The Art Heist

In 1985, the Harwood Foundation, in Taos, New Mexico, now the Harwood Museum of Art, served a dual purpose as the town’s museum and library. Throughout the adobe building’s two floors, paintings by Taos Society artists hung beneath the vigas on lime washed plaster walls. Librarian Tracy McCallum’s desk was situated on the first floor with a clear sightline to the Harwood’s entrance. On a mild spring afternoon in March, he was there, at his desk, when a woman requested a wheelchair and his assistance getting up the old elevator to the second floor. McCallum obliged, showed her around and then helped her back downstairs on the elevator. He then returned to his desk. There were many visitors that day, none of whom McCallum later recalled as standing out, except for one: the man in the long black raincoat.

Interior Harwood Library and Museum

Near closing time, David Caffey, the Harwood’s director at the time, walked upstairs for a final check, stepped into the gallery and saw immediately that there, on the north wall, was a blank space where a painting had been. He turned around and saw, to the south, the bottom leg of the frame still stuck to the wall, but no painting.

In the police report, McCallum recalled how the woman in the wheelchair needed his help and then later, how an Anglo male approximately 40 to 50 years old, slightly bald, approximately 5’8” wearing a long black raincoat looked at him then quickly turned and exited the museum. That man stood out, McCallum said, because he walked with his hands in his coat pockets, as if he were holding something underneath.

Harwood curator David Witt was not in his office that day; ironically, he was in Santa Fe attending a seminar on museum security. Witt didn’t learn of the theft until he got back that evening. How could someone walk in and take two works of art off the walls in broad daylight, and no one noticed? Witt notified the FBI the next day, and contacted galleries, dealers, and art associations letting them know of the theft. For years after, Witt scanned auction catalogues in hopes that “Oklahoma Cheyenne,” c. 1915 by Joseph Sharp and “Aspens,” c. 1932 by Victor Higgins would turn up, but they never did, at least, not during his tenure.  

"Aspens" Victor Higgins c 1932
"Aspens" Victor Higgins c 1932
"Oklahoma Cheyenne," Joseph Henry Sharp c. 1915
"Oklahoma Cheyenne," Joseph Henry Sharp c. 1915

Six months after the Sharp and Higgins were stolen, Willem de Kooning’s “Woman-Ocher” was cut out of its frame where it hung in the University of Arizona Museum of Art gallery and smuggled out of the museum in broad daylight. It was the day after Thanksgiving and the museum was quiet, except for the woman who chatted with the staff and the man in a black raincoat.

"Woman-Ochre" 1954-1955, Willem de Kooning
"Woman-Ochre" 1954-1955, Willem de Kooning

Art Theft and the Black Market

It is estimated that some 50,000 works of art are stolen each year fueling the nearly $8 billion black market for stolen art. You might think that these crimes are done for financial gain—and many are. But Robert Wittman, founder of the FBI Art Crime Team, believes there are three types of art thieves. The first commit a theft of opportunity; basically, they’re shoplifters. The second kind steals for money, and these thieves make up the lion’s share. But then there are the people who steal for themselves. 

“They feel like, since they care about it, they are entitled to have these pieces,” he said in the documentary, The Thief Collector. “They’re the most dangerous. And they’re the hardest to capture.” Wittman says these people are so difficult to track down because once they have the art, they hide it and keep it purely for their own enjoyment. “And those things,” he says, “go away for many years before they come back.”

But I Didn't Know

Nemo dat quod non habet” is a handy Latin phrase you might want to remember when buying art at auction or from someone you don’t know all that well, like the guy offering a great deal on a Rembrandt in the trunk of his car. Also known as the “Nemo dat” rule, it translates to “no one can give what they do not have.” In other words, you can’t own stolen art no matter how much you pay for it.

Don’t panic if you unwittingly buy something that was stolen, which, given the staggering number of objects stolen each year, might be easier than you think. You’re not in trouble unless, however, you refuse to return the stolen goods. This falls under the “Demand and Refusal Rule.” When and how this rule is applied can vary from state to state, but essentially, the clock on returning stolen art starts when the true owner discovers its whereabouts.

As you might expect, there are lots of gray areas that influence the final outcome in these cases. For example, did the person whose art was stolen file a police report? Did they notify the FBI, and did they list the stolen art on international loss registries?

Sounding the Alarm

Photocopy of listing at International Foundation for Art Research

When the Sharp and Higgins were pilfered from the Harwood, Juniper Leherissey, executive director of the museum, says, “David Witt used his extensive list of galleries, museums, and other art entities. There was a large effort within our regional network of museums and galleries to notify them of the lost works, as well as all the formal channels: letters to Interpol, the art loss registry, and others, so we have all that documentation.”

But that was forty years ago, and even Leherissey who grew up in Taos, wasn’t aware that among the 6,500 works of art in the Harwood collection, two were missing. And, interestingly, the insurance company the museum worked with back then has gone out of business. But still, the trail had been established.

As collectors, you may be wondering what happens if you do buy stolen art, pay for it, and then, weeks or even years later, the FBI gives you a call. We talk a lot about provenance in this column. Here’s a nightmare scenario that is an excellent reason why collectors need to take provenance seriously and double check anything that gives you pause. Look for records of who the original owner was and all the subsequent owners, museum exhibitions, etc., that provide important assurances that the piece you’re interested in can be linked to honest brokers.

Beyond that, only work with honest dealers and auction houses. These folks should be looking out for you by verifying provenance, though there are plenty of examples where dubious provenance was either glossed over or blatantly covered up.

A Strange Email, an Amateur Sleuth, and the Documentary

On the thirtieth anniversary of the theft of the de Kooning, the University of Arizona Art Museum curated an exhibit that featured the empty frame from which the painting was sliced out. Wall text gave details of the heist and publicity of the show renewed interest in the crime, including that of amateur sleuth, Lou Schacter, a retired corporate consultant who enjoyed researching art crimes. He was intrigued by the de Kooning heist and visited the museum in 2014, thinking he would dive into that crime soon. The de Kooning, however, surfaced before Schacter got to it.

U of AZ de Kooning empty frame

Enter Rita and Jerome Alter, former schoolteachers who lived a quiet life in Cliff, New Mexico. They owned a modest home and spent their retirement years traveling to far flung places. At family gatherings, they shared photos and stories of their latest trips, and in their home, they displayed mementos such as weavings, small sculptures, and paintings collected along the way. Jerome died in 2012; Rita in 2017. Their estate was left to relatives who, overwhelmed by the volume of things the couple owned, decided to donate some of it to a local garden club and sell the rest, part and parcel, to an antique shop up the road in Silver City, New Mexico. After going through the mostly Southwestern objects donated to them, the head of the garden club started to think some of those things might have real value; she contacted the Scottsdale Art Auction and consigned a number of paintings and sculptures to them for a sale in 2018. The painting the garden club didn’t want, however, was a strange and disturbing piece that hung in the Alter’s bedroom, behind a door—that went to the antiques shop.

Hey, Is That Real?

Antique dealers Buck Burns, David van Auker, and Rick Johnson
Manzanita Ridge Antique dealers Buck Burns, David van Auker, and Rick Johnson

From here, the story takes an amazing turn. The Manzanita Ridge Furniture and Antiques store owners paid a little more than $2,000 for the estate. When they began sorting through the objects they bought sight unseen, they came upon the painting behind the Alter’s bedroom door. David Van Auker didn’t know what it was and so, brought it back to the antique shop and leaned it against a wall. A local walked in, took one look at it and asked Van Auker if it was real—was it a real de Kooning?

A quick Google search turned up all Van Auker needed to know. He called the University of Arizona Museum of Art and spoke to curator Olivia Miller, telling her he wasn’t crazy, but he believed he found their painting, “Woman-Ochre.” “I’ll never forget that moment,” Miller said in an interview for The Thief Collector. “I asked him to email me photos of the painting detailing the signature. Every time we opened a photo, we said, how do we get to Silver City? This is the painting!”

After contacting the University police department, however, the curators were told not to talk to Van Auker anymore, that they would take it from there. So, they stopped responding to Van Auker’s calls and texts. In Silver City, however, word of the de Kooning had spread. “People were coming in saying we want to see the de Kooning,” Van Auker said of the painting that he learned was estimated to be worth more than $100 million. Unnerved, he took the painting home and hid it behind his sofa. He then pulled a couple guns from his gun safe. “People are killed for less than a hundred million dollar painting,” Rich Johnson, Van Auker’s business partner said.

For the Record

The antiques dealers just wanted the de Kooning gone. At the museum, the curators too were panicking. What if this Van Auker guy changed his mind and sold the painting out from under them. Finaly, van Auker left a voicemail for Miller saying that all he wanted was for the painting to go back to the museum and that he was freaking out: “Somebody,” he said, “might cut my throat for that painting. Keep this on record: I don’t want to hold it hostage; I don’t want a ransom. I want you to have the painting back.”

Museum curator Olivia Miller's first look at the stolen de Kooning in van Auker's home.

To the great relief of everyone, the museum staff was finally given permission to get the de Kooning. It had sustained considerable damage from being sliced out of its frame, rolled, and smuggled out under the thief’s coat and was sent to senior conservators at the Getty Museum for restoration. Happily, it’s now back home at the museum and on display, once again.

Where There's Smoke

Remember our amateur art sleuth, Lou Schacter? He had a hunch that “Woman-Ochre” was not the only stolen art in the Alter’s home. He reached out to Van Auker and asked what he thought. In a story for Medium, Schacter recounts his conversation with Van Auker who told him the FBI said that none of the works sold at auction were listed in its stolen art database. That didn’t mean they weren’t stolen.

Interior of Alter's home. Behind Jerome's right shoulder are the paintings stolen from the Harwood.

Schacter wondered about three pieces in particular that the garden club sent to the Scottsdale Auction. In the documentary The Thief Collector, there were photos of the interior of the Alter’s home and an interview with a woman from the garden club who says there were paintings by Higgins and Sharp, as well as sculptures by Remington, Allan Houser, and an RC Gorman. 

Using photos from the documentary, Schacter started searching auction records looking for matches. That’s when he discovered two paintings sold through the Scottsdale Auction on April 7, 2018, that looked like an exact match to the pieces stolen from the Harwood in March 1985.

Schacter reached out to Leherissey to let her know he thought a Sharp and a Hennings that were auctioned in 2018 belonged to the Harwood. “That’s really the first time it came to my attention,” Leherissey says. “That was December of 2023. I reached out to my collections manager and was like, is this for real?” Sure enough, her manager found the file on the stolen paintings and the documentation from forty years ago.

The Harwood team gathered their provenance for the paintings and created a dossier, then they contacted the FBI’s art crimes unit to ask if they would take the case. “The FBI decides whether to take a case based on various factors,” Leherissey says. “Luckily they did take ours, otherwise I don’t even know how we would’ve managed. We would’ve had to get lawyers involved, subpoena people, identify the buyers, and figure out how to secure the works back. Without the FBI’s support, it would have been very challenging.”

Home Again

Thanks to the FBI’s involvement, the Higgins and Sharp are now back at the Harwood, and in great condition. As for the buyers, one who paid $52,650 for the Sharp and the other who paid $93,600 for the Higgins, Leherissey doesn’t know if they got their money back from the Scottsdale Art Auction. “A collector who inadvertently purchases a stolen artwork may get some compensation,” Leherissey believes but is quick to add that auction houses have a lot of legal protections in place for situations like this. “It doesn’t sound like the auction house was ready to pay buyers back the money that they spent on the works.”

When I called to discuss this with the Scottsdale Art Auction I was told there is an ongoing investigation and that they cannot comment at this time.

These days the Harwood’s security systems are greatly enhanced and include cameras, sensors, alarms, and gallery guards—all things we patrons hardly notice anymore. But it’s amazing to think back to all that art hanging on walls in the Taos library that anyone could walk up to without being shooed back or set off an alarm. When asked if she thought the 1985 Harwood theft was a test run, Leherissey says, “Oh, maybe they’d done it a million times before; they seemed to have their game down. They would even put on costumes. But yes, it was very intentional. They were trying to steal from small organizations that might be more vulnerable.” She even wonders about other objects shown in the documentary that wound up at auction. “There was a Remington, an Allen Hauser, and an RC Gorman—three bronzes. We had the RC Gorman Gallery in Taos at that time. Did they just walk up the street and take the next thing? We don’t know how many other things they stole. What we do know is that they funded a lifestyle that was not sustainable on their apparent incomes.”

For Leherissey, getting their paintings back is more than just a mystery solved. “We have such a rich art community. Both of these artists were so much a part of the Taos community and the Harwood. Victor Higgins was on our founding board, and he gifted some of the most significant of his works to us directly. Those paintings not only came home to us, but the artists are home now, too.”

Stolen Art Resources

If you are a victim of an art theft, start by calling the local police. If the crime is within FBI jurisdiction—the object has traveled across state lines or was stolen from a museum—then you will contact the FBI, and a local FBI Art Crime Team member will begin the investigation. 

According to the Santa Fe Art Crimes bureau, they recover paintings by following investigative leads and rely on the cooperation of all parties involved to be able to recover and return the paintings, as was the case with the Harwood Museum paintings.

As a collector, the FBI advises, protecting your own art starts with keeping an inventory of your valuables. To safeguard yourself against purchasing stolen art we recommend performing due diligence on anything you are wanting to buy, only go through reputable dealers, and always check the provenance.”

We encourage the public to review the National Stolen Art File at ArtCrimes.fbi.gov and if anyone has any information about any work listed, please report to 1-800-Call-FBI or tips.fbi.gov

-Statements attributable to the FBI Albuquerque Field Office

Additional information:

https://www.fbi.gov/investigate/violent-crime/art-crime

https://www.fbi.gov/video-repository/newss-fbi-art-theft-program/view

Art Appraisal blog cover image Dante

Art Appraisals 101

Ever wondered whether you should have your collection of original art appraised?

No worries, we’re here to help. For starters, the answer is: yes, most definitely. Not only that, but you should have your art collection appraised every three to five years, sooner for really high-end works.

Let’s start with why.

Insurance Coverage

One of the top reasons collectors need an appraisal is for insurance. This kind of appraisal determines the “replacement cost,” i.e., the cost to replace art stolen or lost in a fire, for example. Check with your agent, but insurance companies don’t usually cover art without an appraisal. 

A common misnomer: My art is covered under my general homeowner’s policy. 

It is and it isn’t. Because people were gaming the system, insurance companies put a seriously low cap on coverage of art and jewelry under homeowner’s policies. You need a floater called a “personal article policy.” And the only way to get this is with either a replacement cost valuation/appraisal (see the rules for your state and insurance company) or you can have your art dealer supply you with a document indicating the current market value–replacement cost–for works they sold you.

For living artists, these values are established by the artist often with input from dealers who handle their work. For deceased artists, this value is established on the secondary market and at auction.

Note: Insurance appraisals always get collectors excited; the retail price for work they purchased years ago, for most artists, will have gone up over time, sometimes significantly. Collectors need to remember that they probably can’t sell this art for the prices they see on a replacement cost appraisal. (I discussed these reasons in a blog about buying and selling at auction.)

The 3 Ds: Divorce, Debt, Death

Division of property. We’re talking divorce, debt, and death. As if these situations weren’t bad enough, now you have to pay someone to appraise your collection (or your family member’s collection) only to divvy it up. These appraisals are done to establish the “fair market value,” which is the amount each work of art would sell for between a willing buyer and seller. This is not the replacement cost; there is a difference, sometimes are very big difference.

Estate appraisal. These appraisals are required for probate dealings. There is a threshold an estate needs to meet before an appraisal is required by the IRS. Check with your accountant to determine whether the fair market value of the real and personal property included in the estate exceeds the annually established unified credit exemption.

Donation. Donating art to museums or institutions such as your alma mater serves the dual purpose of being both altruistic and a great tax write-off. Most institutions will request an appraisal before accepting donations. You’ll also need an appraisal for your accountant when tax time rolls around. These fair market appraisals come closer to replacement value but use auction records more heavily when determining value.

What to Look for in an Appraiser

In many states, appraisers of art do not have to be licensed to do replacement valuations for insurance. They do, however, need to have substantial market knowledge, which is why you can often find gallerists and curators doing these kinds of appraisals. Check the laws of your state before selecting an appraiser for insurance valuations and ask your insurance agent for his or her requirements. Most other appraisals will have to be done by a licensed appraiser.

No matter what kind of appraisal you require, it’s wise to look for an appraiser with specific knowledge of the art you collect. While appraisers can certainly sleuth out the valuation of most anything, some appraisers specialize in disciplines, such as Western art or Bauhaus furniture, jewelry or antique farm equipment. There are lots of factors to consider when determining valuation, so having someone with deep market knowledge will ensure the best results.

Do ask for recommendations and check online with the national and international associations of appraisers. You can also ask museum curators and gallerists you know, and even your insurance agent for referrals.

What to Expect

Appraisers will give you a letter of intent that explains how they work and how they charge–usually by the hour. Rates are fairly standard but vary from state to state. Plan for the appraisal to run $125 to $350 an hour. 

Do not ask your appraiser to turn around and sell art for you. This is a major conflict of interest. If you want someone to sell your collection, you want an art adviser not an appraiser.

Get a Head Start

There are some great online tools to help keep track of your art, such as Airtable and My Art Collection. (Check out the link to Rose’s premade Airtable stocked with everything you need to get started.) Keeping your records in an orderly and central location will help your appraiser create an accurate repost and save time. Here’s a handy list of the key elements to track.

  1. Artwork title. Don’t make this up. Often, the artist will have written the title on the back of a painting or along the base of a sculpture. If no title exists, call it “untitled” or “title unknown” and give it a small description.
  2. Size of the image and outer size of the frame, height by width.  For sculpture, add depth. Note: art dimensions are always listed in this order: height by width by depth.
  3. Medium–oil, pastel, watercolor, bronze, etc. And list the specifics of the substrate, if you know it, such as “oil on linen,” or “c-print mounted on card.” If you’re not sure, call an artist; they will know immediately what you’ve got.
  4. Year the artwork was created. If you don’t know exactly, list the approximate date, and toss the word “circa” after to denote that you’re pretty sure it was done close to this year.
  5. What you paid. If you have the invoice and are uploading things in a spreadsheet, consider taking a scan or photo of your sales records, and add them to the digital file.
  6. Where you purchased the artwork. This establishes a lovely trail called “provenance.” Over time, provenance established the importance of the work and, thereby, it’s value. If a work of art you own has been shown in a museum or major exhibition, make sure you keep record of that and leave the museum tag, if one was placed on the back of the work, exactly where it is. (By the way, if a museum wants to borrow something, for goodness sakes, say yes! This supports the artist and your collection.)
  7. Frame on painting or base of sculpture. Add details like closed corner or chop frame (where you see the joined corners), gold leaf, compo ornamentation, etc. And note whether the frame is original to the work of art. If you are unsure, no worries. Just include a photo of the frame.
  8. Note whether a painting is under glass or plexi, museum grade, UV, etc.
  9. Detail any dings or mars to the frame or artwork surface, as well as discoloration or creases to works on paper.
  10. Photographic documentation. You don’t need to take print worthy pictures for your records. In fact, iPhone pics are pretty darned good. The main aspects to document are the front and back of paintings. For sculptures, get photos from three to four angles. For all art, take a closeup of the signature and get at least one overall photo in the frame or of the sculpture and it’s base. If the frame is really special, get a couple closeups of corners or compo designs.

When taking pictures of paintings under glass, try this trick: using ambient light, lay the work flat on the ground, shut off overhead lights that are reflecting off the glass, then shoot down. You may have to move your body a bit until you find the best spot with the least reflection–or try standing on a chair–but the smart phone camera auto adjusts for low light.

Again, don’t forget to take a photo of the back of 2-D work. Sometimes the back of a painting is more intriguing than the front! Any writing, signatures, and labels from galleries or exhibitions help support the work’s provenance. 

Airtable

I keep track of my collection and those of clients online, in Airtable.  If you’re not familiar with Airtable, you really need to check it out. It’s a free, open-source application that has tables for just about anything you can think of. It’s basically Excel on speed. Here’s a link to my layout for collectors: Rose’s Art Collection Base.

The Art of Pricing Art image

Making Sense of the Price of Art

What artists and collectors need to know about the valuation of art.

I am frequently asked about the price of art. Beginning artists want to know how to get started when they don’t have a track record and established artists wonder if their prices are where they should be. Conversely, collectors want to know how an artist came up with his or her prices and if those prices are appropriate. Thus, a blog to help you do the numbers. Lots to cover, so let’s jump in.

Check for a Pulse

If you are a living artist or a collector, presumably living, and you’re wondering how art is priced, this section is for you. 

(Dead artists and deceased collectors, please feel free to skip ahead. You earned it.)

Artists, god love ya, but you can be all over the map with pricing and it’s making my head spin. It’s also causing collectors to wonder if what they’re buying is worth it.

Collectors are buying a product–yes, a work of art they have fallen in love with–but it’s a luxury, which is why they compare your prices to other things they also need or want. Once collectors start doing some mental math and making comparisons, you can bet they’re going to second guess you and themselves.

So, how do you keep collectors from second guessing themselves right out of a purchase?

Excellent question.  

Do you need new friends?

I’m sounding like a broken record here, but the art world is famously opaque. Let’s face it, we like obfuscation. It’s, well, arty. And fun. Really fun. Which is why I love writing this blog. The art world provides an endless well of secrets from which to draw. 

Artists, here’s the deal. Collectors are smart people. We know they’re smart because they like art. Their friends know they’re smart, too. Their friends are also smart, but not necessarily interested in art, which means they’re not as smart as collectors. Are you with me? 

So, these non-collector friends try to hide the fact that they don’t care about art and would rather spend their money selfishly on themselves (kidding…kind of…actually, they’re not reading this so, not kidding). And, non-collectors who haven’t invested the time and energy into learning about art try to hide this lack of savvy by making fun of the art that their collector friends have chosen. 

Not cool. But it happens all the time. 

Apart from the obvious solution–get new friends–the collector needs access to more knowledge about you and what you’re up to as well as some solid intel when it comes to how you price your work.  

Ground Rules

In a nutshell, please adhere to the following:

1. DON’T price by the amount of time it took you. Some pieces take a ridiculous amount of time, others just flow. That’s the life of an artist; you learn to take the victories with the struggles. 

2. DON’T price by how much you love the thing you just created. You will create something you love even more. Maybe not tomorrow or next week, but you will. Let it go and trust in the process.

3. DON’T price based on what other artists your same age or socio-economic or education level are pricing their work at. This isn’t a race. Wish them well and get back to work. 

4. DO, for the love of Pete, price consistently by the square inch. (Dead artists, hang on, I haven’t gotten to you yet.)

Ugh! Math...

Yeah, I hear ya, you went to school for art not math. Don’t worry, we’re not getting fancy here. 

Step 1. Figure out the square inch, which is height x width. 

8 x 10 = 80 square inches

Easy peasy. 

Step 2. Assign a dollar amount. (I’ll help you figure this out next.)

Here’s what happens when you pick one amount and stick with it for every size painting you create.

8 x 10 inches = 80 x $5/sq in = $400

16 x 20 inches = 320 x $5/sq in = $1,600

30 x 40 inches = 1200 x $5/sq in = $6,000

The small ones are a little low and the big ones are kind of high.

The Sliding Scale

When you adjust by assigning the smaller works a higher square inch price and reduce that amount as you get bigger, it starts to feel more equitable. And, for lots of artists, this gets a little closer to assigning an hourly wage to the work, since creating art takes time no matter what size you’re working on. 

8 x 10 inches = 80 x $10/sq in = $800

16 x 20 inches = 320 x $7/sq in = $2,240

30 x 40 inches = 1200 x $5/sq in = $6,000

Where to Start When You're Starting

My very best advice for those of you who haven’t started selling your work (and no, sales to friends and family don’t count):

Price it low, sell it fast, and use the proceeds to buy more supplies. 

Here’s why. When you over-value your early work–yes, it took you a long time and you’re proud of the breakthrough pieces–buyers don’t get why a novice’s work is so expensive relative to artists who’ve been in the market a lot longer.

The next thing you know, the collector is making comparisons. End result: no sale.

Same with dealers and curators. If you price your work too high, we evaluate your work based on what’s out there, but when we check out your accomplishments and don’t find any, we know you have an unrealistic and overinflated sense of your work, and will take great offense if we even brooch the topic of prices. So, we take a hard pass. 

The other really, really important thing about selling work at affordable prices when you are just starting out is that you won’t have stacks of inventory piling up. This means you won’t be hanging on to that one amazing work that is your all time best ever. Because when you hang on to the best ever thing you’ve made, it will sit in your studio and taunt you. It will whisper: You’ll never do anything better. Give up. It’s useless to continue.

When to give yourself a raise

There are a number of factors to suss out before raising your prices.

1. Consider taking a 10% increase every 1-2 years. This is a small enough amount to not be readily noticed and scare people off, but big enough that collectors can see that their “investment” in you is going up. 

2. Check the economic forecast. If we’re headed into a recession, maybe hold off another year. 

3. Know your client base. If you’re clients are in the tech industry, for example, consider how things are going in their world. If everything is booming, no matter what the economy is doing, you might be ok with a price increase.

NOTE: If you never take a price increase, you could see your collector base become as stagnant as your prices. Keeping your prices at the same rate may feel safe, but in the long-run, that security blanket will drag you right into obscurity. The market wants to see a recognition of your growth and success in the form of a price increase, so take it. 

Can I adjust for gallery commissions

That’s a big NO.

Think of your work and the prices you command like any other commodity. There is a price it trades for, that price is listed in shows, on wall tags and websites, which means it’s verifiable. And collectors WILL verify your prices. If they see prices are higher in one place and less elsewhere, two very bad things happen.

First, buyers will go around your galleries and exhibitions and call you directly. Dealers always hear about this and will kick you out of their world faster than you can say, “Oh, crap, Rose warned me about this!” On top of that, now you’re in the position of having to haggle and sell yourself when you really should be in the studio making art.

Second, you have devalued your work to the lowest number listed anywhere your work is for sale. Why would anyone pay more? 

Remember, collectors don’t always know why something is priced as it’s priced, but they are smart enough to know when things look fishy. And there are simply too many terrific artists who are being consistent with their prices; collectors don’t need to go through the hassle of figuring out a pricing system that doesn’t make sense.

Framing and other considerations

Instead of adjusting your prices to the frame, select frames that are roughly 10-15% of your retail price for that work. For example, a $1,000 painting should have a frame that cost you $100-$150. 

Shipping…yeah, that’s a tough one. And now most shows won’t pay for work coming to them or going back to you. Consider investing in air float crates. They are pricy, but you can reuse them many times. Plus they weigh less than wooden crates, which are unwieldily and cost ridiculous amounts of money to send. (And often arrive damaged because delivery people drop them or run fork lifts through them….)

Buying from the dearly departed

COLLECTORS, if you’ve dipped a toe into the deceased art market, you know all bets are off when figuring out pricing.

I covered some of this in my last blog, Collect Like a Pro, which gave you all tips and tricks for navigating the market. Basically, when art hits the secondary market, the prices are determined by a few factors:

  1. Supply and demand
  2. Importance of that work amid the artist’s entire body of work, i.e. was it a seminal piece that marked a major turning point in the aritst’s career?
  3. Quality of the work–is there any damage, has it been conserved, etc.
  4. Provenance–who owned it and whether that collection was important. 
  5. Exhibitions, awards, honors, etc., for the work and the artist.

Collectors who are considering buying historically significant works would be best advised to work with an art consultant or go through a trusted gallery. There are a LOT of fakes out there. An advisor can help you find and buy work that is within your budget and has the pedigree you want for your investment.

An Art Afterlife insurance policy

ARTISTS, this is important. When you’re gone, dealers and collectors will be the judge and jury of your work using the above criteria. Remember when I said not to price things based on how much time it took you or how much you liked a work of art? It still doesn’t matter…right now; what does matter is that you keep a record of those breakthrough works and why they were important. Also, record info about your process and who you were palling around with at the time. 

The things that hurt the secondary market valuation of art:

  1. Bad auction sales
  2. Lack of visibility in national shows
  3. No catalogues or other critical writing about your work (i.e., astute writing by authorities in the art world)

Here are some things to do now to support the valuation of your work and boost your prices while you can enjoy the dough:

  1. Write things down about work that is important to you.
  2. Try to get your best work into major exhibitions so there is a record of those pieces.
  3. Work with galleries to get prominent collectors to purchased important works.
  4. Seek museums to collect your work, even if that means a discount or donation.

If you’re still wondering about pricing, ask fellow artists and dealers to chime in. And feel free to send me an email. I’ll take a look and give you my two-cents. 

Rose’s Oatmeal Chocolate Chip Raisin Cookies

  • 1 cup butter, softened
  • 1 cup brown sugar
  • 1/2 cup granulated sugar
  • 2 eggs
  • 1 tsp vanilla
  • 1 1/2 cups flour
  • 1 tsp baking soda
  • 1 tsp cinnamon
  • 1/2 tsp salt
  • 3 cups quick rolled oats
  • 1 cup raisins
  • 1 bag high quality milk chocolate chips

Heat oven 350 degrees. 

Beat the bejeez out of the butter and sugars until nice and creamy.

Drop in the eggs (sans shells), vanilla, baking soda, and salt and continue beating.

Slowly add flour–don’t over mix it–then add the oats. 

Gently stir in raisins and chocolate chips. 

Drop dough onto ungreased cookie sheet.

Bake 10-12 minutes, depending on size of cookie. Cool on wire rack and store in airtight container. 

Tips from an Irresponsible Baker

Tip 1: I always undercook these because: 1. I have an iron-clad stomach; 2. I am a risk-taker, of course; and. 3. I prefer soft, melty cookies that don’t fall apart.

Tip 2: Store them in the freezer because who doesn’t love visiting their dentist? Mine has a field day fixing my cracked teeth. (Kidding, he doesn’t outwardly show glee over my teeth so I’m not really sure that’s a thing.) 

Tip 3: Because I lied about having an iron-clad stomach, and can NOT deal with gluten, I substitute gluten-free rice flour, 1-to-1, for regular flour. 

Tip 4: Do you have picky eaters who don’t like raisins? Add more raisins…more cookies for you. You’re welcome.