An online store of a stone art and craft gallery in Surabaya, Indonesia. We're ready to ship you with the finest hand made stone art carving at the most reasonable price but yet the best quality of craftmanship. Our product's range are interior accessories, statue, ashtray, giant beads, waterfront, sink, fireplace mantle, etc.
Visit and shop on our site for the complete catalog. For the special inquiry we will serve you the best.
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Welcome to Linang Sayang, an Online Gallery for stoneart carving. Browse our site and shop for the best traditional to modern art from java, Indonesia. We ship to the world.
Welcome to Linang Sayang, an Online Gallery for stoneart carving. Browse our site and shop for the best traditional to modern art from java, Indonesia. We ship to the world.
Who's More Expensive?
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Q: I collect furniture from the 1940's and 50's. I do a pretty fair amount of buying at collectibles shows and from stores that specialize in this time period. I've held off on the art so far, but many of the dealers have paintings and sculptures that also date from the period. What sort of questions do I need to ask before buying this art? What's the difference between what they have and what galleries have? Who's more expensive?
A: Learning about art is similar to learning about furniture. With furniture, you begin by finding out who made it and how old it is. With art, you find out who the artists are and when the art dates from. The next level of questioning parallels learning the histories of furniture designers and manufacturers. You want to know when and where the artists lived, worked, exhibited, how significant they were, what they accomplished, and how much their art currently sells for. In other words, how good is it and do the artists have collectible track records?
Regarding where to shop for art, keep in mind that furniture dealers tend to know more about furniture than they do about art. If you're a serious Herman Miller collector, for example, you want to buy from a furniture dealer who specializes in that company rather than from an art dealer who may get a piece or two of Herman Miller furniture from time to time. Likewise, experienced art collectors patronize art galleries rather than furniture dealers.
Since you're getting serious about art and you don't know that much about it, you should probably begin by shopping at art galleries that specialize in art from your favorite time periods. Be prepared to pay more, though, because they tend to deal in higher quality art and artists than what you see for sale at furniture dealers. The plus side is that art dealers are better informed, have better selections, more accurate pricing, and better overall perspectives on the fine art marketplace.
If, on the other hand, you're more interested in the look and are not all that concerned about how famous the artists are, buying at shows and shops as opposed to galleries is fine. You can still find reasonably good quality works of art at moderate prices. The artists may not be that well known, but shops still consider their accomplishments and sell pieces that illustrate the dominant themes and subject matters of the time period. This is not to say that you can't find occasional pieces of top quality art at collectibles shops and shows, but it's not likely and you really have to know what you're doing in order to make great buys. Buy art supplies, buy arts, buy clip art, buy fine art, buy modern art, buy original art, buy student art, canvas art for sale, clip art for sale, comic art for sale, contemporary art for sale, fine art for sale, fine art sale, fine art sales, folk art for sale, framed art for sale, framed art sale, garage sale clip art, graffiti art for sale, how to buy art, how to master the art of selling, how to sell art
Q: I collect furniture from the 1940's and 50's. I do a pretty fair amount of buying at collectibles shows and from stores that specialize in this time period. I've held off on the art so far, but many of the dealers have paintings and sculptures that also date from the period. What sort of questions do I need to ask before buying this art? What's the difference between what they have and what galleries have? Who's more expensive?
A: Learning about art is similar to learning about furniture. With furniture, you begin by finding out who made it and how old it is. With art, you find out who the artists are and when the art dates from. The next level of questioning parallels learning the histories of furniture designers and manufacturers. You want to know when and where the artists lived, worked, exhibited, how significant they were, what they accomplished, and how much their art currently sells for. In other words, how good is it and do the artists have collectible track records?
Regarding where to shop for art, keep in mind that furniture dealers tend to know more about furniture than they do about art. If you're a serious Herman Miller collector, for example, you want to buy from a furniture dealer who specializes in that company rather than from an art dealer who may get a piece or two of Herman Miller furniture from time to time. Likewise, experienced art collectors patronize art galleries rather than furniture dealers.
Since you're getting serious about art and you don't know that much about it, you should probably begin by shopping at art galleries that specialize in art from your favorite time periods. Be prepared to pay more, though, because they tend to deal in higher quality art and artists than what you see for sale at furniture dealers. The plus side is that art dealers are better informed, have better selections, more accurate pricing, and better overall perspectives on the fine art marketplace.
If, on the other hand, you're more interested in the look and are not all that concerned about how famous the artists are, buying at shows and shops as opposed to galleries is fine. You can still find reasonably good quality works of art at moderate prices. The artists may not be that well known, but shops still consider their accomplishments and sell pieces that illustrate the dominant themes and subject matters of the time period. This is not to say that you can't find occasional pieces of top quality art at collectibles shops and shows, but it's not likely and you really have to know what you're doing in order to make great buys. Buy art supplies, buy arts, buy clip art, buy fine art, buy modern art, buy original art, buy student art, canvas art for sale, clip art for sale, comic art for sale, contemporary art for sale, fine art for sale, fine art sale, fine art sales, folk art for sale, framed art for sale, framed art sale, garage sale clip art, graffiti art for sale, how to buy art, how to master the art of selling, how to sell art
Young Artist
Q: I've seen several news stories about a young artist in her early teens who's being hailed as a child prodigy. Some famous people apparently own her work. I like it myself, have inquired about prices, and am told that original paintings are very expensive. Do you think her art is a good investment? Do you think she'll become really famous?
A: You say you like the art, but at the same time, you sound more interested in buying a commodity than a painting. You also seem to be more taken with the publicity and glamour surrounding the artist than you are with the art. Step back for a moment before doing any buying and ask yourself the following questions:
Would you consider buying a piece of art that looks exactly the same if it was by a competent artist who receives little or no publicity? If you hesitate or answer no, you might be guilty of buying by name and reputation and saving what you think about the art for last. The most satisfied collectors love their art no matter who it's by, who collects it, or how famous the artists are.
Are you buying something to hang on your wall and admire or something that you hope will increase in value? If you answer the latter, you should probably place your money elsewhere. People confuse art with stocks, bonds and other investments when, in fact, it's totally different. With securities, you pay an average commission of a percentage point or two to make a transaction. With art, as much as 70 to 80 percent of the selling price can go towards commissions and overhead. For example, if you pay $10,000 for a painting and only $2,000 goes to the artist, that $2,000 would be its approximate resale value on the open market. Purchased as an investment, you'd have to wait years just to break even.
Where is the publicity about this girl's art coming from? She may be garnering a lot of attention, but you have to determine whether that attention is scholarly art world attention or popular media attention. If the stories you see are on the 6 O'clock News or in mass market magazines like "People" and the famous people who own her art are known for accomplishments that do not include art collecting, this might be more a case of media hype than a serious art world phenomenon.
Find out whether curators are familiar with her work, whether she's been reviewed in major art magazines, had museum shows, and is in significant art collections. If the art world is as excited as the reporters on the 6 O'clock News are, something significant may be happening. If not, this whole hub-bub could be little more than a flash in the public relations pan.
And then there's the issue of age. It is extremely rare for an artist to be hailed or collected as a child prodigy, to sell early on at prices equivalent to those of famous artists at the peaks of their careers, to continue selling at those levels, and to go down in history as an important artist. This girl is very talented and she does beautiful work, but whether her current price structure is justified, whether she has a lock on future fame and fortune, and whether she'll even be interested in continuing as an artist after she graduates from college are huge unanswered questions.
Quite a number of young people show serious artistic talent from early on. Their best art can be as beautiful and engaging as that of many adult artists. If you like art by young talented artists, visit art schools, talk to art teachers, find out who the best artists are, go to their art exhibits. Once you get a feel for what you're doing, you'll be able to buy based more on what you love than on how much publicity the artists get or who owns their work. You'll also quickly discover that you don't have to spend anywhere near thousands of dollars in order to get something meaningful and satisfying.
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A: You say you like the art, but at the same time, you sound more interested in buying a commodity than a painting. You also seem to be more taken with the publicity and glamour surrounding the artist than you are with the art. Step back for a moment before doing any buying and ask yourself the following questions:
Would you consider buying a piece of art that looks exactly the same if it was by a competent artist who receives little or no publicity? If you hesitate or answer no, you might be guilty of buying by name and reputation and saving what you think about the art for last. The most satisfied collectors love their art no matter who it's by, who collects it, or how famous the artists are.
Are you buying something to hang on your wall and admire or something that you hope will increase in value? If you answer the latter, you should probably place your money elsewhere. People confuse art with stocks, bonds and other investments when, in fact, it's totally different. With securities, you pay an average commission of a percentage point or two to make a transaction. With art, as much as 70 to 80 percent of the selling price can go towards commissions and overhead. For example, if you pay $10,000 for a painting and only $2,000 goes to the artist, that $2,000 would be its approximate resale value on the open market. Purchased as an investment, you'd have to wait years just to break even.
Where is the publicity about this girl's art coming from? She may be garnering a lot of attention, but you have to determine whether that attention is scholarly art world attention or popular media attention. If the stories you see are on the 6 O'clock News or in mass market magazines like "People" and the famous people who own her art are known for accomplishments that do not include art collecting, this might be more a case of media hype than a serious art world phenomenon.
Find out whether curators are familiar with her work, whether she's been reviewed in major art magazines, had museum shows, and is in significant art collections. If the art world is as excited as the reporters on the 6 O'clock News are, something significant may be happening. If not, this whole hub-bub could be little more than a flash in the public relations pan.
And then there's the issue of age. It is extremely rare for an artist to be hailed or collected as a child prodigy, to sell early on at prices equivalent to those of famous artists at the peaks of their careers, to continue selling at those levels, and to go down in history as an important artist. This girl is very talented and she does beautiful work, but whether her current price structure is justified, whether she has a lock on future fame and fortune, and whether she'll even be interested in continuing as an artist after she graduates from college are huge unanswered questions.
Quite a number of young people show serious artistic talent from early on. Their best art can be as beautiful and engaging as that of many adult artists. If you like art by young talented artists, visit art schools, talk to art teachers, find out who the best artists are, go to their art exhibits. Once you get a feel for what you're doing, you'll be able to buy based more on what you love than on how much publicity the artists get or who owns their work. You'll also quickly discover that you don't have to spend anywhere near thousands of dollars in order to get something meaningful and satisfying.
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Make Your Art Attractive to Collectors
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Q: I bought a small sculpture by a contemporary artist about fifteen years ago when she was just starting out. I paid about $100 for it. Similar pieces now sell at galleries for $1000 to $1500. Can I sell mine for this much? Where would be the best place to sell it? I called up a couple of auction houses and they weren't interested in handling it.
A: Unless a contemporary artist is famous, the demand for her art is high, or the supply is limited, reselling older pieces is not easy and realistic asking prices are usually quite a bit below gallery retail. The two main reasons are that the artists are still alive and producing and the galleries that sell their art can get all the they need for no cash outlay artist-direct. Galleries take at least forty percent commissions on sales- the same amout they would take from you if you consigned your sculpture. That would leave you $900 under the most optimum conditions (assuming it's worth $1500 and the gallery takes a 40% commission).
Another factor that limits the resale prospects for contemporary art, particularly when the artists are in the primes of their careers, are that collectors tend to want the latest freshest pieces rather than older work. They also prefer the excitement of buying from and interracting with the artists and/or their dealers rather than dealing with collectors who bought long ago. A major aspect of contemporary art collecting is social-- collectors buy in order support and have access to members of the art community.
About the only way that you can make your art attractive to collectors is to price it well below retail. About $500 or so would be a fair sensible starting point. You can work your way down from there. If you really like the art, don't need the money and were just thinking of cashing in if you could get top retail, hold on to it. The prognosis for this artist is good. If she continues to produce, sell, and gain in popularity among collectors, the early works like yours will eventually become the most valuable and sought after.
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Q: I bought a small sculpture by a contemporary artist about fifteen years ago when she was just starting out. I paid about $100 for it. Similar pieces now sell at galleries for $1000 to $1500. Can I sell mine for this much? Where would be the best place to sell it? I called up a couple of auction houses and they weren't interested in handling it.
A: Unless a contemporary artist is famous, the demand for her art is high, or the supply is limited, reselling older pieces is not easy and realistic asking prices are usually quite a bit below gallery retail. The two main reasons are that the artists are still alive and producing and the galleries that sell their art can get all the they need for no cash outlay artist-direct. Galleries take at least forty percent commissions on sales- the same amout they would take from you if you consigned your sculpture. That would leave you $900 under the most optimum conditions (assuming it's worth $1500 and the gallery takes a 40% commission).
Another factor that limits the resale prospects for contemporary art, particularly when the artists are in the primes of their careers, are that collectors tend to want the latest freshest pieces rather than older work. They also prefer the excitement of buying from and interracting with the artists and/or their dealers rather than dealing with collectors who bought long ago. A major aspect of contemporary art collecting is social-- collectors buy in order support and have access to members of the art community.
About the only way that you can make your art attractive to collectors is to price it well below retail. About $500 or so would be a fair sensible starting point. You can work your way down from there. If you really like the art, don't need the money and were just thinking of cashing in if you could get top retail, hold on to it. The prognosis for this artist is good. If she continues to produce, sell, and gain in popularity among collectors, the early works like yours will eventually become the most valuable and sought after.
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eBay Selling Business
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Are you envious of those who manage to reap a reasonable amount of return from their eBay selling business? Wait no more; you can experience that same ecstasy feeling if you would only start your own eBay selling business. The next question would then be, how do I start selling stuff on eBay? The fact of the matter is that it may seem intimidating for people who just started to learn the trade, but here are some simple 5 steps for you to follow to starting your online eBay business.
1. Take plenty of photos of your item. Do not take it in such away that you are trying to mask some parts that are damaged. The status of your product should be easily be perceived from your photo and what your buyer sees is what he gets. This way, your potential buyer would then be able to access for himself the potential quality and state of your product.
2. Open your first ever eBay store! An eBay store is a great method to sell your stuff online also it saves you on the eBay frees. Furthermore, eBay stores appear on the search results in eBay as such you will have more visible listings and you can make more money on your item as it would potentially receive more traffic. Your very own eBay store also has the benefits of you creating a specific design for it. You do not have to make it wonderfully fanciful, but a decent and professional design fitted with a good description of your product, you will then be able to attract more people to your store and increase revenue if they purchase your product.
3. You have to create your own listing for your item. One of the ways you can do this is through free websites that eBay provides. However, this is only for people who just started out in this business. If you are familiar with all these procedures, you can find your own listing sites and improve on your eBay store. One such site is auctiva, where it provides you with a free template, image hosting, online scheduling, and many more features that will enable you to make an enticing listing.
4. Find your product, research for it and find the best possible item that can help you earn your big bucks. There are functions in eBay to help you search for the hottest deals in eBay currently and that would certainly give you a head start in what you want to sell. Other than just providing the good, it would be great if you can further personalize your service and make it a unique product that only you have. Catering to the needs of customers may seem troublesome, but it is essential if you want to forge loyal customers that keep coming back for more.
Starting your very own eBay business is not hard if you put your heart and soul into it. Do not stop even when you face troubles and problems, every business has its ups and downs, but the important thing is to persevere on and find the solutions to these problems.
Article Source http://www.freearticalespro.com/Article/Start Your Ebay Selling Business
Are you envious of those who manage to reap a reasonable amount of return from their eBay selling business? Wait no more; you can experience that same ecstasy feeling if you would only start your own eBay selling business. The next question would then be, how do I start selling stuff on eBay? The fact of the matter is that it may seem intimidating for people who just started to learn the trade, but here are some simple 5 steps for you to follow to starting your online eBay business.
1. Take plenty of photos of your item. Do not take it in such away that you are trying to mask some parts that are damaged. The status of your product should be easily be perceived from your photo and what your buyer sees is what he gets. This way, your potential buyer would then be able to access for himself the potential quality and state of your product.
2. Open your first ever eBay store! An eBay store is a great method to sell your stuff online also it saves you on the eBay frees. Furthermore, eBay stores appear on the search results in eBay as such you will have more visible listings and you can make more money on your item as it would potentially receive more traffic. Your very own eBay store also has the benefits of you creating a specific design for it. You do not have to make it wonderfully fanciful, but a decent and professional design fitted with a good description of your product, you will then be able to attract more people to your store and increase revenue if they purchase your product.
3. You have to create your own listing for your item. One of the ways you can do this is through free websites that eBay provides. However, this is only for people who just started out in this business. If you are familiar with all these procedures, you can find your own listing sites and improve on your eBay store. One such site is auctiva, where it provides you with a free template, image hosting, online scheduling, and many more features that will enable you to make an enticing listing.
4. Find your product, research for it and find the best possible item that can help you earn your big bucks. There are functions in eBay to help you search for the hottest deals in eBay currently and that would certainly give you a head start in what you want to sell. Other than just providing the good, it would be great if you can further personalize your service and make it a unique product that only you have. Catering to the needs of customers may seem troublesome, but it is essential if you want to forge loyal customers that keep coming back for more.
Starting your very own eBay business is not hard if you put your heart and soul into it. Do not stop even when you face troubles and problems, every business has its ups and downs, but the important thing is to persevere on and find the solutions to these problems.
Article Source http://www.freearticalespro.com/Article/Start Your Ebay Selling Business
Michael Bay is an eBay expert providing valuable auction selling advice at www.AuctionMasteryCourse.com . He has been teaching thousands how to sell stuff on ebay to earn a good income. Click Here to get your FREE report on the "Four EZ Ways To Make Money On eBay".
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How Dealers Price Art on The Internet
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It happens at art galleries, antique shops, shows, collectives, flea markets, estate sales, and in private transactions. It happens with price guides, auction records, appraisals, expert advice, casual chit-chat, and hearsay. And now it's happing with the internet. People who own art that they're interested in selling are now using the internet to figure out how much it's worth and how much they sell it for. They know that the more information they have access to, the more accurately they can set their prices. But first, a little history.....
Way way back in the old days (like the 1960's) sellers figured out asking prices mainly by going from gallery to gallery, antique to antique, expert to expert, dealer to dealer, and auction to auction. Because of the limited access to printed information, those who lived and worked in the world's major art centers or who travelled the most and knew the most people were the most qualified to accurately price art.
Then came price guides and auction records. Locating price information became easier (for those who knew these references existed and who could afford them), but at the same time, pricing art for sale became more of an abstract process. Since using books of art prices was nothing like speaking to living breathing knowledgeable human beings and getting price information firsthand, sellers tended to take the highest prices they could find and tack them onto their art. That's the down side to price reference research. The upside is that while people can pass on wrong art price information and/or innacurately interpret that information, art price guides and auction records deal only in facts and are almost always accurate. The overall effect, then, was far to the up side in that more people than ever before could now price their art more accurately.
Now we have the internet. The advent of online pricing has distanced the process even further from the realities of the marketplace. In many cases, people researching values have no idea who posts what price information, what those posters' qualifications are, how those prices are arrived at, or under what circumstances the art is for sale or has sold. Computer searches make price misreads increasingly likely because they're arrived at without the aid of traditional research techniques. At least with price guides and auction records, you can read about the authors and understand why they're qualified to publish the price information that they have. In many cases, internet information is so difficult to qualify and the sources so untraceable and vague that the chances for innacurate pricing are greater than ever.
The upshot of all this is that if you think you've priced your art right from online data searches, you can still be wrong. This may sound like double-talk, but here's an example. Suppose you live in rural Kentucky, sell antiques out of a booth in a small collective, and are trying to price an etching by a regional Texas artist. You locate the website of a Dallas gallery, find similar etchings priced and for sale, and put a comparable but slightly lower price on yours. To assume that the gallery's prices are good anywhere and at any time can be a big mistake.
For all you know, this gallery may exclusively handle the artist's estate, be attempting to create a market for the work by asking record high selling prices, and have a $40,000 a month overhead in the best gallery district in town. The owner may be one of the most important experts and respected dealers of Texas art and artists in the country and have access to all the wealthiest collectors. Outside of that gallery, the etchings may be worth nowehere near that much.
These days, I can be visiting a shop at a cross-roads in the middle of nowhere and find prices equivalent to what one might expect from a gallery on 57thStreet in New York City or on Rodeo Drive in Beverly Hills. This happens because a top retail price gets posted on the internet, someone copies it without understanding it, someone else copies the copy, and so on until equally ridiculous prices can be found all over the country.
Finding an art price on a computer screen does not begin to equate with in-depth market research. You also need to understand why and under what conditions it is what it is. Hopefully the next stage in the internet art pricing evolution will be the proliferation of more sophisticated and competent research techniques and a deeper understanding of pricing guidelines. Remember this-- on your way to finding out "how much" don't forget to also find out "why," "where," and "under what circumstances."
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It happens at art galleries, antique shops, shows, collectives, flea markets, estate sales, and in private transactions. It happens with price guides, auction records, appraisals, expert advice, casual chit-chat, and hearsay. And now it's happing with the internet. People who own art that they're interested in selling are now using the internet to figure out how much it's worth and how much they sell it for. They know that the more information they have access to, the more accurately they can set their prices. But first, a little history.....
Way way back in the old days (like the 1960's) sellers figured out asking prices mainly by going from gallery to gallery, antique to antique, expert to expert, dealer to dealer, and auction to auction. Because of the limited access to printed information, those who lived and worked in the world's major art centers or who travelled the most and knew the most people were the most qualified to accurately price art.
Then came price guides and auction records. Locating price information became easier (for those who knew these references existed and who could afford them), but at the same time, pricing art for sale became more of an abstract process. Since using books of art prices was nothing like speaking to living breathing knowledgeable human beings and getting price information firsthand, sellers tended to take the highest prices they could find and tack them onto their art. That's the down side to price reference research. The upside is that while people can pass on wrong art price information and/or innacurately interpret that information, art price guides and auction records deal only in facts and are almost always accurate. The overall effect, then, was far to the up side in that more people than ever before could now price their art more accurately.
Now we have the internet. The advent of online pricing has distanced the process even further from the realities of the marketplace. In many cases, people researching values have no idea who posts what price information, what those posters' qualifications are, how those prices are arrived at, or under what circumstances the art is for sale or has sold. Computer searches make price misreads increasingly likely because they're arrived at without the aid of traditional research techniques. At least with price guides and auction records, you can read about the authors and understand why they're qualified to publish the price information that they have. In many cases, internet information is so difficult to qualify and the sources so untraceable and vague that the chances for innacurate pricing are greater than ever.
The upshot of all this is that if you think you've priced your art right from online data searches, you can still be wrong. This may sound like double-talk, but here's an example. Suppose you live in rural Kentucky, sell antiques out of a booth in a small collective, and are trying to price an etching by a regional Texas artist. You locate the website of a Dallas gallery, find similar etchings priced and for sale, and put a comparable but slightly lower price on yours. To assume that the gallery's prices are good anywhere and at any time can be a big mistake.
For all you know, this gallery may exclusively handle the artist's estate, be attempting to create a market for the work by asking record high selling prices, and have a $40,000 a month overhead in the best gallery district in town. The owner may be one of the most important experts and respected dealers of Texas art and artists in the country and have access to all the wealthiest collectors. Outside of that gallery, the etchings may be worth nowehere near that much.
These days, I can be visiting a shop at a cross-roads in the middle of nowhere and find prices equivalent to what one might expect from a gallery on 57thStreet in New York City or on Rodeo Drive in Beverly Hills. This happens because a top retail price gets posted on the internet, someone copies it without understanding it, someone else copies the copy, and so on until equally ridiculous prices can be found all over the country.
Finding an art price on a computer screen does not begin to equate with in-depth market research. You also need to understand why and under what conditions it is what it is. Hopefully the next stage in the internet art pricing evolution will be the proliferation of more sophisticated and competent research techniques and a deeper understanding of pricing guidelines. Remember this-- on your way to finding out "how much" don't forget to also find out "why," "where," and "under what circumstances."
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Try to Sell Art Over The Internet
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Q: Should I try to sell art over the internet? I've seen several advertisements for sites that specialize in selling antiques, collectibles and art. They put "for sale" pictures up along with contact information for very reasonable commissions. I've also visited gallery sites on the Worldwide Web that say they buy art. I can even advertise my art for free in art, antiques, and collecting newsgroups.
A: The internet is a pretty wild and untamed arena as far as selling art goes and unless you're anything less than fully on top of the market, think twice. In addition to knowing what your art is worth and how much you want to sell it for, you also must be able to show it to interested parties, mail it out on approval if necessary, and get paid in full if you sell it. This can be difficult when dealing with people who you've never met and who may live hundreds or even thousands of miles away.
Unless you know who you're dealing with, the anonymous nature of internet presents problems particularly in the areas of buying and selling art. For example, a small percentage of dealers and collectors spend their time searching the internet for unsuspecting sellers who underprice their art. Some may also request detailed information about your art seemingly to help them decide whether or not to buy when in actuality, they offer it for sale elsewhere. Some don't even ask for details-- they take what they need from your posting and offer it for sale like it was their own. You never know the difference. Consequently, art can get pretty badly shopped around in cyberspace.
As for gallery websites that advertise as art buyers and sellers, some of the finest dealers in the world are online. Unfortunately, some of the not-so-finest are also in full operation. The nature of the internet is such that a lavish website may be that of a four story Manhattan gallery and it may also be a telephone sitting on a coffee table in someone's den. Telling the difference can be pretty difficult unless you know the art business and are familiar with the players.
At this time, the safest internet routes for buying and selling art are dealing with galleries at established sites like www.artnet.com and www.fada.com. Even here, though, you have to be careful, request references, and preferably make personal contact before proceeding with any sales arrangement. If you decide to place your art up for sale independently, pick a site that only takes a commission if the art sells and has a secure transaction system. They should be responsible for collecting the money and paying you rather than you having to do it yourself.
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Q: Should I try to sell art over the internet? I've seen several advertisements for sites that specialize in selling antiques, collectibles and art. They put "for sale" pictures up along with contact information for very reasonable commissions. I've also visited gallery sites on the Worldwide Web that say they buy art. I can even advertise my art for free in art, antiques, and collecting newsgroups.
A: The internet is a pretty wild and untamed arena as far as selling art goes and unless you're anything less than fully on top of the market, think twice. In addition to knowing what your art is worth and how much you want to sell it for, you also must be able to show it to interested parties, mail it out on approval if necessary, and get paid in full if you sell it. This can be difficult when dealing with people who you've never met and who may live hundreds or even thousands of miles away.
Unless you know who you're dealing with, the anonymous nature of internet presents problems particularly in the areas of buying and selling art. For example, a small percentage of dealers and collectors spend their time searching the internet for unsuspecting sellers who underprice their art. Some may also request detailed information about your art seemingly to help them decide whether or not to buy when in actuality, they offer it for sale elsewhere. Some don't even ask for details-- they take what they need from your posting and offer it for sale like it was their own. You never know the difference. Consequently, art can get pretty badly shopped around in cyberspace.
As for gallery websites that advertise as art buyers and sellers, some of the finest dealers in the world are online. Unfortunately, some of the not-so-finest are also in full operation. The nature of the internet is such that a lavish website may be that of a four story Manhattan gallery and it may also be a telephone sitting on a coffee table in someone's den. Telling the difference can be pretty difficult unless you know the art business and are familiar with the players.
At this time, the safest internet routes for buying and selling art are dealing with galleries at established sites like www.artnet.com and www.fada.com. Even here, though, you have to be careful, request references, and preferably make personal contact before proceeding with any sales arrangement. If you decide to place your art up for sale independently, pick a site that only takes a commission if the art sells and has a secure transaction system. They should be responsible for collecting the money and paying you rather than you having to do it yourself.
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Charity Auction Art
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Q: I've bought several pieces of art at charity auctions and am thinking about buying more. Selling prices are usually less than at regular auctions and substantially less than at galleries. Do you have any tips or strategies for buying art in this manner?
A: Don't get too excited about these bargains you think you're getting. Charity auction art can be uneven in quality and sometimes just plain inferior. Dealers, artists, and collectors who donate to these sales frequently do so for tax or social reasons and tend to consign art that they're tired of looking at, have had trouble selling, is minor or unimportant, is not in perfect condition, or has been lying around for years because it's not what collectors want. Think about it-- would you be more inclined to donate an item that's readily salable for a good cash price or one that few people want and no one will pay a decent price for?
If you're bidding on art that's problematic or undesirable in some way, it's naturally going to sell for less and may not be a bargain at all. Given this scenario, getting a "bargain" should be less of a concern than figuring out whether the art is worth owning in the first place. If you pay a low price for something few people want, do you call that a good buy? Probably not.
Not all charity auction art is inferior, however. Marvelous pieces often get donated and these are the ones you should keep your eye out for. One notable exception to the inferiority rule is when museums or other institutions that own large amounts of art deaccess from their collections in order to raise money. They sometimes donate great art simply because it does not fit their collecting interests or long term goals. What's minor or irrelevant to them may be highly desirable to collectors. The tendency is for institutional deaccessions to be better bidding risks than art that comes from private donations or for-profit galleries.
In order to maximize your effectiveness at charity art auctions, always do your research ahead of time. Never assume that a work of art is automatically worth owning. Find out where everything comes from--most auctions publicize donors' names in exchange for their donations. Pay particular attention to pieces that come from respected galleries, collectible artists, institutions, museums, and major collectors. These are often the most worthwhile items to chase after. Inspect all items carefully before the auctions, and confine your bidding to quality, collectible examples. Staying sober is also a good idea-- many charity auctions serve copious amounts of food and drink immediately before bidding begins in order to loosen people up who may otherwise be judicious in their spending. Airline miles sell, art purchases, art sells, arts sale, buy car, buy cars, buy cars for sale, buy classifieds, buy for sale, buy used car, buy used cars, classifieds sell, purchase arts, resell art, sale sell, sell auction, sell books, sell car, sell cars, sell classified ads, sell equipment, sell for cash, sell for sale, sell side, sell swg credits, sell textbooks, sell ticket, sell tickets, sell used books, sell used car, sell used cars, sell used cds, selling arts, trade sell
Q: I've bought several pieces of art at charity auctions and am thinking about buying more. Selling prices are usually less than at regular auctions and substantially less than at galleries. Do you have any tips or strategies for buying art in this manner?
A: Don't get too excited about these bargains you think you're getting. Charity auction art can be uneven in quality and sometimes just plain inferior. Dealers, artists, and collectors who donate to these sales frequently do so for tax or social reasons and tend to consign art that they're tired of looking at, have had trouble selling, is minor or unimportant, is not in perfect condition, or has been lying around for years because it's not what collectors want. Think about it-- would you be more inclined to donate an item that's readily salable for a good cash price or one that few people want and no one will pay a decent price for?
If you're bidding on art that's problematic or undesirable in some way, it's naturally going to sell for less and may not be a bargain at all. Given this scenario, getting a "bargain" should be less of a concern than figuring out whether the art is worth owning in the first place. If you pay a low price for something few people want, do you call that a good buy? Probably not.
Not all charity auction art is inferior, however. Marvelous pieces often get donated and these are the ones you should keep your eye out for. One notable exception to the inferiority rule is when museums or other institutions that own large amounts of art deaccess from their collections in order to raise money. They sometimes donate great art simply because it does not fit their collecting interests or long term goals. What's minor or irrelevant to them may be highly desirable to collectors. The tendency is for institutional deaccessions to be better bidding risks than art that comes from private donations or for-profit galleries.
In order to maximize your effectiveness at charity art auctions, always do your research ahead of time. Never assume that a work of art is automatically worth owning. Find out where everything comes from--most auctions publicize donors' names in exchange for their donations. Pay particular attention to pieces that come from respected galleries, collectible artists, institutions, museums, and major collectors. These are often the most worthwhile items to chase after. Inspect all items carefully before the auctions, and confine your bidding to quality, collectible examples. Staying sober is also a good idea-- many charity auctions serve copious amounts of food and drink immediately before bidding begins in order to loosen people up who may otherwise be judicious in their spending. Airline miles sell, art purchases, art sells, arts sale, buy car, buy cars, buy cars for sale, buy classifieds, buy for sale, buy used car, buy used cars, classifieds sell, purchase arts, resell art, sale sell, sell auction, sell books, sell car, sell cars, sell classified ads, sell equipment, sell for cash, sell for sale, sell side, sell swg credits, sell textbooks, sell ticket, sell tickets, sell used books, sell used car, sell used cars, sell used cds, selling arts, trade sell
I Own a Painting That My Children Don't Want
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Q: I own a painting that my children don't want, so I've decided to sell it. I bought it about 20 years ago. I wrote to the gallery that exclusively represents the artist and had them appraise it. According to them, it's worth quite a bit now. I know I can't sell it for that much, but can you tell me how and where I can get a good price? The gallery says that they don't get involved with resales. I've enclosed a copy of their appraisal.
A: Don't expect to get anywhere near the appraised value for your art. First of all, the appraisal is from the gallery that represents the artist, not an independent appraiser. Their best interest is to appraise as high as possible because big numbers make them look good. While these numbers work for them, they don't for you. That gallery is the only place where the artist's work can sell for that much.
As with any monopoly, they exclusively represent the artist and they control the prices. They decide what the art sells for and appraise it at whatever those current retail prices happen to be. The artist's market is created and manipulated entirely in-house. As long as they're in control, they don't concern themselves with resales like yours that take place on the outside.
This dovetails directly into your next problem. The gallery does not handle resales. They apparently have all the art they need which means that the market for the artist is not strong enough to warrant their making outright buys or seeking consignments from the outside. In other words, you're in trouble.
The little bit of good news is that outside resales do take place, but at prices far less than what the gallery retails the art for. A neutral outside appraiser would have advised you of this. Expect to sell your art for only about 20% of the value that the gallery gave you.
Point of information: When considering any art purchase, assuming you're concerned about spending your money wisely, find out about resale procedures. Does a secondary market exist for the artist and, if so, where is it and how much does the art resell for? Determine whether the gallery gets all their art directly from the artist, from people controlling the artist's estate, or from private parties as well. Be aware that some galleries dance around on this issue and say whatever is necessary in order to sell you art.
If you're at all unsure of the answers to these questions, check to see how other galleries perceive the artist's market and consult an independent appraiser or two. You might even go home, call the gallery in question, tell them you have a piece of the artist's art that you'd like to resell, and ask what you should do and whether they'll handle it for you. A sad fact of the art business is that sometimes (not often) this tact is necessary in order to get the truth.
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Q: I own a painting that my children don't want, so I've decided to sell it. I bought it about 20 years ago. I wrote to the gallery that exclusively represents the artist and had them appraise it. According to them, it's worth quite a bit now. I know I can't sell it for that much, but can you tell me how and where I can get a good price? The gallery says that they don't get involved with resales. I've enclosed a copy of their appraisal.
A: Don't expect to get anywhere near the appraised value for your art. First of all, the appraisal is from the gallery that represents the artist, not an independent appraiser. Their best interest is to appraise as high as possible because big numbers make them look good. While these numbers work for them, they don't for you. That gallery is the only place where the artist's work can sell for that much.
As with any monopoly, they exclusively represent the artist and they control the prices. They decide what the art sells for and appraise it at whatever those current retail prices happen to be. The artist's market is created and manipulated entirely in-house. As long as they're in control, they don't concern themselves with resales like yours that take place on the outside.
This dovetails directly into your next problem. The gallery does not handle resales. They apparently have all the art they need which means that the market for the artist is not strong enough to warrant their making outright buys or seeking consignments from the outside. In other words, you're in trouble.
The little bit of good news is that outside resales do take place, but at prices far less than what the gallery retails the art for. A neutral outside appraiser would have advised you of this. Expect to sell your art for only about 20% of the value that the gallery gave you.
Point of information: When considering any art purchase, assuming you're concerned about spending your money wisely, find out about resale procedures. Does a secondary market exist for the artist and, if so, where is it and how much does the art resell for? Determine whether the gallery gets all their art directly from the artist, from people controlling the artist's estate, or from private parties as well. Be aware that some galleries dance around on this issue and say whatever is necessary in order to sell you art.
If you're at all unsure of the answers to these questions, check to see how other galleries perceive the artist's market and consult an independent appraiser or two. You might even go home, call the gallery in question, tell them you have a piece of the artist's art that you'd like to resell, and ask what you should do and whether they'll handle it for you. A sad fact of the art business is that sometimes (not often) this tact is necessary in order to get the truth.
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Separating Bound Prints
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Q: I bought a book of original etchings, most of which are by 19th century European artists. I showed the book to an antiquarian bookseller and he told me that one person probably collected the etchings from various publications and had them bound himself. This makes my book a unique piece, but then again, I've been thinking about having it disbound, keeping and framing my favorite images, and selling the rest. Is this a good idea or does it destroy the value of the book as a whole?
A: Opinions generally diverge as to the acceptability of removing prints from books. Booksellers frown on the practice and value books as collectibles in and of themselves. Print dealers often see nothing wrong with "breaking" books and valuing them according to the values of the individual prints. Your situation is somewhat unusual, however, in that you don't really own a book, but rather an album of individual prints put together by one person. In other words, booksellers may not be quite as militant about keeping this piece together as they would if it had been a formally pubished book.
Whether or not your book should stay together depends on several factors. It's better kept together, for example, if it is an outstanding or scholarly assemblage of prints or a beautiful work of art. If the binding is unique, special, full leather, exquisitely hand tooled, or by a famous binder, the piece in its entirety probably has a substantial value-- value which would be lost if it were taken apart. Likewise, consider not breaking it if the prints form an extensive collection of one particular era, school, subject matter, region, medium, or artist. Keeping it whole is also be a good idea if it contains insightful text that cannot be found in other books. A less common reason for preserving unique books in their entirety is if they were either compiled or owned by famous collectors.
Taking the book apart is acceptable if the prints are unrelated to eachother, the binding is ordinary or in poor condition, there is no significant accompanying text, and nothing else is unique or unusual about the piece when considered as a whole. Speaking strictly from a marketing standpoint, unless the album is extremely unique or special it probably has more value disbound than it does as a whole. The etchings can be sold separately for more money than they can as a lot. If you choose this option, you may well be able to pay for the entire purchase by selling off the prints you don't want.
Q: I bought a book of original etchings, most of which are by 19th century European artists. I showed the book to an antiquarian bookseller and he told me that one person probably collected the etchings from various publications and had them bound himself. This makes my book a unique piece, but then again, I've been thinking about having it disbound, keeping and framing my favorite images, and selling the rest. Is this a good idea or does it destroy the value of the book as a whole?
A: Opinions generally diverge as to the acceptability of removing prints from books. Booksellers frown on the practice and value books as collectibles in and of themselves. Print dealers often see nothing wrong with "breaking" books and valuing them according to the values of the individual prints. Your situation is somewhat unusual, however, in that you don't really own a book, but rather an album of individual prints put together by one person. In other words, booksellers may not be quite as militant about keeping this piece together as they would if it had been a formally pubished book.
Whether or not your book should stay together depends on several factors. It's better kept together, for example, if it is an outstanding or scholarly assemblage of prints or a beautiful work of art. If the binding is unique, special, full leather, exquisitely hand tooled, or by a famous binder, the piece in its entirety probably has a substantial value-- value which would be lost if it were taken apart. Likewise, consider not breaking it if the prints form an extensive collection of one particular era, school, subject matter, region, medium, or artist. Keeping it whole is also be a good idea if it contains insightful text that cannot be found in other books. A less common reason for preserving unique books in their entirety is if they were either compiled or owned by famous collectors.
Taking the book apart is acceptable if the prints are unrelated to eachother, the binding is ordinary or in poor condition, there is no significant accompanying text, and nothing else is unique or unusual about the piece when considered as a whole. Speaking strictly from a marketing standpoint, unless the album is extremely unique or special it probably has more value disbound than it does as a whole. The etchings can be sold separately for more money than they can as a lot. If you choose this option, you may well be able to pay for the entire purchase by selling off the prints you don't want.
Fine Art Auction - Northern American Style
Writer John Rushkin once said, "Fine art is that in which the hand, the head, and the heart of man go together." There are few things more breathtaking than a well-composed painting - one where all the right colors, brush strokes and open space just dazzle the eyes and capture the imagination. A fine art auction is a great way to buy and sell fine art.
Despite the credit crisis, most purchasers who attend a fine art auction, aren't affected by the middle class squeeze or imploding housing market, as 6,000 to 7,000 eager bidders appeared at many of the fine art auctions this year. British abstractionist John Cecil Stephenson and American graffiti artist Shepard Fairey are expected to sell very well at prices from 7,500 British pounds to 150,000 pounds.
A recent Christie's art auction in New York City reeled in close to $395 million in net gains, despite having not sold a few of the reserves. Big sellers included Matisse's "L'Odalisque, harmonie bleu" (1937) which went for a record $33.6 million dollars, following a bidding war. Also, Pablo Picasso's "Femme accroupie au costume turc (Jacqueline)," painted in 1955, sold for $30.8 million dollars and his "Homme a la pipe" reached $16.8 million.
"The enduring importance of works of art as a stable and consistent store of cultural and economic values was demonstrated in tonight's dazzling sale," said Marc Porter, the head of Christie's America. Hence proving that to buy original art, as an investment, is alive and well.
Similarly, the Canadian art auction set for November 23, 2007 is expected to draw a large crowd and record breaking sales. There were encouraging signs at Heffel's fine art auction last May: a Lawren Harris painting ("Pine Tree and Red House") sold for $2.85 million, an Emily Carr fetched for $1 million, and the total sales reached $22.8 Million, which nearly doubled the previous Canadian record!
At the next auction, Heffel will be selling 19 other works by Lawren Harris and 8 rare pieces done in 1912 by Emily Carr, in addition to seven Tom Thomsons, three E.J. Hugheses, five Maurice Cullens, four Jean-Paul Riopelles, seven Frederick Varleys and eight A.J. Cassons.
Just this November, a woman discovered that a painting she had salvaged from her grandmother's estate sale decades earlier, was actually a rare Tom Thomson estimated at $250,000 to $350,000! This artwork will also be featured at the auction. The Heffel auction hopes to fetch $13 million to $18 million for its 236 lots.
Although 2007 hasn't been a particularly wonderful year for real estate or the economy, many lovers still find ways of financing their art collecting hobby. This is great news for auction houses and artists alike! That perfect piece may be waiting at a fine art auction, whether it be a portrait of Native Americans by Emily Carr or a Matisse abstract.
Author Resource:-> Enrich your knowledge further about fine art auction from Mike Selvon portal. We appreciate your feedback at our fine art auctions blog where a free gift awaits you.
Article From Niche Article Directory
Despite the credit crisis, most purchasers who attend a fine art auction, aren't affected by the middle class squeeze or imploding housing market, as 6,000 to 7,000 eager bidders appeared at many of the fine art auctions this year. British abstractionist John Cecil Stephenson and American graffiti artist Shepard Fairey are expected to sell very well at prices from 7,500 British pounds to 150,000 pounds.
A recent Christie's art auction in New York City reeled in close to $395 million in net gains, despite having not sold a few of the reserves. Big sellers included Matisse's "L'Odalisque, harmonie bleu" (1937) which went for a record $33.6 million dollars, following a bidding war. Also, Pablo Picasso's "Femme accroupie au costume turc (Jacqueline)," painted in 1955, sold for $30.8 million dollars and his "Homme a la pipe" reached $16.8 million.
"The enduring importance of works of art as a stable and consistent store of cultural and economic values was demonstrated in tonight's dazzling sale," said Marc Porter, the head of Christie's America. Hence proving that to buy original art, as an investment, is alive and well.
Similarly, the Canadian art auction set for November 23, 2007 is expected to draw a large crowd and record breaking sales. There were encouraging signs at Heffel's fine art auction last May: a Lawren Harris painting ("Pine Tree and Red House") sold for $2.85 million, an Emily Carr fetched for $1 million, and the total sales reached $22.8 Million, which nearly doubled the previous Canadian record!
At the next auction, Heffel will be selling 19 other works by Lawren Harris and 8 rare pieces done in 1912 by Emily Carr, in addition to seven Tom Thomsons, three E.J. Hugheses, five Maurice Cullens, four Jean-Paul Riopelles, seven Frederick Varleys and eight A.J. Cassons.
Just this November, a woman discovered that a painting she had salvaged from her grandmother's estate sale decades earlier, was actually a rare Tom Thomson estimated at $250,000 to $350,000! This artwork will also be featured at the auction. The Heffel auction hopes to fetch $13 million to $18 million for its 236 lots.
Although 2007 hasn't been a particularly wonderful year for real estate or the economy, many lovers still find ways of financing their art collecting hobby. This is great news for auction houses and artists alike! That perfect piece may be waiting at a fine art auction, whether it be a portrait of Native Americans by Emily Carr or a Matisse abstract.
Author Resource:-> Enrich your knowledge further about fine art auction from Mike Selvon portal. We appreciate your feedback at our fine art auctions blog where a free gift awaits you.
Article From Niche Article Directory
What Is Contemporary Art Auction?
By: MIKE SELVON
The world of modern art is changing. Just visit a contemporary art auction for a clue. Unknown artists find the value of their works quadrupling within years. Chinese and Indian artists are finding greater audiences, and wealthy patrons of the arts aren't just paying thousands - they're paying millions.
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Traditionally, an artist's older works garnered higher bids and more frenzied requests. However, painters like Brice Marden are changing the status quo with a whole collection of recent, sought-after work.
The top 10 contemporary artists, whose works sold for over $5 million at auction, are as follows: Lucian Freud, Jasper Johns, Jeff Koons, Brice Marden, Bruce Nauman, Robert Rauschenberg, Gerhard Richter, Richard Serra, Frank Stella, and Cy Twombly. Other artists (in the $1 - $4 million range) to look out for include: Chuck Close, David Hockney, Ellsworth Kelly, Anselm Kiefer, Claes Oldenburg, Robert Ryman, and Wayne Thiebaud.
Jasper Johns, one of the highest paid modern artists, can't seem to keep up with the demand. He paints two projects each month (which will sell for no less than $1 million), but the waiting list is still long. Entertainment giant David Geffen paid $40 million for "Gray Numbers" a few years back and New York City's Metropolitan Museum of Art allegedly paid over $20 million for "White Flag."
John's colorful paintings touch upon Americana themes -- with lots of flags, maps and targets - with subtle messages that affect every onlooker differently. If a collector is fortunate enough to find a Jasper Johns in an art auction house, then there's no telling how much it'll sell for.
One can't help but wonder about what accounts for the noticeable trend towards modern art? Most of the buyers (42%) at the Sotheby's contemporary art auction continue to be Europeans, with the US trailing at 19%, and Asia / Middle Eastern sales at 12%.
It seems that the high price of the pound is hurting many Americans more than the credit crunch, but London's weekend auctions saw many advances from interested Indian and Chinese buyers looking for a piece of cultural heritage. For instance, two bidders fought over Yue Minjun's "Execution" for six minutes, which finally sold for a record breaking $2.93 million. Likewise, one of Putu Sutawijaya's paintings ("Silent Road") sold for $350,000 (11 times its estimated price) at the Borobudur Auction!
The art world is changing from the traditional swanky event, complete with fine wine, cheese and fashionable attire - to one of sitting behind the computer screen, credit card in hand. While it may seem impersonal to some, it's advantageous to others, who have the ability to hop between sites, checking the fair prices for the particular work they've got their eye on. After browsing online catalogues, art lovers can get a good idea of what's available in the up-to-date marketplace, and then make the best purchase later at a contemporary art auction.
Author Resource:-> Enrich your knowledge further about contemporary art auction from Mike Selvon portal. We appreciate your feedback at our fine art auctions blog where a free gift awaits you.
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Tags: airline miles sell, art purchases, art sells, arts sale, buy car, buy cars, buy cars for sale, buy classifieds, buy for sale, buy used car, buy used cars, classifieds sell, purchase arts, resell art, sale sell, sell auction, sell books, sell car, sell cars, sell classified ads, sell equipment, sell for cash, sell for sale, sell side, sell swg credits, sell textbooks, sell ticket, sell tickets, sell used books, sell used car, sell used cars, sell used cds, selling arts, trade sell
The world of modern art is changing. Just visit a contemporary art auction for a clue. Unknown artists find the value of their works quadrupling within years. Chinese and Indian artists are finding greater audiences, and wealthy patrons of the arts aren't just paying thousands - they're paying millions.
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Traditionally, an artist's older works garnered higher bids and more frenzied requests. However, painters like Brice Marden are changing the status quo with a whole collection of recent, sought-after work.
The top 10 contemporary artists, whose works sold for over $5 million at auction, are as follows: Lucian Freud, Jasper Johns, Jeff Koons, Brice Marden, Bruce Nauman, Robert Rauschenberg, Gerhard Richter, Richard Serra, Frank Stella, and Cy Twombly. Other artists (in the $1 - $4 million range) to look out for include: Chuck Close, David Hockney, Ellsworth Kelly, Anselm Kiefer, Claes Oldenburg, Robert Ryman, and Wayne Thiebaud.
Jasper Johns, one of the highest paid modern artists, can't seem to keep up with the demand. He paints two projects each month (which will sell for no less than $1 million), but the waiting list is still long. Entertainment giant David Geffen paid $40 million for "Gray Numbers" a few years back and New York City's Metropolitan Museum of Art allegedly paid over $20 million for "White Flag."
John's colorful paintings touch upon Americana themes -- with lots of flags, maps and targets - with subtle messages that affect every onlooker differently. If a collector is fortunate enough to find a Jasper Johns in an art auction house, then there's no telling how much it'll sell for.
One can't help but wonder about what accounts for the noticeable trend towards modern art? Most of the buyers (42%) at the Sotheby's contemporary art auction continue to be Europeans, with the US trailing at 19%, and Asia / Middle Eastern sales at 12%.
It seems that the high price of the pound is hurting many Americans more than the credit crunch, but London's weekend auctions saw many advances from interested Indian and Chinese buyers looking for a piece of cultural heritage. For instance, two bidders fought over Yue Minjun's "Execution" for six minutes, which finally sold for a record breaking $2.93 million. Likewise, one of Putu Sutawijaya's paintings ("Silent Road") sold for $350,000 (11 times its estimated price) at the Borobudur Auction!
The art world is changing from the traditional swanky event, complete with fine wine, cheese and fashionable attire - to one of sitting behind the computer screen, credit card in hand. While it may seem impersonal to some, it's advantageous to others, who have the ability to hop between sites, checking the fair prices for the particular work they've got their eye on. After browsing online catalogues, art lovers can get a good idea of what's available in the up-to-date marketplace, and then make the best purchase later at a contemporary art auction.
Author Resource:-> Enrich your knowledge further about contemporary art auction from Mike Selvon portal. We appreciate your feedback at our fine art auctions blog where a free gift awaits you.
Article From Niche Article Directory
Tags: airline miles sell, art purchases, art sells, arts sale, buy car, buy cars, buy cars for sale, buy classifieds, buy for sale, buy used car, buy used cars, classifieds sell, purchase arts, resell art, sale sell, sell auction, sell books, sell car, sell cars, sell classified ads, sell equipment, sell for cash, sell for sale, sell side, sell swg credits, sell textbooks, sell ticket, sell tickets, sell used books, sell used car, sell used cars, sell used cds, selling arts, trade sell
Art Presents And Folk Russian Painting in Art Store Online
By: Will Nilson
Originally Khokhloma wood tableware were produced in monasteries and for the czar court only. At that time Khokhloma tableware production was not large scale. It was because of expensive imported tin. In 1720s after the end of the North War tin flow to Russian increased. The price went down and the material came within reach of many masters. The production and the sales of brightly painted hand made art works expanded.
Thus in the XIX century items with khokhloma painting were famous not only in Russia but in Persia, India, Middle East, the USA and Australia as well. The export of khokhloma items grew after the worldwide exhibition in 1889 in Paris.
Khokhloma russian painting amazes you with its delicate grass pattern and festive coloring, which is based on combination of scarlet cinnabar and flittering gold against the black lacquer background. This is Khokhloma specific feature. Masters used tin powder and lacquer to obtain such gold color. Now they use aluminum powder.
First, the art tableware are shaped on a lathe from the dried lime wood, which are turned into bowls, vases, mugs, dishes and spoons.
They are dried and covered with red and brown primer, so that they start looking like earthen. The unpainted articles are now coated with drying oil. Next they are polished with powdered aluminium. They become dull shining, like silver, and go to the painting division. Painted articles are then varnished and hardened in ovens at the temperature of 120-130 degrees. The heat turns the varnish yellow, the "silver" into "gold" and mellows the vivid design with an even, golden tone.
Apart from Khokhloma wood presents of tableware most visitors to Russia will have at least one set of Matrioshka dolls in their luggage. These dolls within dolls have long been a source of fascination. The undoing of the main doll to reveal others almost ad-in-finitem has always produced wonderment and appreciation for the woodcrafts art.
Examples of beautiful Khokhloma wood art gifts, Paleh and Mstera lacquered miniatures you can look at art store online site. It is amazing that what started out as a true folk tradition over 300 years ago is still thriving and remains basically true to it's roots, albeit on a more organized scale.
Author Resource:-> Will Nilson, Art News Department of Art shop online, 2007. Online art gift shop suggest wood gift ideas for home and office decorations! Here you can view unique art collections of painted wooden cookware and buy any liked wood art presents.
Article From Niche Article Directory
Originally Khokhloma wood tableware were produced in monasteries and for the czar court only. At that time Khokhloma tableware production was not large scale. It was because of expensive imported tin. In 1720s after the end of the North War tin flow to Russian increased. The price went down and the material came within reach of many masters. The production and the sales of brightly painted hand made art works expanded.
Thus in the XIX century items with khokhloma painting were famous not only in Russia but in Persia, India, Middle East, the USA and Australia as well. The export of khokhloma items grew after the worldwide exhibition in 1889 in Paris.
Khokhloma russian painting amazes you with its delicate grass pattern and festive coloring, which is based on combination of scarlet cinnabar and flittering gold against the black lacquer background. This is Khokhloma specific feature. Masters used tin powder and lacquer to obtain such gold color. Now they use aluminum powder.
First, the art tableware are shaped on a lathe from the dried lime wood, which are turned into bowls, vases, mugs, dishes and spoons.
They are dried and covered with red and brown primer, so that they start looking like earthen. The unpainted articles are now coated with drying oil. Next they are polished with powdered aluminium. They become dull shining, like silver, and go to the painting division. Painted articles are then varnished and hardened in ovens at the temperature of 120-130 degrees. The heat turns the varnish yellow, the "silver" into "gold" and mellows the vivid design with an even, golden tone.
Apart from Khokhloma wood presents of tableware most visitors to Russia will have at least one set of Matrioshka dolls in their luggage. These dolls within dolls have long been a source of fascination. The undoing of the main doll to reveal others almost ad-in-finitem has always produced wonderment and appreciation for the woodcrafts art.
Examples of beautiful Khokhloma wood art gifts, Paleh and Mstera lacquered miniatures you can look at art store online site. It is amazing that what started out as a true folk tradition over 300 years ago is still thriving and remains basically true to it's roots, albeit on a more organized scale.
Author Resource:-> Will Nilson, Art News Department of Art shop online, 2007. Online art gift shop suggest wood gift ideas for home and office decorations! Here you can view unique art collections of painted wooden cookware and buy any liked wood art presents.
Article From Niche Article Directory
Your Art Auctions Questions Answered
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By: MIKE SELVON
Most people look forward to hanging their prized artwork on the walls of their home. It is something that starts conversations. It can be appreciated for its aesthetic value. Not all art has to cost you an arm and a leg to own.
Some are worth millions of dollars and some worth only pennies. Knowing how to buy a piece of art can make the difference between getting ripped off and finding a true one of a kind piece. Art does not have to be confined to just a canvas. It can be anything you find attractive and wish to own.
In this article we will discuss one of the most popular ways to find artwork: the art auction. Hopefully by the end you will have enough confidence to venture out to visit some art auctions and find the piece of your dreams.
Are all art auctions the same?
There are some very huge differences in art auctions. There are world renowned art auctions such as Sothebys or Christies and art auctions held at estate sales. You can also find art work on Ebay. Where you bid plays a huge factor in what you are going to receive.
There are auctions where you must be invited to attend. There are absentee auctions where you review the listing and place a maximum bid. The world of art auctions is extensive and unless you are very familiar with the art world, it can seem a bit confusing.
What do I need to do if I want to sell a piece of art?
The first thing you need to do is get the piece appraised. Once you have a relative value for the piece it does not hurt to get a little bit of background information on the artist. This will be very helpful if you are trying to sell the piece yourself.
If you do not want to sell the piece yourself or want to reach a wider audience, consider letting an auction house sell it for you. You can get their opinion on the opening bid price and go from there. You will have to give them a percentage of the sale.
What can I expect my art piece to sell for?
That is an impossible question to answer without knowing exactly what you have. A DaVinci will sell for a whole lot more money than your neighbor's daughter's finger painting.
No one can give you an accurate estimate of your art work by just going on a description. It takes the trained eye of a professional in order to determine what it is worth.
Can I use Ebay to sell my art work?
Yes, of course you can use Ebay to sell your art work. If it is a rare piece of art you may want to reconsider. Ebay is known for bargains and this is one time when bargaining may not be in your best interest.
For less expensive prints, paintings or pieces you can receive a fair deal. Just make sure to give a very accurate description of the piece and also make sure and demand that the winner pay for insurance. That way no one will be out of money should the art work be damaged during shipping.
I bought a painting at a local auction and it needs restoration. Can I do this myself?
It would not be recommended. Paintings are delicate things. Over time they can accumulate dirt, grime and the colors can fade if the painting was not properly cared for. A professional restorer is your safest option if you want to ensure your art work is not ruined.
Author Resource:-> Enrich your knowledge further about art auctions from Mike Selvon portal. We appreciate your feedback at our fine art auctions blog where a free gift awaits you.
Article From Niche Article Directory
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By: MIKE SELVON
Most people look forward to hanging their prized artwork on the walls of their home. It is something that starts conversations. It can be appreciated for its aesthetic value. Not all art has to cost you an arm and a leg to own.
Some are worth millions of dollars and some worth only pennies. Knowing how to buy a piece of art can make the difference between getting ripped off and finding a true one of a kind piece. Art does not have to be confined to just a canvas. It can be anything you find attractive and wish to own.
In this article we will discuss one of the most popular ways to find artwork: the art auction. Hopefully by the end you will have enough confidence to venture out to visit some art auctions and find the piece of your dreams.
Are all art auctions the same?
There are some very huge differences in art auctions. There are world renowned art auctions such as Sothebys or Christies and art auctions held at estate sales. You can also find art work on Ebay. Where you bid plays a huge factor in what you are going to receive.
There are auctions where you must be invited to attend. There are absentee auctions where you review the listing and place a maximum bid. The world of art auctions is extensive and unless you are very familiar with the art world, it can seem a bit confusing.
What do I need to do if I want to sell a piece of art?
The first thing you need to do is get the piece appraised. Once you have a relative value for the piece it does not hurt to get a little bit of background information on the artist. This will be very helpful if you are trying to sell the piece yourself.
If you do not want to sell the piece yourself or want to reach a wider audience, consider letting an auction house sell it for you. You can get their opinion on the opening bid price and go from there. You will have to give them a percentage of the sale.
What can I expect my art piece to sell for?
That is an impossible question to answer without knowing exactly what you have. A DaVinci will sell for a whole lot more money than your neighbor's daughter's finger painting.
No one can give you an accurate estimate of your art work by just going on a description. It takes the trained eye of a professional in order to determine what it is worth.
Can I use Ebay to sell my art work?
Yes, of course you can use Ebay to sell your art work. If it is a rare piece of art you may want to reconsider. Ebay is known for bargains and this is one time when bargaining may not be in your best interest.
For less expensive prints, paintings or pieces you can receive a fair deal. Just make sure to give a very accurate description of the piece and also make sure and demand that the winner pay for insurance. That way no one will be out of money should the art work be damaged during shipping.
I bought a painting at a local auction and it needs restoration. Can I do this myself?
It would not be recommended. Paintings are delicate things. Over time they can accumulate dirt, grime and the colors can fade if the painting was not properly cared for. A professional restorer is your safest option if you want to ensure your art work is not ruined.
Author Resource:-> Enrich your knowledge further about art auctions from Mike Selvon portal. We appreciate your feedback at our fine art auctions blog where a free gift awaits you.
Article From Niche Article Directory
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Should I Try Another Auction House?
Q: I tried to sell a group of late-19th century etchings by known American and European artists at a local auction. They failed to sell as my reserve was $1000 and the high bid was only $700. The auction house said they'd put them up for sale again, but only if I lower my reserve to $500. I still want the $1000-- the total of the individual values of the prints exceeds that. Should I try another auction house? What do you recommend?
A: The auctioneer's request is perfectly reasonable. To begin with, the prints are damaged goods, in a sense, because they were offered at a public sale and failed to sell. The perception among potential buyers is that no one wanted them. If you put them up again at the same house any time soon, using the lower reserve would be an excellent idea.
You could try another auction house, but collectors are pretty sophisticated these days and those who are the most serious about acquiring your prints will probably recognize that they've seen the lot somewhere before. The bad news is that if they fail to sell again, they'll be devalued even further. If you continue to insist on too much money, over-shop the prints, and repeatedly fail to locate a buyer, you'll end up being unable to sell them at any reasonable price.
Another mistake you're making is basing your reserve on what the individual prints would sell for. The only times that lot prices either equal or exceed the sum of the individual prices is when the pieces are related, are part of a series, form relatively complete collections, or would take years to assemble piece by piece. The one common aspect of your etchings is that they date from approximately the same time period. Other than that, they're little more than a miscellaneous group of unrelated images. The reason why they sell for less is that serious buyers only want specific images, want the lot based on what they'd have to pay for only those images, and want get rid of the rest without too much trouble or financial loss.
If you insist on sticking with the high reserve, thoroughly research the marketplace before placing them up for sale again. You may get lucky and locate a particular sales venue that consistently sells such prints for higher prices than the competition. But don't get your hopes up. Chances are much better that the $500 reserve suggested by the auctioneer is the way to go, whether you consign to his auction house or another.
Another possibility might be to have the auction house contact the high bidder and attempt to arrange a private sale of just a portion of the lot. If he's willing to offer a good price without taking too many prints, you may be able to auction the remainder at a lower estimate and come close to your $1000 asking price between the two sales.
A: The auctioneer's request is perfectly reasonable. To begin with, the prints are damaged goods, in a sense, because they were offered at a public sale and failed to sell. The perception among potential buyers is that no one wanted them. If you put them up again at the same house any time soon, using the lower reserve would be an excellent idea.
You could try another auction house, but collectors are pretty sophisticated these days and those who are the most serious about acquiring your prints will probably recognize that they've seen the lot somewhere before. The bad news is that if they fail to sell again, they'll be devalued even further. If you continue to insist on too much money, over-shop the prints, and repeatedly fail to locate a buyer, you'll end up being unable to sell them at any reasonable price.
Another mistake you're making is basing your reserve on what the individual prints would sell for. The only times that lot prices either equal or exceed the sum of the individual prices is when the pieces are related, are part of a series, form relatively complete collections, or would take years to assemble piece by piece. The one common aspect of your etchings is that they date from approximately the same time period. Other than that, they're little more than a miscellaneous group of unrelated images. The reason why they sell for less is that serious buyers only want specific images, want the lot based on what they'd have to pay for only those images, and want get rid of the rest without too much trouble or financial loss.
If you insist on sticking with the high reserve, thoroughly research the marketplace before placing them up for sale again. You may get lucky and locate a particular sales venue that consistently sells such prints for higher prices than the competition. But don't get your hopes up. Chances are much better that the $500 reserve suggested by the auctioneer is the way to go, whether you consign to his auction house or another.
Another possibility might be to have the auction house contact the high bidder and attempt to arrange a private sale of just a portion of the lot. If he's willing to offer a good price without taking too many prints, you may be able to auction the remainder at a lower estimate and come close to your $1000 asking price between the two sales.
Proper Presentation
Q: I attended a collectibles show in a large unheated building on the outskirts of the city where I live. The quality of the merchandise was uneven, but some was pretty good. At one booth I saw a group of etchings by a known artist lying in a pile on a table. I expected to hear a reasonable figure when I asked the price, but was instead quoted top retail. I thought this was ridiculous, considering the circumstances, and walked away without saying a word. What do you think?
A: I would have probably done the same thing. In any segment of the art, antique, or collectibles businesses you pretty much have to know your place on the food chain. If you're selling a painting out of the back of your van or at the local flea market, for example, it should be priced less than if you're selling it out of your $50,000 a month gallery space on 57th Street in Manhattan-- even if it's the identical painting!!
Four of the most important aspects of selling art at top retail are proper presentation, credibility of the seller, access to the right client base, and service. To elaborate, the art has to be for sale at the right location and framed and displayed in a way that maximizes its dramatic impact. The gallery must offer a full range of services such as delivery, installation, appraisals, research, and moneyback guarantees. It must have an established track record of selling quality art to experienced collectors. Obviously, this is not the same as shuffling through a pile of etchings on a table in an unheated building.
Overpricing for one reason or another will always be a problem and will probably only get worse due to the increased amount of information available to dealers at all levels. In particular, price guides and the Internet are having a greater and greater impact. People can locate dollar values of just about anything in price guides, auction record compendiums, websites, newsgroups, databases, or mailing lists and compare it to what they have for sale. Unfortunately, they can't as easily locate or acquire the knowledge and experience necessary to understand why those prices are what they are and under what circumstances the merchandise must be offered in order for it to sell at those figures.
A: I would have probably done the same thing. In any segment of the art, antique, or collectibles businesses you pretty much have to know your place on the food chain. If you're selling a painting out of the back of your van or at the local flea market, for example, it should be priced less than if you're selling it out of your $50,000 a month gallery space on 57th Street in Manhattan-- even if it's the identical painting!!
Four of the most important aspects of selling art at top retail are proper presentation, credibility of the seller, access to the right client base, and service. To elaborate, the art has to be for sale at the right location and framed and displayed in a way that maximizes its dramatic impact. The gallery must offer a full range of services such as delivery, installation, appraisals, research, and moneyback guarantees. It must have an established track record of selling quality art to experienced collectors. Obviously, this is not the same as shuffling through a pile of etchings on a table in an unheated building.
Overpricing for one reason or another will always be a problem and will probably only get worse due to the increased amount of information available to dealers at all levels. In particular, price guides and the Internet are having a greater and greater impact. People can locate dollar values of just about anything in price guides, auction record compendiums, websites, newsgroups, databases, or mailing lists and compare it to what they have for sale. Unfortunately, they can't as easily locate or acquire the knowledge and experience necessary to understand why those prices are what they are and under what circumstances the merchandise must be offered in order for it to sell at those figures.
All of The Data Gathered Within DaVinci
a la mode, inc., one of the real estate industry's largest and most mission-critical technology companies, announced today that its DaVinci product is the first real estate appraisal program in the US to receive the Certified for Windows Vista logo, ushering in next-generation reliability to the real estate appraisal process. DaVinci also runs on Windows 2000 and Windows XP.
DaVinci allows appraisers to easily create floor plan sketches, either at the office using a desktop computer, or in the field using a Tablet PC or UMPC and a digital pen. When used on site at a field inspection, DaVinci allows appraisers to also gather required information, take freeform notes, and manage photos, in addition to sketching the floorplan.
a la mode's companion desktop formfilling software, WinTOTAL, is overwhelmingly the most popular appraisal program on the market, with more than half of all real estate appraisers nationwide utilizing it. All of the data gathered within DaVinci, including the sketch, stays organized in a single file that is saved in a native WinTOTAL format, which makes it seamless and simple to transfer to the final appraisal report.
Until now, appraisers typically used pencil, paper, and a traditional clipboard to sketch the property and gather data, but that process can easily introduce errors. It's possible using manual methods to overlook measurements, be unaware that a measurement is incorrect, or even fail to note important features of the property being appraised. DaVinci guides the appraiser through a completely customizable onsite inspection, and provides an interactive checklist of critical data which needs to be gathered before leaving the site. An appraiser in the field can also drive by comparable properties and complete the appropriate sections of the report directly within DaVinci, ensuring the best comparables are used and that the comparable data is as accurate as possible. Data is saved in the appraiser's Digital Workfile, storing a full audit trail of the work done and ensuring compliance with government regulations and professional standards.
In addition to improving the reliability of the information gathered, DaVinci enables the appraiser to go directly from the field inspection to the final report without retyping data or sorting through the subject and comparable photos, saving the appraiser substantial amounts of time and effort.
"The real estate industry is undergoing massive technological transformation, and appraisers are at the leading edge of it," said David Biggers, Chairman and founder of a la mode. "Microsoft's rigorous standards and independent laboratory testing allow companies such as ours to provide the innovative tools appraisers now require, while simultaneously assuring them that they'll have a positive experience with reliable software."
"Microsoft is pleased that a la mode has earned the Certified for Windows Vista software logo for its DaVinci application," said Jeff Price, Senior Director of Windows Client Product Management at Microsoft Corp. "This highlights a la mode's commitment to providing its customers with higher quality applications that deliver a more secure, reliable and compatible experience with Windows Vista."
Thousands of real estate professionals have downloaded and evaluated DaVinci prior to its release from the a la mode Labs website, providing valuable input and feedback as part of the development process. DaVinci is available for download at alamode.
About a la mode
Founded in 1985, a la mode develops desktop, mobile, and Web tools for the real estate and mortgage industries. a la mode's mission-critical products are used by hundreds of thousands of appraisers, agents, inspectors, and lending professionals to complete the nation's real estate transactions. a la mode's state-of-the-art offices are located in Salt Lake City, Oklahoma City, and Washington, DC. For more information, visit alamode.
DaVinci allows appraisers to easily create floor plan sketches, either at the office using a desktop computer, or in the field using a Tablet PC or UMPC and a digital pen. When used on site at a field inspection, DaVinci allows appraisers to also gather required information, take freeform notes, and manage photos, in addition to sketching the floorplan.
a la mode's companion desktop formfilling software, WinTOTAL, is overwhelmingly the most popular appraisal program on the market, with more than half of all real estate appraisers nationwide utilizing it. All of the data gathered within DaVinci, including the sketch, stays organized in a single file that is saved in a native WinTOTAL format, which makes it seamless and simple to transfer to the final appraisal report.
Until now, appraisers typically used pencil, paper, and a traditional clipboard to sketch the property and gather data, but that process can easily introduce errors. It's possible using manual methods to overlook measurements, be unaware that a measurement is incorrect, or even fail to note important features of the property being appraised. DaVinci guides the appraiser through a completely customizable onsite inspection, and provides an interactive checklist of critical data which needs to be gathered before leaving the site. An appraiser in the field can also drive by comparable properties and complete the appropriate sections of the report directly within DaVinci, ensuring the best comparables are used and that the comparable data is as accurate as possible. Data is saved in the appraiser's Digital Workfile, storing a full audit trail of the work done and ensuring compliance with government regulations and professional standards.
In addition to improving the reliability of the information gathered, DaVinci enables the appraiser to go directly from the field inspection to the final report without retyping data or sorting through the subject and comparable photos, saving the appraiser substantial amounts of time and effort.
"The real estate industry is undergoing massive technological transformation, and appraisers are at the leading edge of it," said David Biggers, Chairman and founder of a la mode. "Microsoft's rigorous standards and independent laboratory testing allow companies such as ours to provide the innovative tools appraisers now require, while simultaneously assuring them that they'll have a positive experience with reliable software."
"Microsoft is pleased that a la mode has earned the Certified for Windows Vista software logo for its DaVinci application," said Jeff Price, Senior Director of Windows Client Product Management at Microsoft Corp. "This highlights a la mode's commitment to providing its customers with higher quality applications that deliver a more secure, reliable and compatible experience with Windows Vista."
Thousands of real estate professionals have downloaded and evaluated DaVinci prior to its release from the a la mode Labs website, providing valuable input and feedback as part of the development process. DaVinci is available for download at alamode.
About a la mode
Founded in 1985, a la mode develops desktop, mobile, and Web tools for the real estate and mortgage industries. a la mode's mission-critical products are used by hundreds of thousands of appraisers, agents, inspectors, and lending professionals to complete the nation's real estate transactions. a la mode's state-of-the-art offices are located in Salt Lake City, Oklahoma City, and Washington, DC. For more information, visit alamode.
Like Stylish Canaries In a Coal Mine
Featured article from Google alert about arts. Sunday Real Estate Round-Up, 4/6/08
Luxist - Santa Monica,CA,USA
There is no record of a mortgage so she may have paid cash. --Art collector Adam Lindemann and his wife, Amalia Dayan have bought a slim townhouse at 64 ...
Luxist - Santa Monica,CA,USA
There is no record of a mortgage so she may have paid cash. --Art collector Adam Lindemann and his wife, Amalia Dayan have bought a slim townhouse at 64 ...
Like stylish canaries in a coal mine, Miami's art advisors are increasingly being looked to for early warnings of the art market's collapse. Indeed, even among those previously most bullish about contemporary art's investment potential, the question is no longer if a replay of the 1990 crash will unfold, but more often when it will arrive.
''I see the black clouds over every auction,'' says art advisor Lisa Austin, ruefully describing the flurry of anxious conversations preceding the recent art sales by Christie's, Phillips de Pury & Co. and Sotheby's auction houses in New York and London. ``Common sense says there's going to be a shake-out -- there's a similarity to the run-up of the art market of the late '80s. Everybody said that incredible pace couldn't be sustained.''
And they were right. When the art market bubble popped in 1990 amid a national recession, the realignment was vicious. Art stars of the 1980s such as Eric Fischl and Julian Schnabel suddenly found their work selling for a tenth of their earlier seven-figure price tags -- if it sold at all. As belt-tightening collectors abandoned the field, scores of galleries closed, forcing waves of previously successful artists to set down their paint brushes in search of day jobs.
This time out, with Miami's post-Art Basel gallery expansion handily dwarfing the '80s boom, the correction could be even more painful. ''Look at the way Art Basel has been marketed,'' says art advisor Heather Urban. ``I hear so many people talking as much about the parties, and who they're being seen with, as about the art.''
Once the cash -- and its attendant glitz -- drains away, many expect these fickle crowds to also vanish.
IN THE WORKS
To hear art advisor Dora Valdés-Fauli tell it, the weeding-out process has already begun. ''The art market is not immune to the same factors that have touched the housing market,'' Valdés-Fauli says. Many of the local banks she's helped assemble collections, such as Banco Santander International, have ceased new acquisitions. ''Look at Bear Stearns,'' she says, referring to the meltdown of the once seemingly-impregnable brokerage firm. ``Try to convince a bank board they should be purchasing art now.''
''Now is the time to cash out,'' says Lang Baumgarten, a longtime client of Lisa Austin's dating back to her stint as art director for Southeast Bank (whose own impressive collection was scattered to the winds following the bank's 1991 insolvency). As a commercial mortgage broker, Baumgarten has a quick metric for judging the market's peak: ''At the height of the real estate business, every hooker-model-actress in town reinvented themselves as a real-estate broker. Now those same people are calling themselves art consultants.'' Pointing to Eliot Spitzer's notorious overnight hotel guest, he scoffs, ``I'm sure Ashley Dupré is going to be an art advisor by next year.''
Read the complete article by Brett Sokol
Another Problem With Free Appraisals
Feature this article from one of the best site about buy and sell art. It's about free appraisals, arts, buy arts, sell arts. Enjoy.
Q: I never pay for an art appraisal. When I find an interesting piece of art and need an appraisal, I usually take it to a local auction house and have their appraiser tell me what they think they can sell it for. I hardly ever sell through them though. I either keep the art for myself or sell it to collectors on my own. I get the best of all worlds by saving on appraisal fees, auction house commissions. Is this a good idea? And what about those appraisers or dealers on the internet or in the phone book who advertise free appraisals? I'm thinking about starting to use them too.
A: A "free appraisal" is never free, and they're bad ideas for several reasons. The obvious one in your case is that you're repeatedly using the same people for free advice at the auction house. The auction house offers free appraisals to attract merchandise to their sales; they're not a public service or a price research service for your personal dealing and collecting needs. They very likely know you're taking advantage of them and that nothing will come of the time they spend with you, so as a result, they move you in and out as quickly as possible with minimal efforts on their part. They won't bother performing in-depth research or fine tuning the accuracy of their initial figures unless you consign the art. Why waste time with you when there's nothing in it for them?
The less obvious problem with so-called free appraisals from auction houses is that they're not really appraisals at all. They're only quick approximations of what auction houses think your art will sell for at their sales. The estimates do not necessarily reflect how the art might sell at someone else's auction or what it's fair market value might be. What one auction house can sell an item for might be completely different from what the next one can sell it for. Hammer prices at any particular auction house more accurately reflect the client base of that auction house than it does the market in general or the fair market values of the art that they sell.
But wait; there's more. Another problem with free appraisals is that, except in the case of the world's major auction houses, the staff people who conduct them tend to be younger, less experienced, and not necessarily able to accurately assess dollar values. Actual auction results may differ drastically from what you are told. Even the major auction houses can be way off in their estimates with art selling for either far greater dollar amounts than their estimates or failing to sell at all. Also keep in mind that auction houses try to keep estimates on the low side because that means they stand a better chance of selling the art.
Read the complete article here...
Q: I never pay for an art appraisal. When I find an interesting piece of art and need an appraisal, I usually take it to a local auction house and have their appraiser tell me what they think they can sell it for. I hardly ever sell through them though. I either keep the art for myself or sell it to collectors on my own. I get the best of all worlds by saving on appraisal fees, auction house commissions. Is this a good idea? And what about those appraisers or dealers on the internet or in the phone book who advertise free appraisals? I'm thinking about starting to use them too.
A: A "free appraisal" is never free, and they're bad ideas for several reasons. The obvious one in your case is that you're repeatedly using the same people for free advice at the auction house. The auction house offers free appraisals to attract merchandise to their sales; they're not a public service or a price research service for your personal dealing and collecting needs. They very likely know you're taking advantage of them and that nothing will come of the time they spend with you, so as a result, they move you in and out as quickly as possible with minimal efforts on their part. They won't bother performing in-depth research or fine tuning the accuracy of their initial figures unless you consign the art. Why waste time with you when there's nothing in it for them?
The less obvious problem with so-called free appraisals from auction houses is that they're not really appraisals at all. They're only quick approximations of what auction houses think your art will sell for at their sales. The estimates do not necessarily reflect how the art might sell at someone else's auction or what it's fair market value might be. What one auction house can sell an item for might be completely different from what the next one can sell it for. Hammer prices at any particular auction house more accurately reflect the client base of that auction house than it does the market in general or the fair market values of the art that they sell.
But wait; there's more. Another problem with free appraisals is that, except in the case of the world's major auction houses, the staff people who conduct them tend to be younger, less experienced, and not necessarily able to accurately assess dollar values. Actual auction results may differ drastically from what you are told. Even the major auction houses can be way off in their estimates with art selling for either far greater dollar amounts than their estimates or failing to sell at all. Also keep in mind that auction houses try to keep estimates on the low side because that means they stand a better chance of selling the art.
Read the complete article here...
Lococo Fine Art Publisher
The following article covers a topic that has recently moved to center stage at least it seems that way. If you've been thinking you need to know more about it, here's your opportunity.
Now that we've covered those aspects of Lococo Fine Art Publisher, fine art, art, artist, listing, artwork, sell art online, buy art online, buy and sell arts, let's turn to some of the other factors that need to be considered.
Couldn't find much information about Lococo Fine Art Publisher, another nice site about fine art. Just found this site from link referral. Here's where you can reach them:
9320 Olive Boulevard
St. Louis, Missouri 63132 USA
Tel 1: (314) 994-0240
Tel 2: (800) 345-1764 US and Canada
Fax: (314) 994-0545
Robert Lococo
Mark Niesman
Ben Shambaugh
And the list of the artist you can browse through the site:
Joe Andoe
Donald Baechler
Ross Bleckner
Greg Bogin
James Brown
William S. Burroughs
Francesco Clemente
Peter Halley
Keith Haring
David Hockney
Christopher Makos
John "Crash" Matos
Julian Schnabel
Tom Slaughter
Paul Solberg
Donald Sultan
Ernest Trova
Bernar Venet
Andy Warhol
Liu Ye
Ford Beckman
Michael Bevilacqua
Dike Blair
Michael Byron
Ellen Carey
Sarah Charlesworth
Robert Cottingham
Raimundo Figueroa
Eric Fischl
Richard Haas
Al Held
Rebecca Horn
Nicholas Howey
Alex Katz
Scott Kilgour
Sol LeWitt
Alexander Liberman
Robert Longo
Ted Mineo
Elizabeth Murray
Louise Nevelson
Robert Risko
Lisa Ruyter
David Salle
Kenny Scharf
Christian Schumann
Barbara Takenaga
Fred Tomaselli
Oliver Warden
William Wegman
Terry Winters
Christopher Wool
Take time to consider the points presented above. What you learn may help you overcome your hesitation to take action.
Now that we've covered those aspects of Lococo Fine Art Publisher, fine art, art, artist, listing, artwork, sell art online, buy art online, buy and sell arts, let's turn to some of the other factors that need to be considered.
Couldn't find much information about Lococo Fine Art Publisher, another nice site about fine art. Just found this site from link referral. Here's where you can reach them:
9320 Olive Boulevard
St. Louis, Missouri 63132 USA
Tel 1: (314) 994-0240
Tel 2: (800) 345-1764 US and Canada
Fax: (314) 994-0545
Robert Lococo
Mark Niesman
Ben Shambaugh
And the list of the artist you can browse through the site:
Joe Andoe
Donald Baechler
Ross Bleckner
Greg Bogin
James Brown
William S. Burroughs
Francesco Clemente
Peter Halley
Keith Haring
David Hockney
Christopher Makos
John "Crash" Matos
Julian Schnabel
Tom Slaughter
Paul Solberg
Donald Sultan
Ernest Trova
Bernar Venet
Andy Warhol
Liu Ye
Ford Beckman
Michael Bevilacqua
Dike Blair
Michael Byron
Ellen Carey
Sarah Charlesworth
Robert Cottingham
Raimundo Figueroa
Eric Fischl
Richard Haas
Al Held
Rebecca Horn
Nicholas Howey
Alex Katz
Scott Kilgour
Sol LeWitt
Alexander Liberman
Robert Longo
Ted Mineo
Elizabeth Murray
Louise Nevelson
Robert Risko
Lisa Ruyter
David Salle
Kenny Scharf
Christian Schumann
Barbara Takenaga
Fred Tomaselli
Oliver Warden
William Wegman
Terry Winters
Christopher Wool
Take time to consider the points presented above. What you learn may help you overcome your hesitation to take action.
Artspan Is Home to 2000 Artist
Would you like to find out what those-in-the-know have to say about Artspan, artist, art, arts, painting, sculpture, photography, contemporary art, modern art, artist websites, portal, featuring articles, reviews, events, extensive resource lists and links? The information in the article below comes straight from well-informed experts with special knowledge about Artspan, artist, art, arts, painting, sculpture, photography, contemporary art, modern art, artist websites, portal, featuring articles, reviews, events, extensive resource lists and links.
It seems like new information is discovered about something every day. And the topic of Artspan, artist, art, arts, painting, sculpture, photography, contemporary art, modern art, artist websites, portal, featuring articles, reviews, events, extensive resource lists and links is no exception. Keep reading to get more fresh news about Artspan, artist, art, arts, painting, sculpture, photography, contemporary art, modern art, artist websites, portal, featuring articles, reviews, events, extensive resource lists and links.
Artspan is home to 2000 artist, artisan & art photographer member art sites. Visitors can use our search functions or directories to view thumbnail images, and click on the images to access the individual artist websites.
Artspan is a resource for anyone interested in contemporary art: painting, sculpture, photography, and much more. You can search for non-Artspan art sites or participate in the Forum or browse Articles.
Artspan is introducing a series of Portals to serve as gateways to genres, media and regions. See the categories below for portals featuring articles, reviews, events, extensive resource lists and links to individual websites. For more portals, go to the Portals Menu.
Since its beginnings in late 1999, the mission of Artspan has been to serve the visual arts community: both contemporary artists looking to create and consumers looking to purchase original contemporary art, contemporary art prints, art photography and more.
Artspan provides its fine artist members with easy-to-update low-cost elegant artist website templates. These fully customizable websited enable members to put their art online in minutes. These full member sites, along with the associate member sites, benefit from the top search engine rankings and resulting high volume of traffic artspan.com receives every day. This means more people will view your art - everyday.
Knowing enough about Artspan, artist, art, arts, painting, sculpture, photography, contemporary art, modern art, artist websites, portal, featuring articles, reviews, events, extensive resource lists and links to make solid, informed choices cuts down on the fear factor. If you apply what you've just learned about Artspan, artist, art, arts, painting, sculpture, photography, contemporary art, modern art, artist websites, portal, featuring articles, reviews, events, extensive resource lists and links, you should have nothing to worry about.
It seems like new information is discovered about something every day. And the topic of Artspan, artist, art, arts, painting, sculpture, photography, contemporary art, modern art, artist websites, portal, featuring articles, reviews, events, extensive resource lists and links is no exception. Keep reading to get more fresh news about Artspan, artist, art, arts, painting, sculpture, photography, contemporary art, modern art, artist websites, portal, featuring articles, reviews, events, extensive resource lists and links.
Artspan is home to 2000 artist, artisan & art photographer member art sites. Visitors can use our search functions or directories to view thumbnail images, and click on the images to access the individual artist websites.
Artspan is a resource for anyone interested in contemporary art: painting, sculpture, photography, and much more. You can search for non-Artspan art sites or participate in the Forum or browse Articles.
Artspan is introducing a series of Portals to serve as gateways to genres, media and regions. See the categories below for portals featuring articles, reviews, events, extensive resource lists and links to individual websites. For more portals, go to the Portals Menu.
Since its beginnings in late 1999, the mission of Artspan has been to serve the visual arts community: both contemporary artists looking to create and consumers looking to purchase original contemporary art, contemporary art prints, art photography and more.
Artspan provides its fine artist members with easy-to-update low-cost elegant artist website templates. These fully customizable websited enable members to put their art online in minutes. These full member sites, along with the associate member sites, benefit from the top search engine rankings and resulting high volume of traffic artspan.com receives every day. This means more people will view your art - everyday.
Visitors use Artspan's fine art search functions or artist directories to find art of interest to them. Whether they are looking for abstract paintings, landscape paintings or still life art, art photography, sculpture, ceramics or other works of fine art, it will be found at artspan.com.
Search for artwork by genre, medium, style, region or keyword with our advanced search functions. Or browse our many distinct directories - regional (state or country), category (and subcategory), or alphabetical. Explore the extraordinary variety of contemporary art found on our network of thousands of artist websites. We invite you also to participate in the art Forum and to take a look at the Articles section as well as the Calendar.
The year 2007 saw a further evolution of Artspan as we began to introduce multiple portals to serve as gateways to contemporary painting, art photography, sculpture, mixed media, fine art prints, ceramics, art jewelry, fiber arts and many more. These portals serve to introduce the different categories of artistic expression, giving each a distinct portal. They feature news and exhibits and also incorporate alphabetical directories of the members whose work corresponds to that particular portal. We invite all who are interested in contemporary art to visit us frequently, to follow our continuing evolution.Knowing enough about Artspan, artist, art, arts, painting, sculpture, photography, contemporary art, modern art, artist websites, portal, featuring articles, reviews, events, extensive resource lists and links to make solid, informed choices cuts down on the fear factor. If you apply what you've just learned about Artspan, artist, art, arts, painting, sculpture, photography, contemporary art, modern art, artist websites, portal, featuring articles, reviews, events, extensive resource lists and links, you should have nothing to worry about.
Art is a True Storyteller
If you're seriously interested in knowing about arts, buy art, story teller, personal side, artwork, fine art, authentic originals, you need to think beyond the basics. This informative article takes a closer look at things you need to know about arts, buy art, story teller, personal side, artwork, fine art, authentic originals.
I trust that what you've read so far has been informative. The following section should go a long way toward clearing up any uncertainty that may remain.
There are many reasons to buy art. You may want to decorate your home, buy a special present for someone who loves art, or you might be an independent collector and just wish to invest in art. Some people buy art because they think owning it will improve their social standing. Some people buy art because it reflects their values or philosophies of life. Regardless of your reasons for buying art, the reason you buy certain art will be no doubt be personal.
When you buy art, you will likely buy based on intuition. Certain pieces will evoke a feeling or a mood almost immediately upon viewing them. That feeling will either be good or bad. Studies indicate that art makes people feel a certain way and anyone who creates, views or collects art knows that is true.
An artist experiences their work differently than a collector; who experiences it differently than a gallery viewer. That is one of the reasons art is so interesting. Art can preserve memories and create dreams. A painting truly is worth 1,000 words. Buying art that makes you feel good feeds your spirit and makes you healthy. Art can reduce stress by adding to the beauty and tranquility of your environment and by projecting certain and appropriate moods.
Art is often important to individuals because it compliments existing surroundings or memorializes someone or something dear. Art can be healing, motivational, endearing or upsetting. It can move people to tears, to laughter or to rage. It is an outlet of expression void of words but deep in meaning and symbolism.
For some, art personifies strength and honor. Animals are a popular subject and certain animal artwork gives status to the owner, much like owning a fancy car would. Art as a means of pleasing the senses has undoubtedly been stimulating imagination and creativity for centuries. Meanings are often buried within symbols, colors and textures.
Civilizations, cultures and individuals use art as the depository of their history. Art makes people proud to live, work, and play where they do. They point to their museums, public monuments, and cultural institutions with pride, as they should. Art is a true storyteller of life through the ages.
No matter why you are buying art, feeling and intuition will play a major role in your decision to buy any particular piece. So now you know a little bit about arts, buy art, story teller, personal side, artwork, fine art, authentic originals. Even if you don't know everything, you've done something worthwhile: you've expanded your knowledge.
I trust that what you've read so far has been informative. The following section should go a long way toward clearing up any uncertainty that may remain.
There are many reasons to buy art. You may want to decorate your home, buy a special present for someone who loves art, or you might be an independent collector and just wish to invest in art. Some people buy art because they think owning it will improve their social standing. Some people buy art because it reflects their values or philosophies of life. Regardless of your reasons for buying art, the reason you buy certain art will be no doubt be personal.
When you buy art, you will likely buy based on intuition. Certain pieces will evoke a feeling or a mood almost immediately upon viewing them. That feeling will either be good or bad. Studies indicate that art makes people feel a certain way and anyone who creates, views or collects art knows that is true.
An artist experiences their work differently than a collector; who experiences it differently than a gallery viewer. That is one of the reasons art is so interesting. Art can preserve memories and create dreams. A painting truly is worth 1,000 words. Buying art that makes you feel good feeds your spirit and makes you healthy. Art can reduce stress by adding to the beauty and tranquility of your environment and by projecting certain and appropriate moods.
Art is often important to individuals because it compliments existing surroundings or memorializes someone or something dear. Art can be healing, motivational, endearing or upsetting. It can move people to tears, to laughter or to rage. It is an outlet of expression void of words but deep in meaning and symbolism.
For some, art personifies strength and honor. Animals are a popular subject and certain animal artwork gives status to the owner, much like owning a fancy car would. Art as a means of pleasing the senses has undoubtedly been stimulating imagination and creativity for centuries. Meanings are often buried within symbols, colors and textures.
Civilizations, cultures and individuals use art as the depository of their history. Art makes people proud to live, work, and play where they do. They point to their museums, public monuments, and cultural institutions with pride, as they should. Art is a true storyteller of life through the ages.
No matter why you are buying art, feeling and intuition will play a major role in your decision to buy any particular piece. So now you know a little bit about arts, buy art, story teller, personal side, artwork, fine art, authentic originals. Even if you don't know everything, you've done something worthwhile: you've expanded your knowledge.
The Story of Buying Fine Art Online
The following article covers a topic that has recently moved to center stage at least it seems that way. If you've been thinking you need to know more about it, here's your opportunity.
Those of you not familiar with the latest on arts, buy art, artwork, fine art, authentic originals now have at least a basic understanding. But there's more to come.
Now that’s someone who has fallen in love with what must surely be a fine piece of art. It's to be admired. I am not sure if that kind of thing is common and though for some it may seem slightly extreme, it is the sort of thing that any emerging artist selling fine art online, or even offline for that matter, would certainly love to hear.
If you are looking to buy fine art online make sure you do your homework. I don't mean to make it sound as it if it is a chore because it certainly is not. In fact, buying fine art online comes down to just following out on a few basic steps to ensure that you get what you're looking for and ultimately plan to pay for.
First it’s a good idea to establish as to whether you are buying art to match the couch or buying art so you can buy a couch to match the painting. In other words, are you looking to buy fine art online for investment purposes or to simply have an original oil painting to enhance the mood in your lounge or dining room? If you are looking for investment purposes then it is wise to do some homework and get yourself some education on the subject – is the artist emerging into the higher ranks of the art scene and destined to stay there?
Obviously the most effective way of telling the authenticity of a piece of work is if you can witness it in the flesh. If this is possible and you happen to live within the vicinity of the artist's studio or gallery, then you will benefit greatly from being able to view the painting first hand and up close. There is no better way to buy art.
As in a lot of cases when looking to buy artwork online, the painting is not so easily accessible. So in this scenario its good idea to contact the artist or online gallery web master. Get on the phone to speak to them personally. Send them an email. Get as much information as you can from the people or artist hosting the site in relation to the painting. The more information you can get from them the more confident you'll feel about your decision to purchase or not to purchase.
Ideally, you want to buy fine art online with an emphasis on the enjoyment a particular piece gives you. You must first really like a piece of work. Then it's a good idea to do an assessment on the artist to see if there is a growing vibe about him or her throughout the online and offline media. This is not so important if you are purchasing for decorative purposes but definitely for potential investment purposes.
Another factor to look out for when buying fine art online is to find out if the painting is a limited edition. As technology gets better so does it’s ability to easily reproduce work to make them look like authentic originals. See if the artist is issuing out certificate of authenticity papers with each piece of work. This also show the artist's credibility and integrity he or she maintains in their work. You don’t need to know everything about art in order to buy fine art online. All that really matters is that you follow through with some due diligence and most importantly; you buy something you really like and not something that you think is going to be popular.
That's the latest from the arts, buy art, artwork, fine art, authentic originals authorities. Once you're familiar with these ideas, you'll be ready to move to the next level.
Those of you not familiar with the latest on arts, buy art, artwork, fine art, authentic originals now have at least a basic understanding. But there's more to come.
Now that’s someone who has fallen in love with what must surely be a fine piece of art. It's to be admired. I am not sure if that kind of thing is common and though for some it may seem slightly extreme, it is the sort of thing that any emerging artist selling fine art online, or even offline for that matter, would certainly love to hear.
If you are looking to buy fine art online make sure you do your homework. I don't mean to make it sound as it if it is a chore because it certainly is not. In fact, buying fine art online comes down to just following out on a few basic steps to ensure that you get what you're looking for and ultimately plan to pay for.
First it’s a good idea to establish as to whether you are buying art to match the couch or buying art so you can buy a couch to match the painting. In other words, are you looking to buy fine art online for investment purposes or to simply have an original oil painting to enhance the mood in your lounge or dining room? If you are looking for investment purposes then it is wise to do some homework and get yourself some education on the subject – is the artist emerging into the higher ranks of the art scene and destined to stay there?
Obviously the most effective way of telling the authenticity of a piece of work is if you can witness it in the flesh. If this is possible and you happen to live within the vicinity of the artist's studio or gallery, then you will benefit greatly from being able to view the painting first hand and up close. There is no better way to buy art.
As in a lot of cases when looking to buy artwork online, the painting is not so easily accessible. So in this scenario its good idea to contact the artist or online gallery web master. Get on the phone to speak to them personally. Send them an email. Get as much information as you can from the people or artist hosting the site in relation to the painting. The more information you can get from them the more confident you'll feel about your decision to purchase or not to purchase.
Ideally, you want to buy fine art online with an emphasis on the enjoyment a particular piece gives you. You must first really like a piece of work. Then it's a good idea to do an assessment on the artist to see if there is a growing vibe about him or her throughout the online and offline media. This is not so important if you are purchasing for decorative purposes but definitely for potential investment purposes.
Another factor to look out for when buying fine art online is to find out if the painting is a limited edition. As technology gets better so does it’s ability to easily reproduce work to make them look like authentic originals. See if the artist is issuing out certificate of authenticity papers with each piece of work. This also show the artist's credibility and integrity he or she maintains in their work. You don’t need to know everything about art in order to buy fine art online. All that really matters is that you follow through with some due diligence and most importantly; you buy something you really like and not something that you think is going to be popular.
That's the latest from the arts, buy art, artwork, fine art, authentic originals authorities. Once you're familiar with these ideas, you'll be ready to move to the next level.
Art Insurance Preview
Have you ever wondered what exactly is up with art, art and money, artist, collectors, insurance, art insurance, The Scream, Madonna? This informative report can give you an insight into everything you've ever wanted to know about art, art and money, artist, collectors, insurance, art insurance, The Scream, Madonna.
See how much you can learn about art, art and money, artist, collectors, insurance, art insurance, The Scream, Madonna when you take a little time to read a well-researched article? Don't miss out on the rest of this great information.
"The Scream" and "Madonna," two major paintings by famous Norwegian artist Edvard Munch, were recently stolen from the Munch Museum in Norway by armed robbers in broad daylight. The significance of the art theft is notable, but what's really shocking is that the art was not insured against theft (although it was insured for fire and water damage, for restoration costs that would be incurred to repair the paintings if they were damaged). According to a BBC news story, John Oyaas, managing director of the museum's insurers, said of the paintings, "They are not replaceable so you can't buy "The Scream" on the street and put a copy up there. The focus is on other issues than insuring them. To a certain extent this is common practice because these items aren't replaceable."
Now let's take a close look at that statement. Oyass appears to be saying that the paintings are so valuable that they're not worth insuring, or put another way, since the paintings are not replaceable, insuring them is a waste of money. This thinking makes absolutely no sense. The museum should have had theft insurance (assuming that's permissible in Norway); all museums should have theft insurance, as should all art galleries and private collections. Whether or not a work of art is "replaceable" is not the issue. The issue is getting compensated if the art is stolen. What's better a stolen painting and a $5 million insurance settlement or a stolen painting and a $0 insurance settlement?
"But theft insurance is way too expensive."
Yes, the cost of insuring a museum's entire collection is prohibitive, but thieves don't normally steal the entire collection. They only steal part of it, and usually a pretty small part. So insure only a part of it. Theft insurance covers "incidents," not specific works of art, unless the insured specifies individual coverage for specific works of art in the policy. In other words, if you purchase theft insurance, you're insured for the coverage amount no matter what gets stolen. You may not recoup the entire amount of the loss, but at least you'll have something.
"But insuring even our few most valuable paintings is still too expensive."
So that's a rationale for not insuring anything? How about this idea pay for as much insurance as you can afford, maybe $1,000,000, maybe $10,000,000? That way, if art gets stolen, at least you have enough money to hire top quality private investigators to try and recover it, get publicity for the theft, or perhaps even pay a ransom. Or use the money to buy a state-of-the-art security system for your museum (or gallery or private collection) so that theft doesn't happen again. Forget about whether or not art is replaceable or unique or iconic; receiving compensation for a theft is what counts, and using that compensation to either recover the art, offset the loss in revenues that may result from the art being stolen, or make life more difficult for people who steal art, so difficult, hopefully, that many will stop stealing it.
Insurance tips for anyone, public or private, who owns expensive art:
* Photograph and document your collection, or at least the most valuable works in your collection. Include current appraisals, original sales receipts, and any additional paperwork that speaks directly to the value of your art.
* Buy as much insurance as you can comfortably afford, whether or not that amount covers the entire value of your art. Most loss, damage, or theft affects only a portion of a collection, not the entire collection. To repeat-- receiving some compensation is better than receiving no compensation at all.
* Make sure you understand your insurance policy. This means reading the fine print, and asking every question about every conceivable loss or damage situation that you can think of. You don't want to find out after a loss that you were not covered for that specific type of loss.
* Theft/damage insurance for art, added onto your home insurance, generally costs $1-$2 annually per $1000 of coverage (less if you have a good security system in place). Several insurance companies specialize in covering art and antiques exclusively. Coverage details can be discussed and/or negotiated with your insurance company.
There's no excuse for not insuring an art collection. If you can afford the art, you can afford the insurance. And remember you don't have to insure for every last penny of value in your collection. Loss or damage rarely affects an entire collection, and you'll find that in the large majority of cases, even partial coverage will reimburse you for a substantial percentage of the dollar amount involved in most occurrences.
I hope that reading the above information was both enjoyable and educational for you. Your learning process should be ongoing the more you understand about any subject, the more you will be able to share with others.
See how much you can learn about art, art and money, artist, collectors, insurance, art insurance, The Scream, Madonna when you take a little time to read a well-researched article? Don't miss out on the rest of this great information.
"The Scream" and "Madonna," two major paintings by famous Norwegian artist Edvard Munch, were recently stolen from the Munch Museum in Norway by armed robbers in broad daylight. The significance of the art theft is notable, but what's really shocking is that the art was not insured against theft (although it was insured for fire and water damage, for restoration costs that would be incurred to repair the paintings if they were damaged). According to a BBC news story, John Oyaas, managing director of the museum's insurers, said of the paintings, "They are not replaceable so you can't buy "The Scream" on the street and put a copy up there. The focus is on other issues than insuring them. To a certain extent this is common practice because these items aren't replaceable."
Now let's take a close look at that statement. Oyass appears to be saying that the paintings are so valuable that they're not worth insuring, or put another way, since the paintings are not replaceable, insuring them is a waste of money. This thinking makes absolutely no sense. The museum should have had theft insurance (assuming that's permissible in Norway); all museums should have theft insurance, as should all art galleries and private collections. Whether or not a work of art is "replaceable" is not the issue. The issue is getting compensated if the art is stolen. What's better a stolen painting and a $5 million insurance settlement or a stolen painting and a $0 insurance settlement?
"But theft insurance is way too expensive."
Yes, the cost of insuring a museum's entire collection is prohibitive, but thieves don't normally steal the entire collection. They only steal part of it, and usually a pretty small part. So insure only a part of it. Theft insurance covers "incidents," not specific works of art, unless the insured specifies individual coverage for specific works of art in the policy. In other words, if you purchase theft insurance, you're insured for the coverage amount no matter what gets stolen. You may not recoup the entire amount of the loss, but at least you'll have something.
"But insuring even our few most valuable paintings is still too expensive."
So that's a rationale for not insuring anything? How about this idea pay for as much insurance as you can afford, maybe $1,000,000, maybe $10,000,000? That way, if art gets stolen, at least you have enough money to hire top quality private investigators to try and recover it, get publicity for the theft, or perhaps even pay a ransom. Or use the money to buy a state-of-the-art security system for your museum (or gallery or private collection) so that theft doesn't happen again. Forget about whether or not art is replaceable or unique or iconic; receiving compensation for a theft is what counts, and using that compensation to either recover the art, offset the loss in revenues that may result from the art being stolen, or make life more difficult for people who steal art, so difficult, hopefully, that many will stop stealing it.
Insurance tips for anyone, public or private, who owns expensive art:
* Photograph and document your collection, or at least the most valuable works in your collection. Include current appraisals, original sales receipts, and any additional paperwork that speaks directly to the value of your art.
* Buy as much insurance as you can comfortably afford, whether or not that amount covers the entire value of your art. Most loss, damage, or theft affects only a portion of a collection, not the entire collection. To repeat-- receiving some compensation is better than receiving no compensation at all.
* Make sure you understand your insurance policy. This means reading the fine print, and asking every question about every conceivable loss or damage situation that you can think of. You don't want to find out after a loss that you were not covered for that specific type of loss.
* Theft/damage insurance for art, added onto your home insurance, generally costs $1-$2 annually per $1000 of coverage (less if you have a good security system in place). Several insurance companies specialize in covering art and antiques exclusively. Coverage details can be discussed and/or negotiated with your insurance company.
There's no excuse for not insuring an art collection. If you can afford the art, you can afford the insurance. And remember you don't have to insure for every last penny of value in your collection. Loss or damage rarely affects an entire collection, and you'll find that in the large majority of cases, even partial coverage will reimburse you for a substantial percentage of the dollar amount involved in most occurrences.
I hope that reading the above information was both enjoyable and educational for you. Your learning process should be ongoing the more you understand about any subject, the more you will be able to share with others.
About Art And Money
When most people think of art, art and money, artist, collectors, what comes to mind is usually basic information that's not particularly interesting or beneficial. But there's a lot more to art, art and money, artist, collectors than just the basics.
You can see that there's practical value in learning more about art, art and money, artist, collectors. Can you think of ways to apply what's been covered so far?
What is it about art and money anyway? Artists agonize about how to accurately price their work. Collectors anguish over whether the art they buy is worth what they pay for it. Even dealers perplex about which side of the fine line their price strategies come down on reasonable or preposterous. In fact, we all have moments when we wonder whether art is worth anything at all.
The relationship between art and money can indeed be confusing, especially if you're not familiar with the business side of things, but if you look carefully at how the pros assess and evaluate art and its markets, you sooner or later realize that methodology almost always triumphs over conjecture. In fact, the art market is overwhelmingly orderly no matter which side of the creative equation you're on-- producer or consumer. Sure the routine goes a little haywire every now and again, but it returns to vibrant health each and every time. And yes, pesky itinerant opportunists are always on the lookout for neophytes to flimflam, but not even the most virulent among them can survive that transcendent one-two punch-- connoisseurial concurrence and the passage of time.
The art and money affiliation starts out innocently enough, pure and virginal; the easiest art markets to decipher being those of artists at the outsets of their careers. At these early stages, values are based primarily on physical considerations like studio rents, costs of equipment and materials, how long art takes to make, what size it is, and the like. Geography also factors into the equation somewhat as cost of living varies by region. Simply put, if your cost of living is low, all else being equal, you can afford to charge less for your art. Additionally, certain insular regional scenes may layer on entry-level surcharges, for example, in locations with uncharacteristically high percentages of galleries like Carmel, Scottsdale, Laguna Beach, or Santa Fe.
Beyond the beginning, however, the artscape complicates fast about as fast as dealers, curators, collectors, prognosticators, and critics insert themselves into the paradigm. Suddenly in addition to concrete facts about the art, you have third party concerns to contend with including opinions, politics, connections, influence, who owes who, who has access how many dollars, and fuzz like that. So begins a wondrous period of market mayhem mild style that interval which starts when an artist first "gets noticed," continues as the artist determinedly endures year after year of making and showing art, and hopefully concludes with that artist proving his or her mettle to the extent that cognoscenti who count declare them "here to stay." In the meantime, clarity of perspective remains elusive, and about all anyone can do is speculate on what might one day be, based on what's happened so far.
In a sense, all art is priced speculatively. Since art has no tangible value, significance can only be ascribed, never quantified. But there are degrees of speculation ranging from realistic and fact-based to incomprehensibly incongruous. For example, under normal circumstances, price levels for artists at various stages in their careers increase orderly and incrementally according to convention, i.e. according to how prices for artists who preceded these artists increased orderly and incrementally, according to advances in their careers, and so on and so forth it's kind of like tradition. Of course any artist can change direction or even stop making art at any time, career moves like that constituting the wild side of the speculation game, but generally, the chances of unanticipated occurrences decrease the longer an artist is around. And generally, prices rise predictably according to each successive success an artist racks up including notable one-person shows, museum exposures, published monographs on their work, and so on the amount of any given price increase proportionate to the significance of the respective accomplishment. You follow me? Good. The boring part of the article is now officially over. Time to get twisty with a little comparative art market analysis from a speculative perspective.
Take Banksy and Shepard Fairey, two undeniably influential urban talents, both with careers firmly rooted in outdoor art, both active for about the same periods of time, yet the makeup of the current markets for their respective work could not be more different. Now I don't claim to be an authority on the evolutionary intricacies of either artist's career, but maybe that's a good thing, kind of an unaffected outsider-looking-in kinda thing. Because when I look at these two, I see the entire speculative continuum of art and money in microcosm with one artist securely ensconced at each end of that continuum.
On the Shepard Fairey end you have a market that proceeds about as orderly as any artist's market can, progressing gradually, show after show after show, with no abrupt price fluctuations, no radical shifts in philosophy or in the art that's presented always on point, on message, on topic, on target, and most importantly, on audience. Yes, prices have increased over the years, but predictably so, and special added bonus pretty much anybody who collected Fairey in the late 1990's can still collect him today. In other words, by playing to everyone who shows any level of interest in his work, from fresh converts to steadfast devotees, he retains, solidifies, and grows his collector base. Reasons for the controlled rational nature of the Fairey phenomenon likely revolve around the artist and his core beliefs about art, but could also include guidance from dealers, collectors, his fan base in general, and related qualified "advisors."
This isn't so much about Shepard Fairey, by the way, as it is a classic example of art market stability. Fairey's produced (and continues to produce) an abundance of art, made thousands of sales at a variety of price points, has a proven track record, and certainly appears committed to the lifestyle for the long haul. His sales history and career progress are easy to document, the market for his art is a picture of health, and his creative legacy is practically a foregone conclusion. In other words, speculating on the subsequent course of Shepard Fairey's career is about as close as you can come to not speculating at all.
Now hold on to your hats 'cuz here we go. On the opposite end of the continuum is Banksy, the art world's speculative acme-du-jour. As little as three years ago his art was selling for pocket change and today the ante is well into the tens of thousands of dollars just to play a hand. But what's the game?
Banksy backers point to Angelina Jolie's recent patronage to the tune of some hundreds of thousands of dollars. But does this mean anything? Does it lend credence and durability to the market for Banksy art? Not really. It's little more than Hollywood headline news. Jolie is not known for her art collection, and her acquisitions certainly don't impact the mindsets of art world stalwarts. Maybe if the buyer were Steve Martin, a world-class collector, things would be different.
Oh wait... you don't know what art world stalwarts are? They're loyalists of the highest order, people who would rather buy art than EAT, who devote their lives to collecting art and supporting artists, who understand what they collect as well as anybody out there, who continually contemplate and reflect on day to day developments with artists in particular and with the art world in general, and who are in the thick of the hunt until the ends of their days. And do you know how many people that represents? Not many. The truth is that only a small percentage of people who buy art do so in large enough ways to influence the course of collecting (and perhaps even of art history) as well they should. We like that level of experience, commitment, and dedication at the helm. The flip side, however, is that this small percentage can only support (and subsequently deify in perpetuity) a small number of artists. Furthermore, the deification process is slow and methodical, no matter who the artist, requiring decade after decade of accomplishment after accomplishment and success after success each and every instance subject to acute unforgiving scrutiny. Nothing ever happens fast at least nothing enduring.
Which brings us back to Banksy. Over the past several years, his art has escalated in value faster than pretty much any substance known to man. A price structure that topped in the low $1000's as recently as 2004 now exceeds $100,000 at the high end, with barely a rope footbridge to connect the two sides of the cash chasm a circumstance that's not particularly healthy for either the art market in general or for Banksy in particular. It's not the folks who buy Banksy at the bottom of the chain letter that anybody should be concerned about they've got far more money than they do ways to spend it. It's Banksy his meteoric rise to mythic status and price structure to go with it uncompromisingly intensify the pressure to perform to sustain the frenzy. Gobs of $$$ are riding on him too, many of which are fickle and prepared to go south at the slightest hitch. So here we stand, arms folded, toes tapping, waiting for his next big coup.
And let's say that next coup's a jewel and the next and the next. Where do prices go? $1 million Banksy's in another couple of years? To complicate matters, if he decides to take any kind of hiatus, there's not a lot in the way of history or stability to fall back on, to hold in the heat, to preserve the status quo. And one more irksome detail step outside the vortex for a moment, look around, and you quickly realize you can buy exceptionally serious established eternally enshrined blue chip art for $100,000, not to mention a million $$. Seems like tunnel vision's temporarily trumped reality.
This isn't so much about Banksy, by the way, as it is a classic example of a market that's spiraled perilously out of control. Banksy's a major player in terms of advancing the envelope of what art is, especially on a popular level, but his market stability and continuity from longevity standpoints are tenuous to say the least. Everybody's all caught up in the hubbub of the moment, while whoever's in charge of the big picture appears to be taking a long lunch. Will Banksy weather the storm to triumph and prosper? Will big money buyers continue to feed the machine? Stay tuned.
So there you have it. The best way to learn about art prices is to critically honestly earnestly dissect and evaluate artist markets, one by one, until you begin to get a feel for the territory. Not only is there a realistic dollar value for everything, but there's also a perfectly logical fact-based explanation to go with it. It's that simple and no more complicated. And I wish both Banksy and Shepard Fairey long and continued success with their art.
I hope that reading the above information was both enjoyable and educational for you. Your learning process should be ongoing the more you understand about any subject, the more you will be able to share with others.
You can see that there's practical value in learning more about art, art and money, artist, collectors. Can you think of ways to apply what's been covered so far?
What is it about art and money anyway? Artists agonize about how to accurately price their work. Collectors anguish over whether the art they buy is worth what they pay for it. Even dealers perplex about which side of the fine line their price strategies come down on reasonable or preposterous. In fact, we all have moments when we wonder whether art is worth anything at all.
The relationship between art and money can indeed be confusing, especially if you're not familiar with the business side of things, but if you look carefully at how the pros assess and evaluate art and its markets, you sooner or later realize that methodology almost always triumphs over conjecture. In fact, the art market is overwhelmingly orderly no matter which side of the creative equation you're on-- producer or consumer. Sure the routine goes a little haywire every now and again, but it returns to vibrant health each and every time. And yes, pesky itinerant opportunists are always on the lookout for neophytes to flimflam, but not even the most virulent among them can survive that transcendent one-two punch-- connoisseurial concurrence and the passage of time.
The art and money affiliation starts out innocently enough, pure and virginal; the easiest art markets to decipher being those of artists at the outsets of their careers. At these early stages, values are based primarily on physical considerations like studio rents, costs of equipment and materials, how long art takes to make, what size it is, and the like. Geography also factors into the equation somewhat as cost of living varies by region. Simply put, if your cost of living is low, all else being equal, you can afford to charge less for your art. Additionally, certain insular regional scenes may layer on entry-level surcharges, for example, in locations with uncharacteristically high percentages of galleries like Carmel, Scottsdale, Laguna Beach, or Santa Fe.
Beyond the beginning, however, the artscape complicates fast about as fast as dealers, curators, collectors, prognosticators, and critics insert themselves into the paradigm. Suddenly in addition to concrete facts about the art, you have third party concerns to contend with including opinions, politics, connections, influence, who owes who, who has access how many dollars, and fuzz like that. So begins a wondrous period of market mayhem mild style that interval which starts when an artist first "gets noticed," continues as the artist determinedly endures year after year of making and showing art, and hopefully concludes with that artist proving his or her mettle to the extent that cognoscenti who count declare them "here to stay." In the meantime, clarity of perspective remains elusive, and about all anyone can do is speculate on what might one day be, based on what's happened so far.
In a sense, all art is priced speculatively. Since art has no tangible value, significance can only be ascribed, never quantified. But there are degrees of speculation ranging from realistic and fact-based to incomprehensibly incongruous. For example, under normal circumstances, price levels for artists at various stages in their careers increase orderly and incrementally according to convention, i.e. according to how prices for artists who preceded these artists increased orderly and incrementally, according to advances in their careers, and so on and so forth it's kind of like tradition. Of course any artist can change direction or even stop making art at any time, career moves like that constituting the wild side of the speculation game, but generally, the chances of unanticipated occurrences decrease the longer an artist is around. And generally, prices rise predictably according to each successive success an artist racks up including notable one-person shows, museum exposures, published monographs on their work, and so on the amount of any given price increase proportionate to the significance of the respective accomplishment. You follow me? Good. The boring part of the article is now officially over. Time to get twisty with a little comparative art market analysis from a speculative perspective.
Take Banksy and Shepard Fairey, two undeniably influential urban talents, both with careers firmly rooted in outdoor art, both active for about the same periods of time, yet the makeup of the current markets for their respective work could not be more different. Now I don't claim to be an authority on the evolutionary intricacies of either artist's career, but maybe that's a good thing, kind of an unaffected outsider-looking-in kinda thing. Because when I look at these two, I see the entire speculative continuum of art and money in microcosm with one artist securely ensconced at each end of that continuum.
On the Shepard Fairey end you have a market that proceeds about as orderly as any artist's market can, progressing gradually, show after show after show, with no abrupt price fluctuations, no radical shifts in philosophy or in the art that's presented always on point, on message, on topic, on target, and most importantly, on audience. Yes, prices have increased over the years, but predictably so, and special added bonus pretty much anybody who collected Fairey in the late 1990's can still collect him today. In other words, by playing to everyone who shows any level of interest in his work, from fresh converts to steadfast devotees, he retains, solidifies, and grows his collector base. Reasons for the controlled rational nature of the Fairey phenomenon likely revolve around the artist and his core beliefs about art, but could also include guidance from dealers, collectors, his fan base in general, and related qualified "advisors."
This isn't so much about Shepard Fairey, by the way, as it is a classic example of art market stability. Fairey's produced (and continues to produce) an abundance of art, made thousands of sales at a variety of price points, has a proven track record, and certainly appears committed to the lifestyle for the long haul. His sales history and career progress are easy to document, the market for his art is a picture of health, and his creative legacy is practically a foregone conclusion. In other words, speculating on the subsequent course of Shepard Fairey's career is about as close as you can come to not speculating at all.
Now hold on to your hats 'cuz here we go. On the opposite end of the continuum is Banksy, the art world's speculative acme-du-jour. As little as three years ago his art was selling for pocket change and today the ante is well into the tens of thousands of dollars just to play a hand. But what's the game?
Banksy backers point to Angelina Jolie's recent patronage to the tune of some hundreds of thousands of dollars. But does this mean anything? Does it lend credence and durability to the market for Banksy art? Not really. It's little more than Hollywood headline news. Jolie is not known for her art collection, and her acquisitions certainly don't impact the mindsets of art world stalwarts. Maybe if the buyer were Steve Martin, a world-class collector, things would be different.
Oh wait... you don't know what art world stalwarts are? They're loyalists of the highest order, people who would rather buy art than EAT, who devote their lives to collecting art and supporting artists, who understand what they collect as well as anybody out there, who continually contemplate and reflect on day to day developments with artists in particular and with the art world in general, and who are in the thick of the hunt until the ends of their days. And do you know how many people that represents? Not many. The truth is that only a small percentage of people who buy art do so in large enough ways to influence the course of collecting (and perhaps even of art history) as well they should. We like that level of experience, commitment, and dedication at the helm. The flip side, however, is that this small percentage can only support (and subsequently deify in perpetuity) a small number of artists. Furthermore, the deification process is slow and methodical, no matter who the artist, requiring decade after decade of accomplishment after accomplishment and success after success each and every instance subject to acute unforgiving scrutiny. Nothing ever happens fast at least nothing enduring.
Which brings us back to Banksy. Over the past several years, his art has escalated in value faster than pretty much any substance known to man. A price structure that topped in the low $1000's as recently as 2004 now exceeds $100,000 at the high end, with barely a rope footbridge to connect the two sides of the cash chasm a circumstance that's not particularly healthy for either the art market in general or for Banksy in particular. It's not the folks who buy Banksy at the bottom of the chain letter that anybody should be concerned about they've got far more money than they do ways to spend it. It's Banksy his meteoric rise to mythic status and price structure to go with it uncompromisingly intensify the pressure to perform to sustain the frenzy. Gobs of $$$ are riding on him too, many of which are fickle and prepared to go south at the slightest hitch. So here we stand, arms folded, toes tapping, waiting for his next big coup.
And let's say that next coup's a jewel and the next and the next. Where do prices go? $1 million Banksy's in another couple of years? To complicate matters, if he decides to take any kind of hiatus, there's not a lot in the way of history or stability to fall back on, to hold in the heat, to preserve the status quo. And one more irksome detail step outside the vortex for a moment, look around, and you quickly realize you can buy exceptionally serious established eternally enshrined blue chip art for $100,000, not to mention a million $$. Seems like tunnel vision's temporarily trumped reality.
This isn't so much about Banksy, by the way, as it is a classic example of a market that's spiraled perilously out of control. Banksy's a major player in terms of advancing the envelope of what art is, especially on a popular level, but his market stability and continuity from longevity standpoints are tenuous to say the least. Everybody's all caught up in the hubbub of the moment, while whoever's in charge of the big picture appears to be taking a long lunch. Will Banksy weather the storm to triumph and prosper? Will big money buyers continue to feed the machine? Stay tuned.
So there you have it. The best way to learn about art prices is to critically honestly earnestly dissect and evaluate artist markets, one by one, until you begin to get a feel for the territory. Not only is there a realistic dollar value for everything, but there's also a perfectly logical fact-based explanation to go with it. It's that simple and no more complicated. And I wish both Banksy and Shepard Fairey long and continued success with their art.
I hope that reading the above information was both enjoyable and educational for you. Your learning process should be ongoing the more you understand about any subject, the more you will be able to share with others.
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