Selling Your Art Archives - Page 2 of 2 - Art Marketing with Eric Rhoads

The Empty Building: What You May Be Missing as an Artist

Minutes from my home, in a very popular part of town, I’ve watched a new office building go up as I pass when driving our kids to and from school each day. Now, after months of construction, the building is ready and available for tenants. The sign went up long before the building was finished, and yet today, months after it’s been finished, it sits empty.

Keep in mind that Austin is booming, companies are leasing space like crazy, and all the neighboring buildings are full.

So what’s the problem? And what does this have to do with marketing art?

Several weeks ago when looking for space for a new studio to shoot art instruction films for Streamline Art Video, I decided this would be a great building to lease part of the space. So I decided to call. But driving by the building, I couldn’t read the phone number. My vision isn’t perfect, but it’s not that bad. So I had to drive into the lot, get close, and copy down the number. That’s mistake number one. Designers tend to go for beauty over practicality. Make sure you understand the distance when someone is viewing your ads, website, etc. For instance, on the phone most websites look bad, but they look good on a computer screen. Problem is that 80 percent of all Internet use is on the phone.

The Phone Call

My call went like this…

“XYZ Properties, can I help you?”

“Yes, I’m interested in the building on 123 Street. Can you tell me something about it?”

“Hold, please.”

Ring … Ring … Ring … Ring… “Hi, this is Bob from XYZ Properties. Please leave a message.”

“Bob, my name is Eric and I’m interested in renting your building at 123 Street. Please phone me — I am ready to move in as quickly as possible.”

Bob never called. Not an hour later. Not a day later. Not a month or now, even two months later.

Oh, I may have missed his call. It’s possible it’s in my phone somewhere. But I looked and I didn’t see it there, nor did I see any additional missed calls.

Now perhaps Bob has a deal and has the whole place rented and decided there is no reason to call. Yet there it sits, two months later, with no cars outside and the “Now Leasing” sign still up.

If Bob does have it rented, a call to me is still important because … you should always return calls. Even if you think there is no reason to. What if I wanted to hire the company to manage my real estate? What if they had a space in another building that was perfect for me? What if I wanted to buy their company? What if I wanted to reach Bob to offer him a job? Sometimes the message left is a smokescreen for the real reason behind a call.

The second reason it’s important to return calls? Now his company has a bad reputation in my eyes.

The even bigger issue, and what I suspect is the truth, is that Bob is lazy. Maybe he never heard my message. Maybe he forgot to call. Or maybe he just hasn’t gotten around to it.

In the sales business, we call people like me a “hot lead.” I was interested at that moment. Fact is, I found another building and have since moved in. I’m no longer a hot lead.

How does this apply to art?

Let’s say someone sends you a note, or calls you, and you don’t know why they got in touch. They want to get a birthday painting for their spouse, but they don’t say that because they don’t want to be sold. But 24 hours pass, and you haven’t called back yet because you are busy. Or maybe you left a message and they didn’t call back, and you didn’t try again.

Finally, when you do reach them, you find out the birthday-gift need was that day, last-minute. And you not only lost a sale, you lost a customer for life.

Now you may be thinking, “I don’t want to be too aggressive,” “I don’t want to appear desperate or needy,” or just, “They will call back.” But what if they lost your number? What if they’ve got busy and have been tied up, and forgot to call you back?

When someone calls you, they are giving you permission to reach them, even if you have to call more than once. Your message might simply be, “Your call is important. I want to make sure I follow up with you.” But at least call once.

The key is to call back as quickly as humanly possible. Make them feel important. If you don’t reach them, call a couple more times at least. If you can find them on LinkedIn or Facebook, send them a message.

You never know what is on someone’s mind. Always follow up as fast as possible.

We are living in an e-mail and texting culture, and there is a generation of people who don’t use phones to call, but only text. If this is the case, the text and e-mail information should be on the sign. (Always provide multiple options to reach you on EVERYTHING you do.)

My guess is that Bob is lazy and the building will sit empty till Bob’s boss find someone else to fill it.

Eric

PS: I’m doing a weekly blog called Sunday Coffee, where I talk about art, life and just stuff that interests me. You can subscribe or read it at www.coffeewitheric.com.

By B. Eric Rhoads|2022-12-14T16:51:46-05:00February 28th, 2018|Business Advice for Artists, Selling Your Art|0 Comments

An Art Marketing Message from Eric Rhoads

"Half the money I spend on advertising is wasted. The trouble is, I don't know which half."

— John Wanamaker (1838-1922)

Founder, Wanamaker Department Stores

Advertising seems simple. Buy an ad, get results, right? Our lives are so filled with advertising, coming from so many directions, that we all feel fairly comfortable engaging in it ourselves. How difficult can it be? Especially for artists, who have strong graphic instincts, and many of whom have graphic design backgrounds. Some have even been doing work for advertising companies.

But when you are advertising, how do you know it's working? Sadly, the answer is not cut-and-dried.

Easily Trackable Results
In the direct marketing world (direct mail, direct e-mail, direct Internet), they test like crazy, comparing one piece of copy against another to see which sales letter or campaign worked best. They have industry standards for returns on "mailings" and are very disciplined about tracking sales as correlated with campaigns. In the direct marketing world, results are easy to track. You know what you purchased and when, and whether people purchased something after seeing it.

But as an artist, you're not selling widgets, gadgets, vitamins, videos, or books. If you were, the question would have an easy answer: Track results.

In the world of art, here is what you are selling:

A specific image that will have a narrow appeal to a small group of people
A brand name as an artist
A status item (in some cases based on the notoriety of the artist)
A piece of decoration for a home or office (sorry to be so crass as to bring it to the level of commodity)
A memory or a dream, something that represents an emotion to the viewer
The feelings stimulated by your painting
A solution to a problem (we need something to go over the couch)
A souvenir of a place visited
An investment or a hedge against inflation

Artists who advertise often think their primary goal is to sell a particular painting. And of course selling something is the fuel that keeps the business moving forward. Yet finding one single buyer to like and buy one single painting is a pretty narrow focus. Though you want to sell that painting, you really need to develop a deeper and wider vision.

The Importance of Trust-Building

Imagine you meet someone for the first time at a cocktail party. Twenty minutes later, that same person comes up to you and asks to borrow $500. Would you give it to them? Of course not. Why not? No trust has been built.

If, on the other hand, you get to know that person, see them frequently, and a few months later that same person asks to borrow $500, you might consider it.

In fact, if you know someone well, feel comfortable with them, have known them for years and they ask, you would probably not hesitate if you had the money.

This highlights the importance of building trust, which is a big part of what branding is all about.

When someone sees your work for the first time, they may like and respond to your art, yet not take action. Why? They don't know or trust you yet. Over time, the more they see you, the more evidence they see that supports their desire to buy your work, and the better chance you have of selling them.

It's the primary reason I'm so insistent on focusing on trust-building through branding.

Branding Is Not for Wimps

I was coaching an artist on her first advertising campaign. She said, "I'll buy an ad and see if it works, and if it works, I'll buy more."

I said, "How will you know if it works?"

She said, "If I sell this painting."

I said, "Respectfully, that won't work. Save your money. Though you might get lucky and sell it, no one has heard of you. You have to build trust, you have to build awareness, you need to create and maintain a brand. It won't happen overnight, and there is nothing you can do to make it happen faster because trust requires time."

I told her she needed a campaign that would build trust by advertising consistently to a single audience (mine or someone else's) and that she would not see much, or any, result for about a year.

Gulp.

That's a tough sell.

To her credit, this artist wanted to be successful so badly that she found a way to commit to an every-issue ad campaign.

I then told her this: "Though you might get lucky and sell the paintings you advertise, your primary goal needs to be trust-building — branding. And about six to nine months into this, I fully expect a phone call with you cancelling your advertising because it's not working. The reason I'm telling you this now is that at the point of your greatest fear and frustration, you'll be just starting to build momentum, even though you can't see it. When you get to that point, don't give in to the temptation to cancel. You'll lose the momentum, and if you come back later, you'll be starting over."

I said, "At about the one-year mark, you'll start seeing some activity. You'll start getting invited into shows. At about a year and a half, after consistent trust-building, you'll start being invited into galleries. You'll start seeing paintings sell, and your workshops will start selling out. At about two years, you'll hear from more galleries, sell more paintings, and you'll be invited to bigger shows and have a waiting list for your workshops. At three years, you'll see your prices double, you'll see the very best galleries seek you out, and there will be so much demand on your time you'll have to cut back on shows and workshops. And you'll be selling more paintings than you ever imagined possible."

Then I cautioned the artist, "At that point you'll be tempted to stop advertising because you'll start believing all the press clippings and think it is you making all this activity happen. And it is, but it's because you've become like a giant magnet, pulling people toward you with your marketing."

Sure enough, at the six-month mark, she called to cancel. I reminded her of what we'd discussed, and to her credit, she stayed in, based on faith.

At the nine-month mark, she started getting invited into shows and selling a few more paintings. At the 12-month mark, she started being contacted by galleries. It snowballed from there, and everything I predicted came true, almost exactly. (It's only because I've done this so long that it's that predictable.)

Trust-building — branding — is not for wimps. It takes courage and patience. Yet if you do it, and you keep it alive, you can become a major name in about three years' time, and within five to seven years become known as a master. Keep it alive for a decade or more, and you're an icon.

So How Do I Know It's Working?

As you can see, all this relies on momentum building quietly in the background, and it's hard to see it and measure that. Yet it's a powerful tool and is the very reason big brands hammer their name and message in the media, over and over, forever. There are always new people entering the market who don't know your brand, and the minute you stop, another brand takes your place.

You'll know it's working when you start seeing the activity level rise and other signals begin to show, about a year into a good campaign.

Critical Elements of a Marketing Campaign

All campaigns have critical elements. If those elements are out of balance or not fine-tuned correctly, the results will vary.

Powerful Headlines
Lots of research has been done on this topic. A headline is designed to pull someone into your ad. Without a strong headline, they won't stop and look; they will simply keep turning the page until a headline does get their attention. I recently attended a conference where a speaker said a change of headline can impact an ad's results by 700 percent — when the only thing that changed was the headline. (The same is true for a subject line in an e-mail.)
Powerful Copy
The copy in your ad, short or long, matters. Every word counts, and every word needs to help accomplish your goal. Most ads are weak and meaningless emote-y drivel. Ever hear these lines?

The best quality
The best service
All your ___ needs

Your copy needs to cut through.
The problem for artists is that they primarily want to highlight their name with a big image of a painting. But it's hard to stand out by doing that alone. If you study who is getting lots of attention these days, you'll notice they are writing strong headlines for their ads.

3. Audience Saturation and Repetition

It's important to pick a single media outlet (a publication, a website, etc.) and dominate it as much as you can, with ads as large and as much frequency (repetition of ads) as possible. Most of us are tempted to move to other publications after a couple of ads to reach a new audience. But that's a giant mistake unless you can stay in the initial publication, add the other, and dominate in both. Few can afford to do that, so stick with the one outlet. It's time + repetition of message that builds trust, which builds your brand and your sales.

4. Audience Target
Contrary to what others would like you to believe, size does not matter. What matters is that you reach a relevant audience for what you're selling. Though you will get a bounce from advertising anywhere because you can gain customers from any audience, a relevant audience will speed your success. For instance, if you were selling gold, you'd want to reach people who can afford gold. Being in Investor's Business Daily or the Wall Street Journal will be better for that than People magazine, even though People has a bigger audience. In your case, you want to reach people who can afford what you sell, people who are known buyers of paintings.

5. Emotion

All decisions are emotional and only later supported by logic. Never forget this. If your ads don't have an emotional element to trigger strong feelings in your potential buyer, you'll reduce your success. (Of course, paintings themselves trigger emotions, so you have that to your advantage.)

6. Call to Action

Ads that don't ask for the order don't work. It seems simple, but most people simply include their contact information and never ask for the order. Research indicates that results will increase if you simply ask someone to pick up the phone and call to make a purchase.

7. Overcome Fears

Ads need to overcome the fears of a buyer. What fears do people have when they buy a painting? "Will it retain its value? What if I get it home and it looks bad with my couch? What if the gallery goes out of business?" The best way to overcome these and other fears is with a guarantee, such as: "If you decide for any reason the painting is not right for you, you have 60 days to return it for a full refund, no questions asked." Of course, everyone is afraid to do this, yet this one line will put some buyers over the edge and help them pick up the phone to call.

There is no one easy answer to "How do I know if my ads are working?" To some extent you have to trust that they are, after you've made sure the right elements are in your ads and the repetition and commitment are there.

Two Ads, Different Results

Most media works, or they wouldn't still be in business. Yet I can have two advertisers call me on the same day, and one will say their phone has not stopped ringing, their sales are strong, and they are getting amazing results. The other will tell me their ads are bombing — and they'll want to blame the publication for not having the audience. What's the difference?

It all boils down to the elements we discussed above. A great, well crafted ad, with the proper elements, and the proper frequency over long periods of time, is the difference. Badly crafted ads don't work.

Unfortunately, everyone tends to be in love with the ads they create. But most advertisers lack deep experience in creating great copy and the right elements for success. Then when their ads don't work, they want to blame someone other than themselves.

In closing, before you ever buy one drop of advertising, you need to ask what your primary goal for that advertising is. If you could accomplish just one big thing, what would it be? Once you understand that, it will make the message you craft crystal clear, and clarity is critical to make advertising successful.

By B. Eric Rhoads|2025-05-14T07:10:45-04:00May 21st, 2015|Selling Your Art|2 Comments

How to Sell Art Every Month of the Year

It's summertime, and art is selling. I'm hearing from galleries around the country that are having a great summer. If you're an artist they're representing, that's great news. But what happens when summer is over? Can you survive on a few paintings sold over the summer? Or would you like to have consistent business all year? I'd like to share a strategy that can keep the cash coming in every month of the year.

Vacation Mode
What I failed to mention is that the places selling a lot of art this summer are vacation spots. Anyone who runs a retail location knows that people are a little looser with their pocketbooks when they are on vacation, in a non-stress, non-work environment. Those vacationing in expensive resort areas are likely to be able to afford a nice memory of their trip to hang on their wall, whether it's a painting of the local area they're visiting, or just something they love that will help them remember where it was purchased.

I have a house filled with memories purchased when we were in "vacation mode." We're out to dinner having a great time, maybe we've had a couple glasses of wine, and we wander into a gallery, and WHAM! We fall in love with a painting. Since we want our vacation time to last forever, this is a great way to remember it. We're fond of paintings of the places we visit.

Seasonal Strategy
But life goes on, and vacation does not last forever. So if you're in a summer-season gallery and are not selling paintings at other times of the year, why not consider a seasonal strategy? Why not target galleries in vacation spots that are visited at different times of the year? Remember, not everyone has to vacation on a school-year schedule. The people who travel most are upper-income and retired or semi-retired, or business owners who have more control of their time. Think about these seasons and where these people vacation.

Winter:
Snow is a great trigger for winter travelers. The first snow drives "snowbirds" from the North to the South. People from Canada and the northern U.S. start heading to winter homes in places like Florida, Georgia, the Carolinas, Arizona, Southern California, Mexico, etc. Snow also triggers ski vacations in Colorado, Utah, Upstate New York, Vermont, etc. Of course, Christmas is a major part of those escape trips, and people are looking for ideas. These resort communities are loaded with galleries — and resorts have lots of people looking for things to do, so art shows typically happen in winter months in the warm climates.

Spring:
Families travel for one or two weeks at spring break, which fills ski resorts, beaches in warmer climates, and historic locations like Washington, DC. It's also a time when people want to get away as long winters hang on. People with spring fever want to get out and enjoy the outdoors, and they find themselves traveling to vacation spots.

Summer:
Summer resort and vacation areas are to be found all over the U.S. Though the city of New York often goes on cruise control in July and August, it's crowded in the Hamptons, the Catskills, and the Poconos. People in the East will vacation in the Cape, Maine, or the seashore. People in the West will head to Santa Fe, the San Juan Islands, Wyoming, Idaho, and Montana. Heat is also a trigger for people who want to escape to lakes, beaches, and cooler mountain resort areas like the Adirondacks, Jackson Hole, the mountains of New Mexico, etc. Summer resort areas are filled with galleries.

Fall:
Watch travel magazines for tips on communities where there are popular "leaf drives." Lots of tourism is built around the color change of leaves in places all around the country, whether Vermont, Northern California and Nevada, Upper Michigan, Indiana's Brown County, and hundreds of other locations. (Might be a good time to put some of those cadmium colors in your leaves.)

How To Make a Plan
Start by asking yourself when and where your art is selling, and see where you may already be getting seasonal business. Then simply make a list of every month, and areas you think will be hot tourism locations in each one. You don't want to be in 12 galleries, so try to find locations with overlap across several months. A great example, for instance, would be areas like Lake Placid or Aspen, which have strong summer seasons, strong ski seasons, and strong leaf seasons. Once you've picked a few seasonal locations, the hard work begins.

Next Steps
Getting a gallery is easier said than done. (My new Art Marketing Boot Camp™ II video discusses how to get into galleries). But start by finding your target area. Find out what galleries are there, but also understand that a gallery may not be your only option. Shops, restaurants, arts centers, and retail locations can be good options for exposure and selling work. Then start your outreach program. Study the galleries and reach out to those you think would be the best fit for your work.

Content Matters
Great galleries know what sells, and I'm sure your paintings of the New York City skyline will sell anywhere. But will a fall Vermont painting sell better in Vermont during leaf season? Certainly many are seeking a memory of their trip. The most important thing to a gallery is whether your work will sell. So you may need to build a body of work that "fits" the region before you start reaching out.

Of course, it never hurts to ask what sells. Some artists are willing to consciously paint what sells, while others resist doing so. That's your call. Do your homework, because the area you select has to be successful to become part of your regional strategy. Go online and study as if you are a tourist about to visit; a Google Images search will help you understand the area. (I don't recommend painting the images you find on Google or those belonging to others; that's a copyright violation.) Your best bet is to visit, and paint the area so you can represent the true feel of the place that you can't get from a photograph. And you may want to do multiple visits so you have the snow, the leaves, the summer lakes, etc. I typically don't buy local winter paintings when I'm visiting in summer, though some do.

Your Plan
Every artist needs a marketing plan, even if it's simple. This is a great exercise because you need to determine how many paintings you need to sell in a year to meet your goals, and you'll be breaking things out month by month anyway. A seasonal strategy will help you focus on this process.

Following a seasonal plan will increase your success in every month of the year if you do it right. It won't happen overnight. You need to plant seeds, do your proper marketing, and work each market. Things don't just happen, you have to make them happen. But if you follow this plan, you'll eventually have income every month you need it. Happy painting!

By B. Eric Rhoads|2025-05-14T07:13:57-04:00August 15th, 2013|Selling Your Art|10 Comments

The Fastest Painting Sale In History?

A Story about Art Marketing from Eric
Rhoads

My
friends will tell you I'm a fairly modest guy. I've learned to overcome
my shy nature because, to succeed in business, you have to learn to blow
your own horn once in a while. It's the hardest thing I've ever
learned, and I know it's tough for most artists as well.

So
here I go, blowing my own horn.

I
was flattered when Jim and Mark at Greenhouse Gallery asked me to
conduct an art marketing workshop at their gallery the day after their
Salon International dinner.

My Frantic Saturday Morning

I
drove home to Austin on Friday night and had to return to San Antonio
for the 2 p.m. seminar on Saturday. I was making last-minute changes to
the presentation when the phone rang. It was my artist buddy Anne Nelson
Sweat, who was planning to accompany me on the 80-minute drive. "If
we're going to be on time, you need to be here to pick me up in 15
minutes, " she said. I was still in jeans and sneakers. I spent another
20 minutes preparing the notes and rushed out the door to pick up Anne.

Driving Like A Madman

I
suddenly realized I hadn't had a bite to eat all day, but traffic was
bad and there wasn't even time for fast food. I was probably well over
the speed limit when Anne, who was looking on the GPS navigator on her
iPhone, shouted, "Quick! Turn here!" I swerved from the middle lane and
exited just as she announced, "Oops, wrong exit." Just as I was about to
get back on the highway, I noticed traffic had stopped. I made a quick
right and asked Anne to navigate us on back roads to avoid the traffic.
Countdown: 10 minutes. We were at least 15 minutes away according to the
GPS, and if we hadn't taken that turn we would have been an hour late.
With one of the gallery staff talking us through the back streets we,
walked in exactly at 2 o'clock. I never did eat.

Yes, I Get Butterflies

I
walked in the door with my shirt tail hanging out from my jeans.
Frankly, I was comfortable, it was Saturday, and why not? Yes, I had
butterflies as I saw the 50 artists in the room waiting for me to say
something meaningful. Though I've conducted hundreds of speeches and
seminars, it never goes without some angst – and this was more than
usual because my notes were still in disarray.

Please Don't Stop!

At
the end of the second hour, the artists asked me if I would keep going,
so I did until Mark from Greenhouse pointed to his watch. The opening
was about to begin. The seminar went three hours, and not one person got
up the entire time. They seemed to be engaged.

Two Paintings Sold Instantly – Like Magic

As I
said, blowing my own horn is hard, but I felt like a proud papa. During
my seminar, I taught a system for using stories to sell art. It's much
too complex and time-consuming to get into here and now, but about an
hour later, during the opening of the exhibit, one of the artists
approached me and said, "I followed your advice. A man was looking at my
painting, so I walked up and told him my story using the techniques you
outlined, and he instantly bought it." I remember the artist's face but
I don’t know her name. So if you're reading this, call me!

The
following week, I received an e-mail from another artist who had a
similar experience and sold his painting the same way.

Helping Buyers With Imagination

Artists
tell me that people need to interpret a painting to their own meaning. I
agree to an extent, but, because artists are creative types, they
assume everyone can do this. Some people have little imagination, and if
you can help them along with a well-crafted story (don't lie) that
isn’t boring, is fact-based but not fact-filled, and is written to help
people see themselves in the painting, you will sell more artwork. So
will your gallery. Are you using stories to sell art?

My Two-Day Art Marketing Seminar

During
the seminar I was asked if I'd be willing to do a two-day version for art galleries. The
answer is that nothing is planned, but if I get enough e-mails from
people willing to come to Austin for a paid seminar, I'll consider doing
it. My e-mail is eric@fineartconnoisseur.com. Please don't hit
reply, and PLEASE put GALLERY ART SEMINAR in the subject line. If at least 50
people who interested, I'll put together a class and let you know the
fee once I determine the cost to rent a venue for two days. Marketing
art is detailed and complicated for a lot of artists, but I think I can
make it easy for you.

Eric
Rhoads

By B. Eric Rhoads|2025-05-14T07:14:31-04:00April 23rd, 2010|Selling Your Art|0 Comments

Selling More Art at Fine Art Fairs

A message from Eric
Rhoads, Publisher of Fine Art Connoisseur Magazine

Did you ever wonder
why one dealer has a crowd hovering around their show stand much of the time
while other dealers seem to be passed by? Or why one dealer always seems to
sell more artwork?

What can you do to get your unfair share of customers from
your art fair investment?

What can you do to stimulate more sales following an art show?

Most dealers’ strategy is merely “showing up.” Yet following
this course is placing 100% of your faith in the show’s ability to deliver and
is still no guarantee that customers will visit your stand and buy from you.

Capturing The Customers

Show promoters want their fair to appear successful and
therefore the halls are often stocked with “lookers” who have no ability to
buy. Only a fraction of those in attendance are actually potential customers
with money to spend. Since there is not
enough money in the hall to fill the coffers of every dealer your role is to
make sure you get your unfair share of business.

The Value of Brand
Awareness

“Yeah, Eric, but that gallery has been in business for 30
years, has better art and is bound to get more traffic,” you might say. No
doubt, but what I’m really hearing is “people are more aware of that gallery.” Time-in-business
is the best tool for awareness yet we have all seen dealers with longevity who
are no longer considered relevant. We have also seen new dealers rise to
stardom rapidly. Fair visitors flock first to brands, which
they know. Therefore the first rule of show success is keeping
brand awareness high. This is not a single event but a series of events
ongoing over time. Smart dealers understand that keeping their name visible
continuously is critical, and hyper important for the six months leading up to
a show. Branding is a process not a single event.

How Brands Are Like Money

If your money is not growing at a certain rate of interest you’re
it is actually loosing value. Like money brands need to be in a continual state
of growth. Dealers who rely on their
established branding who are not reaching new customers are loosing brand
value. As new people enter the art market they have no brand loyalty and
awareness. I was recently asked who would be a good dealer from which to purchase
a John Singer Sergeant painting. The buyer was completely unaware of all of the
established blue chip dealers others would naturally think to call. Many dealers assume they are known and have
stopped their branding efforts or only focus on their existing database of
customers. In their advertising they tend to reach the same markets over
and over instead of talking to new markets and casting a wider net to people who
may be reading different publications and websites. Branding to new audiences is critical for keeping a brand alive. New
art buyers are entering the market every day and they may not know who you are.

Invitations and
Meetings

Beyond having a strong brand, which helps people to
naturally gravitate to your stand, it’s
critical to invite people in advance to visit you. Most dealers do this by
sending free tickets to the show to their database by email or mail. Typically
invitations are not reaching those NOT on your database, therefore your pre-show advertising should mention
upcoming shows and highlight works to be on display in the show so you reach
new buyers not on your list.

Personal Invitations
and Incentives

Personalizing invitations strengthens the possibility of a
visit. A personal note or a personal phone call to help the customer make your
stand a destination on their “short list” will increase visitation. Incentives almost assure visits. One
dealer sent key potential customers a beautiful Cross pencil with the
customer’s name engraved on it. In the note it said, “ Please stop by our booth
to pick up the matching pen.” His booth was jammed. The small investment in $100
pen sets to 50 key customers gave him an almost 100% visitation from these
customers. Incentives can be powerful. Even affluent people like something for
free if it’s of quality.

Opportunity Thrown
Away

At the Palm Beach Show last week I saw a stack of the
dealers beautiful hardbound catalogues sitting on the exterior of a dealer’s
booth for anyone to take. Not only will those books end up in the hands of a
lot of “Lookers” who won’t be buying; it is opportunity wasted. A book or free gift (even wrapped candy) sitting
in plain view inside the stand will
draw people inside the booth rather than a quick walk-by. This not only
exposes them to the artwork inside, it usually results in the customer asking,
“May I have one of your books?”, which is the perfect time to ENGAGE the person
in a dialogue. A response as simple as, “Yes you may have a book, are you
seeing anything in the show of interest?” can lead to a discussion like “Are you
looking for any particular artist?” or “What do you collect?” Dialogue of
course leads to meeting a new potential client, getting their name or business
card to ad to your data base, and can potentially lead to a sale. Your secondary goal should be to find ways
to gather names of collectors to ad to your database. A visible guest book
is helpful too, however ideally it should have a place for specific questions
to not only gather contact and email information, but “check your areas of
interest to you”, or “what do you collect?”

Capturing a Sale
After the Buyer Has Left

Though you may be thinking the person who just left your
stand is seriously interested in an artwork you’ve discussed; the moment you
say goodbye you may have lost that potential sale forever. Unless yours was the last stand visited your potential buyer
may fall in love with and buy something else after leaving your booth, even if
they intended to return. Also visitors
suffers input overload. They see so much art that they cannot remember what
they saw and where they saw it.

Here are some tactics
to increase your chances of a sale after the buyer has left your booth:

1.
Being
Memorable:
Your logo needs to be on your booth in plain view. At the recent Palm Beach
show all dealers had a same sign over their booth with their name. It did not
have their logo, their colors and their identity. Some dealers made sure their
identity and logo were tastefully emblazoned on the walls of their booth. This
is important because booths all run together in the memory. Logos are more
memorable and will be recognized as you follow up.

2.
Stimulate
Memory of the Art They Liked:
I guarantee people visited your stand,
looked at a painting, saw the price and were interested yet never spoke to
anyone. Having an easily picked up card with the artwork and info on the
card near the painting acts as a reminder. Of course your logo and contact
information is on the card, including your cell phone number with the line “if
you see something in the show, which you cannot stop thinking about, here is my
cell phone number. Please call and we will put the piece on reserve and or
deliver it to you for review.” This will act as an after show reminder.

3.
Permission
to Follow Up:
In instances where there was a serious discussion and business cards traded
remember that all business cards tend to run together and we easily forget whom
we met and what we discussed. Ideally you should write on the back of your card
the name and artist of painting discussed, and if possible staple it to a card
about the piece, and circle or write your cell phone number. Then say to the
individual, “I’ve put my cell phone here so you can reach me if you decide
you’re interested in this painting before the show is over. We will happily
bring it to your home for review.” Also instead of asking “May I phone you to
follow up” ask “When should I phone to follow up with you?” This gives you
permission to follow up and lets you know if the buyer is truly interested.

4.
Interest
Fades with Time:
Most sales take place after a show. Trade
show experts say that rapid follow up is the most important thing you can do to
make a sale. Because most exhibitors don’t return to their place of
business for a few days following a show and get bogged down in playing
catch-up upon return; follow up calls to potential customers often don’t occur
for a few weeks. Experts will tell you that interest begins to fade the moment
they leave the show and that if the
prospect discussion takes place within three days of when you met there is higher
probability of closing a sale. Follow up within the first week is critical
and after two weeks most interest is lost. Since the average seller reaches the
buyer within three weeks follow up is less effective and your investment in the
show is wasted opportunity. Phone calls are more effective than emails, which
of course are easily deleated.

5. Rekindling Interest:

If someone was truly in love with a
painting you can rekindle interest by emailing or mailing an image of the
painting within 48 hours of meeting the prospect. It’s better still to try and
get the actual painting to their home for review in their environment. But how do you rekindle interest to the
hundreds of potential buyers that were in your booth whose name you did not
capture? Make sure you cast a wide net by scheduling advertising in magazines,
which mail soon after the show. For people thinking, “Where did I see that
painting?” your logo alone may remind them of their visit to your booth. An
advertisement showing images of paintings featured in your stand will act as
powerful reminders. Of course this advertising also gives you the benefit of
continual branding and an opportunity to reach the thousands who did not attend
the show.

Though these show strategies are routine to many dealers it
explains why their booths are often the most well attended and why they make an
unfair share of the sales. By following these simple procedures you can
increase your show sales significantly.

By B. Eric Rhoads|2025-05-14T07:14:55-04:00February 10th, 2010|Selling Your Art|0 Comments

7 Ideas for Galleries to Increase Summer Art Sales

To help your gallery sell more artwork this summer, I've
put together these 7 ideas.

1.
Remember the Basics:
Because we are all
very close to our businesses, we assume people know what we do, who
we are, and what is featured in our galleries — but this is simply
not true. Though you should continue to "work" your customer
list, also develop a strategy to attract new faces and new customers.
People are moving all the time, and out-of-towners are visiting.Your
outreach program should tell your story in fresh ways that will bring
in the new people and reinvigorate those who have not been in for a
while.

2. Traditions Can Become
Tired
Have you been doing
the same things year after year? Though tradition breeds comfort, it
also breeds complacency. Have people stopped attending your openings
or events because they have become too predictable? Shake things up.
Invite interesting people or VIPs to create buzz. Though a fresh artist
or a new show is often enough, it can't hurt to use a hot caterer, promote
a celebrity guest, or feature an intriguing speaker.

3. People Love to
Watch and Participate
People are fascinated
by watching sculptors and painters work. Set up guest artists weekly
and find ways to spread the word though the community. Host something
fresh every week or two throughout the summer. Consider running some
special family or kids events. Create local art programs outside the
gallery so parents can browse inside while kids are busy with outdoor
art lessons, coloring, or crafts.

4. Become a Destination
Locally and Nationally
Community calendars
and event and tourism guides are used by both locals and visitors. We
pick them up first thing when we arrive in the Adirondacks each summer.
It’s smart business to maintain visibility through ads, event notices,
calenders, etc.

Also don't forget the advantage of a national audience.
Many galleries are part of a summer itinerary, and those who promote
nationally can become a destination for families looking for a place
to go. Look for national art destination guides — (for instance, we
have a guide to Cape Cod, Nantucket, Martha's Vineyard, and the Hamptons
in the July/August issue of Fine Art Connoisseur. ) These are a
good place for your ads to prompt visitors to plan a visit. A national
strategy is equally important year round, because a collector can pick
up the phone or go to your website and buy without ever visiting.

5. Remember Retail Basics
Though most galleries
shy away from being perceived as retail, there are many basics that
apply to any business.
• Create interesting
window displays and change them frequently. Make sure they are well
lit and inviting at night.
• Move displays around
frequently. People notice things when walls and paintings have been
moved. One gallery I visit every summer in the Adirondacks has not changed
in 20 years, and therefore I don't even walk into certain sections.
• New decor helps people
see your space differently.
• Make the environment
welcoming. Retailers know that music and scents stimulate buying. Many
people are intimidated by galleries, so a simple sign that says "Please
come in and browse" may sway those daunted passersby. A billionaire
once told me, "art galleries intimidate me, so I never go in unless
I already know the people."
• A plate of cookies
works wonders to stimulate sales in small retail locations. The enticing
aroma says people are welcome here and invites them to spend more time. Companies like ScentAir specialize in retail scents and can find ways to spread the smell outside to draw people in.
• Watch your body language.
Retail researchers say a welcoming smile has a strong impact on sales.
Avoid crossed arms or standing guard. It drives people out the door. According to the book Buyology: Truth and Lies About Why We Buy
a smile actually triggers a desire to buy in the brain.
• Don't judge a book
by its cover. Billionaires can have long hair, unshaven faces, and sloppy
clothes, especially on vacation. Make everyone feel welcome.

6. Summer Loan Program
and Party Circuit
Invite affluent patrons
in and suggest they pick a painting to try for July — no obligation.
If they grow fond of it, they'll buy it. Local charity events are often
held in affluent homes, so more galleries are offering to hang art for
the event, which is an excellent way for large crowds to see your artwork.
Find a tasteful way to let them know who provided the art and that each
piece is available. Keep local decorators aware of your art while summer
homes are being redecorated or built (we suggest a luncheon or mixer for local decorators to get them into the gallery).

7.
Art Education Seminars and Events
Education is powerful.
Holding events in or out of the gallery — featuring experts, guest
lecturers, or seminars — is a powerful tool for creating deeper interest
in art. Promote an "Understanding Art" or "Art Basics"
course for beginners, hold sessions on specific historic or living artworks
or styles, or host forums with multiple experts. People love free, interesting
things to do. Each is an opportunity to build your brand, create publicity
(newspapers like "things to do" to print), get people in your
doors, and spur interest in art. Use pieces that hang in your gallery
to develop discussions.

It never hurts to try something
new, and I hope these ideas stimulate your business this summer. The
most important basic of all is to remember that you won't catch any
fish if you don't put your line in the water. It’s important to stay
visible at all times. This article from the New Yorker is a good reminder about marketing in down economic times. Happy summer.

Best,

Eric Rhoads
Publisher
Fine Art Connoisseur
eric@fineartconnoisseur.com

PS: We welcome these recent new advertisers
Vose Galleries of Boston, Hammer Galleries, Questroyal
Fine Art, Godel & Company, Tree's Place, and the Fine Art Dealers Association (FADA)
to Fine Art Connoisseur . And thanks to our many advertisers who
continue with us!

Also, we just learned that an ad in our magazine
was directly responsible for a multi-million-dollar purchase by a billionaire
collector-reader recently. I'd be happy to tell you more personally.

By B. Eric Rhoads|2025-05-14T07:18:11-04:00June 1st, 2009|Selling Your Art|18 Comments

Tattoo This Inside Your Eyelids!

Recently, I was in the market for a product. Once the salesperson got me on the phone, this is what I heard: “Mr. Rhoads, this is the best product on the market, light years ahead of our competition. I can get it for you at a really good price right now. In fact, I can take 20 percent off the top.”

Here’s what went through my head as he spoke:
Salesperson: “Mr. Rhoads…”
My thoughts: I hate to be called Mr. Rhoads: It drives a wedge between us, making the salesperson seem alien.
Salesperson: “This is the best product on the market…”
My thoughts: Says who? Prove it. More important, I want the product that will work for ME. I will determine who has the best product. He’ll say it’s the best, but I can’t believe him: He’s the one selling it.
Salesperson: “Light years ahead of our competition…”
My thoughts: I didn’t know there was another company. I wonder who the competition is? I’ll trick him into telling me their names, then I’ll call them. If this guy feels compelled to mention the competition, he must be losing sales to them. There must be a reason.
Salesperson: “I can get you a really good price right now…”
My thoughts: I was willing to pay the price on the website, and he’s dropping it already. They must be overpriced. I’d better check the competition. Buying one right away from this company would obviously be a mistake.
Salesperson: “I can take 20 percent off the top.”
My thoughts: Something is really wrong here. If he starts with 20 percent, I can probably get 60 percent off, or more. Now that I know he can drop the price, I’ll keep saying no and see how far it comes down.

I called this guy’s competition without mentioning the first company. The competition’s salesperson immediately asked about my needs. She probed, asked questions, established value for her product, and finally got to pricing. When she stated the price, I gasped. (I was trained to do that, weren’t you?) She didn’t flinch or defend, so I asked, “Can you do better on the price?” I tried a couple more times in a couple different ways, but I ended up buying the product at full price. I was happy about the price from the beginning, but I always ask for a better price.

You probably have battle scars from tough clients who beat you up on price. It’s just plain stupid, however, to give in quickly or — heaven forbid — offer deals before establishing value and need. My friend Dave Gifford once told me, “Never, Ever Offer Price Before Value Is Established.” You should tattoo these words inside your eyelids.

Don’t assume your client knows about your competitors. Mentioning your competition only invites your customer to play you against the competition.

If you sell on price from the start, you’ve already lost the game. Word gets around. Get the rate. Be firm. Be willing to walk away. If your customer is haggling on price, 1) you’ve not established value, 2) you’ve failed to fulfill a need, or 3) they’re ready to buy and just fishing for a lower price.

Price is not the most important thing. It’s what’s going on in your customer’s head. Learn their thoughts; then watch your close rate skyrocket.

11/24/03 Radio Ink Magazine. By B.Eric Rhoads

By B. Eric Rhoads|2005-02-04T02:56:38-05:00February 4th, 2005|Selling Your Art|1 Comment