Autumn 2013 Newsletter
“Art is not meat. It does not go bad”, to quote Albert Shahinian.
I was thinking about that comment (again!) while assembling this post because I noticed that some recent sales have been of paintings that are not at all new.
So, why does a much-admired piece hang around, sometimes for years?
Usually the answer to that is that they have had many near-misses, and that something has come up at the last minute that has nixed the sale…each time. Bearing in mind that there is always a ratio of success to failure in every business, often in this one there are more almost-sales than sales. Bringing an object into the home that is not functional or strictly decorative, and that is also not cheap is, rightly, a big decision for potential collectors.
So, to put it another way, if you don’t have lots of nibbles you are unlikely to have lots of sales.
If there are no near-sales on a given piece it could mean that the painting doesn’t have wide appeal (which also doesn’t mean that it isn’t a good piece or that it won’t sell when the right person finds it) or that it is in the wrong gallery. But all of this is another story.
Here are two pieces that are a bit older and had been nibbled on many times before they recently found their wall in a new home. I will use them as examples of what can happen along the way.
Winter Brilliance just came under discussion in a recent blog post:
I will quote from that, but before all of the below happened this past year, this piece also was sold and unsold in a day. It went out on approval for three days from my (now closed) gallery in Redbank, NJ, to an NYC apartment. On the second day they called and said that they loved it and were keeping it. On the third day they called and said that they were being transferred by the husband’s job to San Francisco, where a fully furnished and decorated house awaited them, so they had to return the piece. Since this was all within the agreed upon three day approval period, back it came.
“…the piece below, recently sold, had quite a busy time of it this year before reaching its new home. In March, it went to Chicago, where it was selected for viewing in a home. Much as they would have liked it, the piece didn’t fit the budget at that time, so a smaller piece was settled upon. Then, it was vetted for a possible swap with one of my dealers for a coveted Milton Avery print. But before I could bring it to her for her to decide, a private dealer asked me to hold it back for a likely sale through a designer. Months later and no word, I let it back out again to my gallery in Rhinebeck, and from there it went out to a home (through an architect, this time) where it looked as if I had painted it for the room in question.”
River in 5 received a great deal of attention when I first stated showing it 2006. Not so exciting a history as Winter Brilliance, but I kept hearing from gallereists that this person or that couple had it under consideration. That was true also when it arrived at Albert Shahinian Fine art, with one collector of mine admiring both the soft monochromatic palette and the way it evoked the views he enjoyed while kayaking across the Hudson River from this spot.
Then…very quiet. Other work coming and going, but no nibbles on this piece for at least a few years…until last summer, when all at once two collectors spotted it in the gallery or on my website and were planning on buying it the next time they made it to Rhinebeck. First couple fell in love with a different piece and couldn’t manage both, and the second collector was still planning on acquiring the piece when it went out to the same apartment as Winter Brilliance and stayed there.
Below, a few sales of recent pieces.
A few newly finished pieces:
I have recently introduced a series of small oil-on-paper compositional/color studies in my painting workshops. I did this preliminary series beforehand, and now have others following—a wonderful way to work out placement of elements, using your painterly hand (instead of photoshop, which is a great tool but doesn’t help with the aforementioned!). I will be offering these small pieces for sale from my studio, tidbits that can be framed/hung individually or as a grouping, and are a great way to come up with an original—for yourself or as a gift—for the price of a print.
My recent workshop at the PAAM in Provincetown, with a wonderful group:
See my blog post on how the workshop runs, with emphasis on composition:
In other news:
I am sad to announce the closing of my gallery on Martha’s Vineyard, Dragonfly, but happy for Don and Susan as they move onto the next phase for them (more time for artmaking!).
Also happy to have joined the Louisa Gould Gallery, located the next town over in Vineyard Haven. I look forward to a long and successful relationship with my new MV gallery! (And a big thank-you to Don and Susan for connecting us.)
Boston International Art Fair, with Gold Gallery, Nov. 21-24
“LINE…”, Butters Gallery, Portland, OR, curated by Melinda Stickney-Gibson, Feb. 6-March 1
Solo show at Chace-Randall Gallery, Andes, NY, May21-July 4th.
Duo show at Julie Heller East, Provincetown, MA, summer or fall, TBA
Workshops at the Woodstock School of Art: Feb. 15-17 & late June: PAAM, Sept., dates TBA
Solo show at Gold Gallery in Boston, early March.
This entry was posted on October 16, 2013 by christiescheele. It was filed under Uncategorized and was tagged with Albert Shahinian Fine Art, art collecting, atmospheric landscapes, Butters Gallery, Cape Cod paintings, career artist, Chace-Randall Gallery, Choose from the most used tags Albert Shahinian Fine Art art art collecting Asher Nieman Gallery atmospheric landscapes Barneche Designs Cape Cod paintings Catskills Chichester christie scheele color , color field, Dragonfly Gallery, Gold Gallery Boston, Louisa Gould Gallery, Martha's Vineyard paintings, minimalism, moody landscape, new gallery, small oil paintings, teaching, Woodstock Scool of art Julie Heller Gallery.