantee to protect you if, at any point in the future, you find out that the art was not properly represented. This receipt should be in addition to the other documentation that the seller provides relating to the art's history, provenance and authenticity.

But before getting to this point, there’s the issue of which places you should look to source the art. The first piece of advice here is to have a clear idea of the type of art work you want and set a fixed price above which you will not go. Having done that, it makes sense to throw your net as wide as possible and explore all avenues, with particular focus on the following three options:

• Auction Houses. This can include anything from the local auction house in your area to the big auction houses in London. Naturally, the more prestigious the auctioneer is, the greater confidence you can have in the authenticity of the piece of art, and the higher the price can go. Bear in mind also that auction houses use presale estimates, reserves, and opening bid amounts which should give you a rough idea of the amount the piece might go for, though when it comes to auction time, pretty much anything goes, so you should have your wits about you as you bid against experts in the field.

• Art Galleries. As has been previously mentioned, walking into an art gallery can be a daunting experience. But just remember one thing: all the gallery’s show of respectability and wealth, from the good address to the soft furnishings and discreet light fittings, has been built from selling fine art to its customers. In other words, when you buy a painting from a gallery, you’re paying not only for the painting but the well appointed environment which gave you the confidence to buy it in the first place. Also, as much as a good gallery may have the necessary expertise to tell you all about the painting you are proposing to buy, they also know how to spot an amateur collector and persuade them to buy a piece they are not a hundred percent sure about.

• Internet. While sites like eBay carry obvious risks about the provenance and condition of the piece of fine art you are thinking of buying, established, authenticated sellers have several obvious advantages to more conventional ways of buying art. Above all, of course, because there is no actual gallery space, you are not subsidising their rent when you buy from them. And once you have found a piece of art that catches your eye you can do all the necessary research about it in your own time without anybody standing over you attempting to influence your decision, in addition to getting a second opinion about it from anyone with access to a computer and the internet.

Of these options, buying art online is becoming the most popular due to the advantages outlined above. But which site to visit first to look into the kind of art that is available? Well, you could do a lot worse than to have a look through Artbank.com, the UK’s premier fine art trading website, which has a tremendous variety of pieces on sale at all prices. These can be reviewed in the comfort of your own home to scale against a virtual wall and with reference to a colour chart to determine how they might look against various backgrounds. And if you particularly like the piece, you can also check out the other pieces the seller has for sale, all without the pressure of having anyone look over your shoulder. Paintings, prints, photographs, sculptures and ceramics are all categorised into styles and national schools for easy searching, or you can simply key in your favourite painter to see if any of their work is up for sale on the site. But don’t despair if they’re not, because Artbank will send you an email to notify you whenever a piece by them comes up.
The beauty of Artbank is that if there is a particular piece you like, you will be able to contact the seller directly to negotiate the price and arrange shipping and handling, because Artbank only charges a fee for using the site. There is no middle man like there is with auction houses and no part of the sale price is being used to pay the rent. In other words, Artbank is the best of both worlds, whilst also offering you the kind of choice and variety that no bricks and mortar gallery can compete with.

Whatever way you choose to buy fine art, though, always ensure that the art has the necessary documentation to authenticate it and is being sold in line with the current market value. Who knows, maybe you have the makings of being the next Peggy Guggenheim, but whatever your aspirations, have fun and the best of luck in getting the piece of art you really love!

Artbank is an online fine art gallery and trading website where quality art is sold by art galleries, art dealers and private/corporate individuals and collectors. Artbank provides a platform where artists can display, promote and sell their art.

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How to Select Art for Your Home

Selecting art for your home can be an exciting adventure and a source of enjoyment for years to come. Keys to success are figuring out what kind of art you like, how it will fit in with the rest of your interior design plans, and how to exhibit the art to the best effect in your home.

What kind of art do you like?

There are many opportunities to browse art within your community at local exhibitions, art fairs and galleries. Even small towns usually have a not-for-profit gallery space, or cafés and restaurant that exhibit local artists. In larger cities, galleries often get together for monthly or periodic “gallery nights” where all the galleries hold open house receptions on the same evening. It’s a great way to see a lot of art in a short time.

Today the internet provides the largest variety and depth of fine art available worldwide. You can visit museum websites and see master works from ages past, check out online galleries for group shows, and visit hundreds of individual artists’ websites. One advantage of using the internet is that you can search for the specific kind of art you are interested in, whether it’s photography, impressionism, bronze sculpture, or abstract painting. And when you find one art site, you’ll usually find links to many, many more.

Should the art fit the room or the room fit the art?

If you feel strongly about a particular work of art, you should buy the art you love and then find a place to put it. But you may find that when you get the art home and place it on a wall or pedestal, it doesn’t work with its surroundings. By not “working,” I mean the art looks out of place in the room. Placing art in the wrong surroundings takes away from its beauty and impact.

What should you do if you bring a painting home and it clashes with its environment? First, hang the painting in various places in your home, trying it out on different walls. It may look great in a place you hadn’t planned on hanging it. If you can’t find a place where the art looks its best, you may need to make some changes in the room, such as moving furniture or taking down patterned wallpaper and repainting in a neutral color. The changes will be worth making in order to enjoy the art you love.

Sometimes the right lighting is the key to showing art at its best. You may find that placing a picture light above a painting or directing track lighting on it is all the art needs to exhibit its brilliance. If you place a work of art in direct sunlight, however, be sure it won’t be affected by the ultraviolet light. Pigments such as watercolor, pencil and pastel are especially prone to fading. Be sure to frame delicate art under UV protected glass or acrylic.

How to pick art to fit the room.

Size and color are the two major criteria for selecting art to fit its surroundings. For any particular space, art that is too large will overwhelm, and art that is too small will be lost and look out of proportion. The bolder the art, the more room it needs to breathe.

As a rule, paintings should be hung so that the center of the painting is at eye level. Sculpture may sit on the floor, a table, or pedestal, depending on the design. Rules should be considered guidelines only, however, so feel free to experiment.

When selecting a painting to match color, select one or two of the boldest colors in your room and look for art that has those colors in it. You’re not looking for an exact match here. Picking up one or two of the same colors will send a message that the painting belongs in this environment.

Another possibility for dealing with color is to choose art with muted colors, black-and-white art, or art that is framed in a way that mutes its color impact in the room. A wide light-colored mat and neutral frame create a protected environment for the art within.

Style is another consideration when selecting art to fit a room. If your house is filled with antiques, for example, you’ll want to use antique-style frames on the paintings you hang there. If you have contemporary furniture in large rooms with high ceilings, you’ll want to hang large contemporary paintings.

How to create an art-friendly room.

Think about it. When you walk into a gallery or museum, what do they all have in common? White walls and lots of light. If a wall is wall-papered or painted a color other than white, it limits the choices for hanging art that will look good on it. If a room is dark, the art will not show to its best advantage.

If you want to make art the center of attraction, play down the other elements of the room like window coverings, carpeting, wall coverings, and even furniture. A room crowded with other colors, textures and objects will take the spotlight away from the art. Follow the principle that less is more. Keep it spare and let the art star. Then relax and enjoy it.

Selecting and displaying art is an art in itself. Experiment to learn what pleases you and what doesn’t. You’ll be well-rewarded for the time you invest by finding more satisfaction both in the art and in your home.

Copyright 2006 Lynne Taetzsch

Lynne Taetzsch is an artist and writer who has published books with Van Nostrand Reinhold, Regnery & Co., Watson-Guptill, and Faber & Faber publishers. Her contemporary abstract paintings have been shown in solo and group exhibitions throughout the world, and she currently has a studio in Ithaca, New York. Visit her online art gallery at http://www.artbylt.com.

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Art Paintings From Your Photo

Contrary to popular belief Pop Art actually started in the UK in the 1950’s and not in the USA in the 1960’s as most people assume. One phrase espoused by art historians which fairly describes the origins of modern pop art is that pop art was born in England and grew up in America . Now aged well over 50, the good news is that Pop Art is very much alive and kicking and looking very sprightly for its age. In fact, in more recent times there appears to have been something of a renaissance of young pop artists around the globe – again finding its origins in the United Kingdom and, once again, moving west to the USA .

Many small galleries, websites, eBay and even more traditional décor retailers are now featuring a range of affordable pop art paintings. So what’s so new about this? Pop Art’s been around for a long time hasn’t it? Isn’t it old school?

Some would argue that the recent and re-explosion of the retail trade in the sale of original Pop Art paintings is the post-modern realisation of Warhol's vision of the role of art within modern society. Warhol's work in democratising art production and ownership were naturally hindered by the physical limitations of the amount of art he could personally produce. This inspired Warhol to set up his Art Factory (a studio production team mainly producing screen prints of Andy's original designs in the earlier years and a fully autonomous art machine in later years).

However, one might argue that Andy Warhol's achievements in canonising pop art, whilst of course outstanding for the work of just one man, didn't fully realise the mandate of a pop/popular post-modern art form in that they were inextricably enmeshed with his personality and artist-as-celebrity status. Industrialist art emancipates art from the modernist notion of the struggling artist working magic in his lonely garret and returns instead to an earlier model of the art studio collective producing art to order.

One might therefore adopt the belief that this earlier pre-renaissance model of art production, rather than being outmoded, tallies more with a post-modern realisation of the role art occupies in society and defies the now archaic modernist notion of the artist as inspired genius. That's why this author contends that we young new breed of Pop Artists have truly democratised art production and ownership - claiming it back from the aficionados and beard-stroking critics who stole art from the people from whom it finds its genesis.

Once was the time that every abode was adorned with original art from the first daubs on cave walls to the highly decorated homes of the Egyptians through to the intensely decorated artefacts of the Celts. Pop art in one sense has reduced art to the mundane (Warhol's Campbell Soup can being an obvious example) and yet, simultaneously, elevated popular culture, media and celebrity itself to the lofty heights of art.

The most encouraging thing about this new-breed of pop artists is the way it offers, at last, real art back to the people at a price every working man or woman can afford - a price dictated by the labour involved in its production only and free from the price hikes that galleries would make in order to preserve it for the very elite.

This is the reason why this author strongly believes that Pop Art, rather than being an historical art movement, is in fact the true future of art - its art for the people, by the people. In fact with the ever consistent growth of the importance of celebrity and popular culture you can certainly expect to see pop art around for a long time yet.

J Winter, Art Director of Urban Fine Arts Buy Pop Art | Urban Fine Arts Article Source: http://EzineArticles.com/?expert=John_Winter

Selling Art - Believe in Your Endeavour

Being totally original is not really important in the beginning of your endeavour to be a good artist.

However...believing in yourself is.

There are so many artists out there who feel they haven't passed the audition, because they have not yet discovered their true voice or originality.

Therefore, they tend to keep their art out of sight or closely guarded (some never even get started).

The desire for believing in yourself has to be stronger than the desire to be original in order to get your work in the public eye.

Don't wait to be original... originality can wait.

Why do I favour this theory?

Well... because I was one of those artists who boarded up the walls and doors, and worked in search of perfection, a voice and originality... only to discover that it was simply a lack of belief in my ability as an artist that was really holding me back.

I then glued myself to the belief; that despite my progress (or lack of) at that time, Nobody can do what I do the way I do it.

Well, perhaps they could...in terms of practicality.

But the true principal was that nobody could do it with such passion, vigor or with a deeper explanation than me... therefore it was my own... it was original because I believed in it now.

In addition to that, I found a voice that was kind of like... barking over my shoulder...

"Don't wait for validation or approval. You don't need permission - give yourself permission"

Secondly...

I receive emails from artists all around the world who tell me that I have inspired them to come out of the dark and start showcasing their art. I don't mention this to boast because that is not my intention at all.

I only mention it to reinforce the point that there are many artists waiting for permission, so to speak.

The thing is... it really isn't a strange concept or hard to imagine that there are artists like that out there.

Especially when you consider that there are many people working a job that makes them completely unhappy, not realising that they are more than likely waiting for permission (from who?) to pursue a new career in order to get on with living a life of self-expression instead of drudgery.

It's this knowing I have in regards to many artists stuck at the starting gate that lent me to the idea of promoting, "Don't wait for "that" day"

Tell the ego to "hush it" for a while and practice the art of believing in yourself, because you know you want to, you are allowed to and you must do in order to completely live a life of self expression.

Power to you and your art!

Get the "Hot" Tips To Develop Your Focus and Create a Marketing Road Map For Your Artistic Journey... http://www.CAKU-art.com/artist.html

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Art Career Success with Local Businesses

Local businesses are often the best places to sell your original arts and crafts. If your goal is gallery representation, local sales can build your reputation, and fill in your resume. In addition, income from local sales can exceed what you earn with some galleries.

JOIN REGIONAL ART ASSOCIATIONS

Most communities have an art association of some kind. You'll find them listed in the yellow pages of your local phone book, and sometimes online. Look in categories such as "Clubs", "Associations", and so on.

These groups are usually a mix of professionals and eager amateurs. At their meetings, I've seen everything from gorgeous, $10K watercolors to crocheted dolls in unnatural colors & fibers. No two groups are the same. Visit as a guest before joining, and see if the association or club is right for you.

Most art associations sponsor regular gallery shows in their own meeting place or in a town hall or library meeting room. They often have at least one outdoor art show, at which you can display your art and perhaps demonstrate your techniques.

Art association meetings include regular demonstrations (of art technique) by artists who will usually sell some art to the members, too. This can be a good outlet if you want to do demos.

Start by creating a form letter that you'll send to every art association in the phone book. When the demo is announced, make sure that the publicity mentions that you'll have art for sale, too. The art association takes a commission based on how much you sell, and everyone goes home happy.

USE THE ART ASSOCIATION'S CONTACTS FOR LOCAL SALES

Many art associations have working relationships with local businesses, especially restaurants, bookstores, beauty salons, and banks... anyone with blank wall space that wants an "art show" to generate interest. (They use this to attract visitors and for press releases, publicity, etc.) Libraries are less likely to be able to offer work for sale, but it depends upon the local laws.

This works best if the sales go through the art association. Next to each piece of art, place the art association's business card. On it, write the title of the art, the artist, the price, and how to contact the art association for more information.

Of course, this should be something better than voicemail; someone needs to be on hand to answer the phone. A member who works at home is good for this job.

If your local art club hasn't done this before, help them to set it up. The art association can have a single phone number, and use Call Forwarding to whomever is manning the phones that day.

HELP YOUR ART CLUB TURN PROFESSIONAL

If you are in an art association that doesn't have a working relationship with local businesses, bring it up at the next business meeting. Some members may already work at offices or shops that would cheerfully display your art.

There are issues to sort out, including how the art is insured, if it's protected from damage, and so on. You can check with other art associations and see how they handle it.

Once you start contacting businesses about displaying local art, you may be surprised at how easy this is.

ART ASSOCIATIONS AND CREDIT CARD PURCHASES

In most cases, the art association makes the sale, and has a merchant account that accepts checks and credit cards. The art association takes a percentage of the sales, usually about 20%. At the end of the month, the association issues a check to everyone whose art sold that month.

IF YOU CAN'T FIND THE RIGHT ART GROUP FOR YOUR WORK

If you don't have a local art association--or if their interests don't match yours--start your own. A simple, free announcement in the local newspaper will attract interest, and your public library can probably provide a free meeting room.

Selling your arts and crafts locally is a great first step for any artist. In addition, it's usually fun, brings you recognition from your neighbors, and adds a little extra beauty to the businesses that participate.

Aisling D'Art is a third-generation artist from Belmont, Massachusetts. Today, she lives near Houston, Texas, and her paintings are displayed internationally. For more free information about creating art and succeeding as a professional artist, see Aisling's website, http://www.aisling.net.

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