ARTTODAY
BUSINESS
INTERIOR DESIGN ISSUE 2013 trend forecasts
Supplying designers Textile framing
How to sell old stock
Art business tips
ÂŁ6.50 October 2012 www.fineart.co.uk
Meet, learn, celebrate “Being on the shortlist for one of the Art & Framing Industry’s awards generates invaluable publicity and tells your customers that you are the best at what you do“
Some of the 2012 finalists for the two technical framing awards, along with the two overall winners
So don’t miss out, request entry details today. There are awards for framers, artists, trade suppliers and retailers, celebrating achievements in customer service, web design, innovation and more.
The Art & Framing Convention UK is organised by the Fine Art Trade Guild, www.fineart.co.uk The awards winners will be announced at a dinner in May 2013, which will be combined with a range of educational and networking events and an exhibition of work by Guild artists. The venue will be The Old Swan Hotel, Harrogate
For entry details contact Louise Hay, louise@fineart.co.uk
Guild Commended Framer Study Guide
Published by the Fine Art Trade Guild Researched, edited and compiled by Annabelle Ruston and Fiona Ryan GCF
AVAILABLE NOW FROM THE GUILD BOOKSHOP DISCOUNTS FOR MEMBERS
BETTER READ, BETTER BUSINESS Art & Copyright Simon Stokes. Pbk. 184pp £23.99 Members £21.99
Conservation Mounting for Prints & Drawings Manual based on British Museum Practice. Joanna M Kosek. Hbk. 185pp Members £44 £49.50
The Art of Framing Piers & Caroline Feetham. Hbk. 176pp £25 Members £23
Framing Collectibles Vivian Kistler CPF GCF. Pbk. 96pp £16.95 Members £15.95
Art on Paper, Mounting and Housing Joanna M Kosek. Hbk. 208pp £49.50 Members £44
Framing Photography Allan R Lamb CPF. Pbk. 96pp £20 Members £19
500 Years of Graphic Art Techniques Kristin Anderson. Pbk. 78pp Members £10 £12.50
Articles of Business Vivian Kistler CPF GCF. Pbk. 175pp £17.95 Members £20 Blue and Yellow Don’t Make Green Michael Wilcox. Pbk. 200pp. £21 Members £20 Conservation Framing Vivian Kistler CPF GCF. Pbk. 96pp £20.00 Members £19
How to Cut and Decorate Mounts Moyra Byford GCF. Pbk. 88pp £14.99 Members £13.99 How to Identify Prints Bamber Gascoigne. Pbk. 208pp £19.95 Members £17.95 I’d Rather be in the Studio Alyson B Stanfield. Pbk. B&W. 279pp £20 Members £19 Mat Cutting & Decoration Vivian Kistler CPF GCF. Pbk. 96pp £16.95 Members £15.95
HOW TO ORDER By telephone Call Moira Sanders on 020 7381 6616 Payment by cheque Cheques should be made payable to Fine Art Trade Guild (£ sterling) Payment by credit card Please complete the credit card coupon
Guild member? Please tick here
Conservation Framing Pbk. 52pp Members £5 £7.50 Framing and Presenting Textile Art Pbk. 160pp £15.99 Members £13.99
Picture Framing Vivian Kistler CPF GCF. Pbk. B&W illustrations throughout. 96pp Members £15.95 £16.95
Framing Fabric Art Pbk. 80pp £9.50 Members £7
Practical Gilding Peter & Ann MacTaggart. Pbk. B&W illustrations throughout. 74pp £14.95 Members £13.95
GCF Advanced Accreditation Conservation Framing Spiral bound. 42pp £25 Members £15
Practical Printmaking Colin Gale. Full colour throughout. Pbk. 160pp £19.99 Members £18.99
GCF Advanced Accreditation Mount Design & Function Spiral bound. 32pp £12.50 Members £10 GCF Advanced Accreditation Textile Framing Spiral bound. 28pp £12.50 Members £10
GUILD PUBLICATIONS The Art of Mountcutting Lyn Hall GCF. Spiral bound. 80pp £15.99 Members £13.99
Guild Commended Framer Study Guide Spiral bound. 68pp £15 Members £12
The Artist’s Guide to Selling Work Annabelle Ruston. Pbk. 128pp £12.99 Members £11
The Guild membership list can be supplied as data. Members only. Price varies according to which sections required.
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Pete Bingham’s Pure Agony Pete Bingham GCF. Full colour throughout. Pbk. 144pp Members £13.99 £14.99
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Send to: Moira Sanders, Fine Art Trade Guild, 16-18 Empress Place, London SW6 1TT, UK TEL +44 (0)20 7381 6616 FAX +44 (0)20 7381 2596 EMAIL moira@fineart.co.uk www.fineart.co.uk
“Pete knows more about framing than anyone else in the UK. This book is a goldmine of information” Pete Bingham’s Pure Agony is £14.99 from the Guild Bookshop (£13.99 to members), plus p+p www.framiac.com
Contact Moira Sanders on 020 7381 6616 or moira@fineart.co.uk to order
PICTURE FRAMING AND HANGING ACCESSORIES
“Artists know they have to manage business and promotion, but this book shows them how to do it, and still have time to create great art” New from the Guild bookshop £20 to non-members, £19 to Guild members, plus £3.10 p&p. Call Moira on 020 7381 6616 or visit www.fineart.co.uk to order 4 October 2012
GALLERY HANGING SYSTEMS SCREW RINGS & EYES PICTURE WIRE CASSESE WEDGES FIRESCREEN FITTINGS “D” RINGS WALL HOOKS PICTURE CHAIN BLISTER PACK New concealed security DISPLAY STAND hanging system etc . . etc . . etc
For details of our comprehensive range of products for framing and hanging pictures send for our free illustrated Catalogue & Price List.
FRANK B. SCRAGG & CO. 68 VITTORIA STREET, BIRMINGHAM B1 3PB TEL: 0121-236 7219 FAX: 0121-236 3633 e-mail: s a l e s @ f r a n k s c r a g g . c o . u k www.frankscragg.co.uk ART BUSINESS TODAY
NEWS
CONTENTS Art Business Today October 2012, Issue 5
BUSINESS xx Txxxx SPECIAL INTERIOR DESIGN ISSUE xxxx 28 Ahead of the curve Fashion forecasters Trend Bible predict the styles for summer 2013 30 Designed to work Three picture suppliers explain how the interior design trade operates 36 The art of design Three experienced interior designers on how they source art and framing
ART 40 Creating an atmosphere Aidan Lynch GCF vists Annemarie Bourke’s studio and gallery in Ireland 44 Keep it moving A look at ways for artists to reinvigorate old stock and make sales
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First published June 1905 as the Fine Art Trade Journal
FRAMING 50 Preserved for posterity Rick Badwey frames an 18th century document using Mylar corners 54 Providing support Chris A Paschke GCF CPF frames two heavy textiles and a delicate weaving
REGULARS 8 Trade news 23 Face to face: Mark Braithwaite 24 Product news 48 Business tips for artists 59 Trade secrets 60 Pete Bingham’s agony 62 Branch news 63 Letters 64 B2B: classifieds 66 Last word: Ken Ralston, FW Holroyd
COVER
COVER POP by Lhouette; 90x80cm; mixed media: aerosol and acrylic on ply with a resin finish www.lhouette.com See Lhouette’s work on page 35
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ART BUSINESS TODAY
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October 2012 5
ARTTODAY
BUSINESS
Art Business Today Published by the Fine Art Trade Guild 16-18 Empress Place, London SW6 1TT, UK T: +44 (0)20 7381 6616 F: +44 (0)20 7381 2596 info@fineart.co.uk www.fineart.co.uk
The changing face of the art buyer Publisher Louise Hay louise@fineart.co.uk
well-respected art dealer told me recently that people don’t collect any more. Children don’t collect stamps or coins and their parents don’t collect antiquarian prints, memorabilia or rare butterflies. I presumed that his point would be that this is a bad thing, but he pointed out that collecting tends to be a rather solitary, even selfish, pursuit, and that people are spending their disposable income these days on things that the whole family can enjoy. He emphasised that due to the number of visual images with which we are now bombarded, people are more sophisticated in their appreciation of art. They ‘get’ complex imagery quickly and appreciate that an image isn’t just trying to represent something from the natural world, but can tell a deeper truth. This cultural development has an impact on people’s art buying habits. Instead of hankering after a rare Gilray caricature or Japanese woodblock print, people want a picture that will make their sitting room look fabulous, and they want it now. In the past, the hunt through old print shops, auction catalogues and collectors’ fairs was part of the appeal of buying art. Yesterday’s buyers didn’t want immediate gratification, but today’s do. Artists and gallery owners need to respond to requests from buyers at once. Being hard to find didn’t matter in the past, as dedicated collectors would locate the right specialists in the end. Today, if people can’t find you immediately, they’ll take their business elsewhere. Value used to be measured in terms of rarity, as well as quality and aesthetic appeal. Today, impact and style are more important. Buyers want original artwork that won’t be seen all over the high street, but they are primarily looking for something beautiful to enhance their living space. Part of the thrill of buying art for a collector is being made to feel knowledgeable, part of an elite group of enthusiasts. Nowadays buyers want an enjoyable, hassle-free buying experience that makes them feel special. They want to feel that buying a particular piece of artwork shows that they’ve got good taste, but they don’t aspire to be experts. They are interested in the look, not the historical background and the context. Selling art today is very different to 30 years ago, not just because now you send a Facebook message rather than a recorded delivery letter, but the priorities of the art buying public have changed beyond recognition. Art sellers are no longer just trying to appeal to the five per cent of the population who collect art, but the 50 per cent who want their homes to look stylish and on-trend.
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Managing editor Annabelle Ruston annabelle@fineart.co.uk Subscriptions Moira Sanders moira@fineart.co.uk Contributors Rick Badwey Pete Bingham GCF Liz Honey Aidan Lynch GCF Chris A Paschke GCF CPF Sally Scaffardi Michael Setek Publication dates Art Business Today is published five times per year: January, April, June, August and October Subscriptions 2013 UK Europe World One year £30 £36 £44 Two years £53 £62 £74 To subscribe, call 020 7381 6616 or visit our website, www.fineart.co.uk, and click on the ‘go to Art Business Today magazine’ button Liability ©All rights reserved. ABT is intended to inform but no liability can be accepted for action taken, or not taken, in reliance on it
Annabelle Ruston
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Guild CEO Louise Hay Master of the Guild Maxwell Roberts Like us on Facebook facebook.com/artbusinesstoday Follow us on Twitter twitter.com/abtmag
50 6 October 2012
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<285 :25/' 285 $57 Contemporary art from the countryâ&#x20AC;&#x2122;s finest artistic talent, chosen by Washington Green for you.
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NEWS
Inbrief
Making Pictures pulls in the crowds
New range from Colourmount SLATER HARRISON, the makers of Colourmount mountboard, have announced the launch of a new range entitled Lustres. This shiny new board is available in eight vibrant shades, each of which will provide memorabilia, photographs or artwork with a striking new look. www.colourmount.co.uk
Sales director Brian Bogie tries out the new board for size
Don’t miss LION’s framers’ event LION PICTURE Framing Supplies are holding a framers’ event at their Birmingham HQ from 15 to 18 October. On the first day framers can learn about marketing and sales promotion from Ian Morris GCF. This session is limited to 12 places and costs £50. Thursday’s session, which is sold out, sees David Wilkie GCF demonstrate memorabilia framing techniques. There will be demonstrations on Tuesday and Wednesday where framers can see, try and discuss LION’s range of framing equipment. Participating experts include: Morsø’s Claus Pederson; Alfamacchine’s Flavio Cortecchia; Keencut’s Andy Roberts; Inmes’ Cleverson Luz; Fletcher-Terry’s Roy Rowlands GCF; Canon’s Josh Singer; Gunnar’s Sarah Osborne GCF Adv; and LION’s Jack Siwinski. Framing author and trainer Lyn Hall GCF Adv will be on hand to provide expert advice on Tuesday. Entry is free, but framers who register in advance receive a goody bag on arrival and a reserved parking space. www.lionpic.co.uk 8 October 2012
Guests at the busy Making Pictures event (top) and on the Wessex Pictures stand (right); demonstrations by Pete Bingham GCF were popular
THE FIRST Making Pictures regional educational and networking event, held in Manchester and organised by the Fine Art Trade Guild, attracted top flight exhibitors and a wide range of attendees from all sectors of the industry. Guests gathered to learn how to earn a living as an artist from Anne Corless and Alister Colley, and to find out about going into digital printing from Hahnemühle’s Garry Simm. Pete Bingham GCF offered inspiring ideas for hand-finishing mouldings, while the team from Wessex Pictures talked about pricing and how to profit from sales of specialist glass. The art of retailing and clinching a sale was discussed enthusiastically by Mooch Gallery’s Mike Smith. ‘The Making Pictures event inspired me and helped me assess the various options for printing and framing my artwork, and how to present it at exhibitions,’ commented artist Kate Alexandra Berry. ‘It was good to meet so many people and to learn more about Anne Corless’s superb art
practice. She took the time to give me some great advice.’ ‘I found the event very useful, especially Pete Bingham’s demonstrations,’ tweeted Kerry Jepson of Limelight Frames. ‘I enjoyed the evening enormously and so did my two guests,’ says EC Mouldings’ Keith Hewitt. ‘Nothing beats the opportunity to get together with others in the trade and talk face-to-face.’ Exhibitors too were happy with Making Pictures. Steve Goodall, who has just joined Wessex Pictures, commented, ‘It was a very good evening, I was most impressed. I hope that the Guild will organise events like this around the country; we’ll attend any that take place in areas where we have a local depot. Of all the regional events I’ve been to over the years, this was the most refreshing, and very enjoyable too.’ ‘We spoke to so many people who want to know more about making a living as an artist. It made me realise how far we’ve come,’ said Alister Colley. ‘Thanks for giving us the opportunity to take part.’ www.fineart.co.uk ART BUSINESS TODAY
NEWS
Art & Framing Convention announced THE ART & Framing Convention UK, which incorporates the industry’s awards dinner and a range of training opportunities, will be held in May 2013. The event will take place at the Old Swan Hotel in Harrogate (ticket prices will be announced shortly). New for 2013 is an exhibition of work by Fine Art Trade Guild member artists, which will be open to the public as well as the trade. Training opportunities feature hands-on masterclasses, for which there will be a small charge, as well as free seminars. The annual Art & Framing Industry Awards Dinner will take place at the same time. This black tie event begins with a drinks reception, which is followed by dinner, the awards ceremony and then dancing until late to
a live band. ‘The Art & Framing Convention UK is promoted as an opportunity to meet, learn and celebrate,’ explains Fine Art Trade Guild CEO Louise Hay. ‘It’s a vitally important networking event which includes many ways for guests to develop their skills, but the awards dinner is also an opportunity for people to let their hair down and celebrate.’ www.fineart.co.uk
At this year’s event. Clockwise from top left: Claire Westmoreland and Alister Colley, Zeitgeist Fine Art, at the drinks reception; Mal Reynolds GCF Adv, Valiani, with a customer;D&J Simons’ Joe Davis with a customer; paper conservator Louise Vaille delivering a masterclass
ART BUSINESS TODAY
Inbrief New Rosenstiel’s catalogue published ROSENSTIEL’S, FINE art publishers since 1880, have released their latest catalogue which features over 7000 images by more than 700 artists. The images available cover a wide range of styles and subject matter. www.felixr.com
New to the Guild Bookshop THE GUILD Bookshop, which sources and sells specialist art and framing publications, has updated its offering to galleries and artists and is now stocking Practical Printmaking by Colin Gale. The author of this 160-page full-colour book, which is packed full of photographs, is co-director of Artichoke Print Workshop, one of the most highly regarded print studios in the UK. A range of techniques are discussed, including stone lithography, woodcut and soft- and hardground etching. The price is £19.99 (£18.99 to Guild members) plus £3.10 postage. www.fineart.co.uk
October 2012 9
NEWS
ARTIST’S SKETCH ‘We export to distributors, who in turn sell to retailers’
Sally Scaffardi
t’s 18 months since I took my first steps into self-publishing greeting cards. We began with 48 designs and we launched 15 new ones at Top Drawer this autumn, our fifth trade show. Our cards sell well in boutiques, lifestyle shops, galleries and upmarket garden centres. You can’t go into self-publishing alone. Heather, my business partner, is responsible for sales, managing agents, invoicing and chasing payments – pretty much all the jobs I don’t like. My roles, apart from designing cards and associated products, are overseeing printing, looking after the website and attending trade shows. Our cards are printed locally so we can oversee the process to ensure optimum quality. In order to reach as many retailers as possible, we took on agents covering ten areas of the UK. Agents generally represent between five and ten different publishers. We soon found out that not all agents are equal: some do an amazing job, bringing in a fantastic number of sales, while others struggle to bring in more than a couple of sales a month. It very much depends on how the style of your cards fits with their existing portfolio. Our best agents approached us asking to represent us; the ones we pursued have been less successful. Good agents have mainly found us through trade shows, where they can view a huge number of publishers and decide what is missing from their portfolio. Agents
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have also approached us having seen our cards for sale when out and about. Trade shows have been vital for us. We have acquired new UK retailers and agents at shows and have met important overseas buyers at these events. We started exporting six months ago and now export to four countries, and are on the verge of taking on a fifth. We generally export to distributors, who in turn sell to retailers, so the selling price is half the normal trade price. This arrangement will only work if customers order large quantities, which thankfully they have done. UK retailers tend to buy cards in multiples of six per design, with an average order quantity of around 240 cards. When exporting, we sell several thousand cards at a time. Repeat orders, home and abroad, tend to arrive every two or three months. We inevitably have to store a lot of cards, so an understanding family is helpful. Half my studio and most of the spare bedroom are now dedicated to card storage. My 18-year-old son who is still at school is now Head of Packaging and spends around 12 hours a week processing orders. Heather’s sons are employed wrapping individual cards in cellophane bags, though when the workload becomes overwhelming we send the cards to a fulfilment company. If you are considering self-publishing greeting cards, be prepared for a huge commitment, but one which can also be interesting and rewarding. It’s a nice industry to work in too. ● Sally Scaffardi is a photographer and digital artist, contemporarywallart.co.uk
Steve Goodall joins the Wessex Group in the north WELL-KNOWN framing expert Steve Goodall is now northern area manager for Wessex Pictures and will be working from the company’s branches in Oldham and Liverpool. Steve will be looking after customers in the north of England and Scotland and will be out and about visiting customers. Wessex Pictures’ MD Ashley Younger comments, ‘We are delighted that Steve has joined us and is bringing his wealth of expertise to the Wessex Group. We have created this new role thanks to our considerable growth in the north, which we have achieved during four years of recession.’ Steve worked for Hot Press for the 10 October 2012
last 19 years and for seven years before that he was involved in photographic wholesale. ‘I am pleased to be back with a broad customer base and a wider range of products,’ he explains. ‘I’m also looking forward to the trade counter aspect of my new role; I enjoy talking to customers face-to-face. I have been doing a lot of international travelling and will enjoy a bit more time at home too. I would like to make it clear that I won’t be turning my back on people in the south who have mounting and laminating queries and anyone in this position is welcome to get in touch.’ steveg@wessexpictures.com, 07585 138566 ART BUSINESS TODAY
NEWS
Seminars to take place at Spring Fair 2013
Busy aisles at Spring Fair 2012, left, and Mal Reynolds GCF Adv delivering a seminar on conservation framing
SPRING FAIR International, Europe’s largest gift and home accessories trade show, once again takes place at the Birmingham NEC from 3 to 7 February 2013. 3000 exhibitors are expected across 12 show sectors and the event will showcase 300,000 new product launches. Sectors include homewares, toys, home fragrances and jewellery, as well as art and framing. Exhibitors in the art and framing hall will be showing original art, prints, frames and framing supplies. Participating publishers include Alpha 1 Marketing, Aquarelle Publishing, Beaver Lodge Prints and Buckingham Fine Art. On the framing supply side, visitors can look foward to seeing D&J Simons, Wessex Pictures, LION Picture Framing Supplies and Mainline Mouldings. A highlight of the show for many is
the Art & Framing Seminar Theatre, which is located at the heart of Hall 4 and is home to an array of training sessions organised by the Fine Art Trade Guild. It has been confirmed that US framer John Ranes GCF CPF will be flying over to speak at the show, and he will be joined by an impressive list of business, framing and retail experts. www.fineart.co.uk
Inbrief Centenary open day at FW Holroyd GLASGOW-BASED framing supplier FW Holroyd is holding a special open day on Sunday 28 October, to celebrate its centenary, and everyone in the trade is welcome. There will be machinery offers and demos, framing demos, lots of special offers and new products will be showcased. Snacks and drinks will be provided and framers will receive a ‘centenary goody bag’ to take home with them. There’s no need to register in advance; just turn up on the day and owners Nicola and Ken Ralston will be pleased to see you. www.fwholroyd.com Artists help save lives ARTISTS AND celebrities have donated artwork to raise money for the charity Transplant Links Community, which sends British doctors to developing countries to perform kidney transplant operations. An auction took place at Eton College, hosted by Radio 4 presenter Quentin Cooper. Participating artists included Humphrey Ocean, Maurice Cockrill and John Nolan, while actors Dame Judy Dench, John Hurt and Jonathan Pryce donated drawings. www.transplantlinks.org
Guild website dramatically updated THE FINE Art Trade Guild’s website has had a major facelift. The site, which receives an impressive 5000 unique visitors each month, has a newly designed home page as well as new features and content. The new artists’ portfolio section includes a fully searchable visual database which artists can update themselves. So if a visitor should type in, for example, the words ‘blue dog’, thumbnails of all the images containing ART BUSINESS TODAY
either of these attributes will appear. ‘It made sense to prioritise updating the artist pages because the busiest pages on the website are the directory ones where the public search for members and services,’ explains Guild CEO Louise Hay. ‘And visual searches are the most effective way of sourcing artwork.’ An online shop is another new feature, enabling visitors to buy books and other Guild merchandise online. www.fineart.co.uk
A detail from Cobalt Lovers by John Nolan, which was sold at the charity auction
October 2012 11
NEWS
Inbrief SmartPix kiosks now Applefriendly FUJIFILM HAVE added new features to their SmartPix kiosks which means retailers can now print customers’ images direct from their iPhones and iPads. With the aid of a simple connecting cable, customers can transfer images to the kiosk, where SmartPix software turns them into canvas prints and a range of photo gifts. www.fujifilm.eu/uk/products/ photofinishing Framing Workshop wins Bath in Bloom’s Mallory Cup MULTI-AWARD winning retailer The Framing Workshop has won the city of Bath’s Mallory Cup, which goes to a business that has not only created an impressive floral display for the Bath in Bloom competition, but also maintains a high standard of shop front cleanliness. The Framing Workshop’s display, on an Olympic theme, aligned coloured flowers in troughs and baskets that reflected the colours of the Olympic rings. The business won the cup because the staff team, led by owner Martin Tracy GCF, show community commitment and set an example to others in addressing cleanliness issues beyond their own patch. Staff regularly clean the pavement, collect rubbish from the street, look after plants in the nearby Ladymead Fountain and re-paint the post box near the shop. The display also won a gold medal in the competition. www.theframingworkshop.com The Olympic display above The Framing Workshop’s main door
12 October 2012
21st century craftsmanship KINGSWOOD FRAMES & Mirrors have been making hand-carved and gilded frames for over 30 years, but have now invested in machinery enabling them to produce raw wood profiles in-house. Bespoke reproduction and replica frames can be produced in short runs specially to suit customers’ requirements. ‘We are one of very few UK framers that can make any type of frame from scratch,’ explains Tim Haysell, owner of the business, who has been framing for 25 years. ‘If a customer sends us a JPG, nine times out of ten we can make an identical frame.’ The business, which was founded in 1979 and bought by Tim Haysell in 1997, regularly makes frames for the National Trust. Profiles can be made from any wood, but most commissions require obeche, ash, oak or tulip wood. Using original Victorian moulds and techniques Kingswood create beautiful hand cast reproduction frames, which are made from a mix of animal glues, resins, oil and chalk, then finished in original gold leaf in varying forms.
Kingswood can also offer bronze powders, artificial gold and aluminium leaf for a more contemporary finish. Recent noteworthy projects include making frames for a collection of Rossetti watercolours for Wightwick Manor, a National Trust property, and framing a £4.5million Roy Lichtenstein painting. ‘We work for quite a few artists,’ says Tim. ‘We tend to develop a signature frame for them, which becomes instantly recognisable, though we adjust the details and finish according to individual customers’ requirements. We also work for framers, generally making reproductions and carrying out frame restoration, which means they don’t have to turn down work that they can’t do in-house.’ Next year Tim and his team of six framers, which includes his wife and sister-in-law, will be launching a range of ready-made mouldings that will be made from start to finish at the workshop near Wrexham. www.kingswoodframes.co.uk
Kingswood Frames & Mirrors have a collection of more than 200 antique moulds
London’s unforgettable summer PHOTOGRAPHER MARTIN Smith has launched a stunning collection of London images to mark London’s unforgettable summer. These can be
printed in sizes up to very large. www.mrsmithworldphotography.com Left: The South Bank Right: Looking East from London Bridge
ART BUSINESS TODAY
NEWS
Curwen enters into partnership
Curwen Studio artist Mark Hearld at work on a print and Echinops in Flower by Louise Bird
THE CURWEN Studio, one of Britain’s oldest printmaking workshops, has entered into a partnership with Church Street Gallery, Saffron Walden, which means the gallery will be selling work by Curwen’s impressive portfolio of printmakers. Founded in 2005, and under the ownership of Helen Baynham since 2008, Church Street Gallery specialises in contemporary paintings, prints,
photography, glassware and printmakers’ cards. The Curwen Studio, founded in 1863 by The Reverend John Curwen, has worked with artists including Eric Ravilious and Edward Bawden before World War II, and Elizabeth Frink and Henry Moore in the post-war era. www.thecurwenstudio.co.uk www.church-street-gallery.co.uk
Entries for 2013 awards invited ENTRIES FOR the 2013 Art & Framing Industry Awards are invited. ‘Being on the shortlist for one of the awards generates invaluable publicity and tells your customers that you are the best at what you do, so request entry details today,’ urges Fine Art Trade Guild CEO Louise Hay. The categores are: art business website; art retailer; best mount design; best-selling published artist; best-selling up and coming artist; customer service; the Guild challenge framing award, innovation; quality printing; and sales promotion. The winners will be revealed at the Awards Dinner during the Art & Framing Convention UK in May 2013 in Harrogate. Email louise@fineart.co.uk for entry details
Record attendance at Photokina 2012 THE PHOTOKINA trade show for photography and imaging, which is held during alternate years in Cologne, attracted a record 185,000 visitors from 166 countries. Around half the visitors were trade, and of these, 42 per cent travelled from outside Germany. The organisers report a substantial increase in the numer of visitors from Asia (16 per cent), with 26 per cent from the USA and 40 per cent from Eastern Europe. Pauline Hutchinson of UK framing supplier Arqadia exhibited at the show, ‘We met new customers from many overseas markets. The visitors were particularly drawn to our black and white swept frames, as they complement photographic images so well.’ Petra Letson of Wizard, manufacturers of computerised mountcutters, also exhibited,’It was a good show and there was lots of interest in our products. The organisers marketed the event very effectively to framers and photographers, but I would like to see the framing hall expand further. With the demise of Art Fair Europe in Nuremberg this show is the only way to reach customers in and around Germany.’ Equipment manufacturer Morsø had a good show, reports MD Claus Pedersen, ‘Photographers are keen to learn more about framing and many want to add framing to their portfolio of services, so there was a lot of interest in our produts.’ www.photokina.com Visitors to the Canon stand
Guests at this year’s Art & Framing Industry Awards Dinner. Top: Ian Stalworthy of blutulip.com (left), with LION Picture Framing Supplies’ Nicola Harrold and Ian Morris GCF of Chalfont Art & Framing Below: Dennis and Michael Page, KC Glass, with Master of the Guild Maxwell Roberts, Headrow Gallery
ART BUSINESS TODAY
October 2012 13
NEWS
SHOP TALK ‘Maybe people are doing up their homes rather than moving during the recession’
Liz Honey
hew, we’re in! Everything went surprisingly smoothly and we opened our new premises in time for Sussex Framing Centre’s first birthday. And our birthday present to ourselves . . . a new gallery. We liked the new space so much once the building work was complete that we decided to create a gallery in part of it. So we now have a second gallery, Alter-Ego Gallery, exhibiting original art from artists based around Sussex, Kent and Surrey, starting at £25 and rarely breaking the £500 barrier. This also gives us the opportunity to exhibit work we haven’t previously shown at Saffron, such as photography, textile art and crafts and it opens up new markets for us. And so the past few weeks have been filled with designing the new branding, corporate identity, website (www.alteregoGallery.co.uk), promotional literature and signage. We officially opened Alter Ego on 1 September, Sussex Framing Centre’s first birthday, and so far so very good. The regulation Facebook and Twitter accounts are up and running and, apart from snagging issues, the website is live and kicking. The gallery is situated at the front of our new premises, which we designed as open plan to show the sociable bustle of the framing workshop behind, though a low rise barrier separates the gallery and workshop. Artists, gallery customers, framing customers and browsers have all been very complimentary about the changes
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we’ve introduced so we’re feeling very buoyant and excited about the future. With regard to Sussex Framing Centre, we’re not quite sure why, but we’ve had a record summer. Perhaps the new higher profile premises have helped, maybe people are doing up their homes rather than moving during the recession, or maybe it’s because our clientele are taking staycations rather than holidays abroad. We’ve welcomed new customers as well as regulars, with a wide variety of strange and wonderful items (the latest was a doorknob) as well as more traditional artwork. Our firstborn, Saffron Gallery, is going from strength to strength and has also enjoyed a good summer, both commercially and critically. It continues to build on its reputation for exhibiting award-winning international artists and has a growing band of collectors based both within the UK and internationally. As I reflect on the past 12 months, captured over five columns for ABT, it really has been a whirlwind. Surely there can’t be anything else we need to tackle and we can just get on with building our existing businesses? Although one little opportunity has arisen, but it’s very early days and I mustn’t elaborate . . . It’s been great fun sharing a year in our lives with you via Shop Talk. This is my last column so I’m looking forward to reading all about the next incumbent’s adventures. Over and out from Battle. ● Liz Honey co-owns Saffron Art Gallery and Sussex Framing Centre, saffrongallery.co.uk
Last chance to become Arqadia’s 2013 star artist THE CLOSING date for the artist competition, organised by framing supplier Arqadia, is 31 October. Professional and amateur artists are invited to submit artwork that will bring out the best in Arqadia’s 2013 framing product launches. The competition will be judged by a team of industry experts including Fine Art Trade Guild CEO Louise Hay and Aquarelle Publishing’s Paul Taylor, and the winning submissions will be professionally framed and used by Arqadia’s sales team during in-store promotional activity throughout the course of next year. The winning artists will receive a 14 October 2012
limited edition run of 30 6x4" prints, half of which will be kept by Arqadia, while the others will be awarded to the artists to display or sell. One overall winner will also take away £150 worth of Arqadia products and all the finalists’ work will be displayed to some of the art world’s most influential people at the Art & Framing Convention in 2013. Pauline Hutchinson from Arqadia said, ‘Appropriate framing can significantly add to a piece of art’s overall impact, so we’re keen to find a broad range of works that will really help us showcase how important this craft can be. We’re excited about the prospect of working alongside some
talented individuals to create some truly outstanding works of art. However, the competition draws to a close on 31 October, so if you’d appreciate the opportunity to get your work noticed – the time to act is now!’ Submissions should be either emailed to Pauline Hutchinson (pauline.hutchinson@arqadia.co.uk) or posted to Arqadia Ltd, 2 Wolseley Road, Kempston, Bedfordshire MK42 7AD. The winners will be announced in January 2013. Visit ‘4Walls by Arqadia’ on Facebook, or follow @4wallsbyarqadia on Twitter for competition updates. www.arqadia.co.uk ART BUSINESS TODAY
NEWS
Russia hosts two art and framing shows TWO ART and framing trade fairs took place in Russia this September. Moscow International Framing Forum (MIFF), was held in Moscow, while the Russian Framing Forum was in St Petersberg. MIFF, which was held for the first time, was organised by four key Russian distributors: Videka, Lion Art Service, NeoArt and Interquadrum. Exhibitors at MIFF came from all over Europe and America and included Alfamacchine, Valiani, Wizard, Canson, Keencut, Cassese, Slater Harrison, the Fine Art Trade Guild, Rosenstiel’s, Framers Corner and Hot Press. There was an area of the show dedicated to mouldings from Spain and Italy. There was a busy programme of workshops and seminars, again with speakers from far and wide. UK experts who were flown to the event included Mal Reynolds GCF Adv, Lyn Hall GCF Adv and Martin Harrold. ‘Framers travelled thousands of miles to attend MIFF,’ reports Guild CEO Louise Hay. ‘I spoke to people from Belarus and the Ukraine, as well as framers from the far side of Russia, several time zones away from Moscow. There is a real thirst for knowledge in Russia. Framers are desperate to find
out more about topics such as pricing, marketing and framing standards. The show was very busy and framers were happy to pay to attend seminars.’ Steve McKee GCF Adv, who presented training opportunities at the St Petersberg event, reports on the show, ‘There were around 45 exhibitors, double last year, and they came from Europe, Asia and Russia. The show was well attended. About 250 people paid to attend seminars and masterclasses each day, with delegates from Moldova, Estonia and several other former CIS countries, as well as all over Russia. My sessions were simultaneously translated. Some framers were very knowledgeable while others had never seen a V-groove or double mount. Most delegates had never seen wrapped fillets and were amazed at the simple mounts I cut during the masterclasses.’ The Russian Framing Forum was organised by the company which runs FrameArt Expo in Italy, in conjunction with the Association of Participants of the Art Industry in Russia. MIFF’s website is www.bagetforum.ru/en; RFF is promoted through social networking sites
Images from the Moscow International Framing Forum. Left: delegates at a seminar presented by Mal Reynolds GCF Adv Below left: vistors to the Cassese section of the Neoart stand Below right: entries to the framing competition
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Inbrief Goodbye to Debra Doherty THE FINE Art Trade Guild is sorry to report that Debra Doherty, who has been Sales & Marketing Executive for five years, is leaving to work closer to her home in Bristol. Debra was responsible for advertising sales, social networking, marketing and web updates. The Guild is currently recruiting her replacement and wishes her well in her new role. www.fineart.co.uk New Guild framing forum THERE IS now a new way for Guild members to find answers to technical framing queries. FrameTalk is the name of the revamped internet forum, which opened on 1 October, where members can post questions, to be answered by members of the Guild’s Framers Committee. The problem with many internet forums is that you can’t be sure that the advice you are being given is correct. FrameTalk is moderated by Steve McKee GCF Adv and Mal Reynolds GCF Adv, both well-respected experts with in-depth understanding of the Guild’s framing standards. Members can therefore rest assured that advice given via FrameTalk will be compatible with best practice and the Five Levels of Framing. FrameTalk does not replace the Guild’s popular technical advice line, it complements it. There will still be two framing experts on duty each week to answer members’ questions over the telephone. Forums in other fields, such as advice for artists, will follow. www.fineart.co.uk October 2012 15
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IN BUSINESS ‘We will be reopening online forums for discussion and technical support’
Louise Hay
know you’ve been hearing this for years so I can fully understand any sceptics among you, but we really are in the final stages of the latest development of the Guild website. If we’re not live by the time you read this, then in the next couple of weeks you will be able to renew your memberships online and download invoices; you will be able to buy books and Guild products through a ‘real’ online shop and you will be able to load pictures and prints into our new Artist Portfolio module, enabling consumers and trade visitors to find your images. Visitors to the site will be able to register online in real time and new members will be able to join the Guild directly through the site. The developers and I have respecified search functions so consumers can search by distance from a postcode, with the aid of a simple dropdown. We’ve added a new member-findmember search, so if you met someone useful at a branch event, you’ll be able to find them with just a contact name. The success of any search function depends upon the information being there to find, of course, so do please update your profiles. Our system can only find, say, oil paintings, textile framing services, digital imaging or whatever, if you tell it that you offer them. As a result of your responses to our survey we have removed thousands of search categories, so you must spell out in your profile what you offer. We’ve amalgamated your existing profiles
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with your ‘showcases’ and the Google map function, so visitors will see much more about your business in one hit. We’ve listened to your concerns and you will now be able to log in using your email address and password – no more confusing username. If you’ve forgotten your log in password then use the online tool which will send the information straight to your inbox. We’ve commissioned a photographer to take new images for the home page, which has been redesigned – a scrolling banner allows visitors to find members in one click. We’ll be keeping the navigation buttons from the present site as these work well. You’ll find the ‘news and events’ column in that section of the site now; do continue to send us your content. We will be reopening online forums for discussion and technical support with art, business and framing matters, starting with our new FrameTalk forum, which is open to all members. We have built in moderator access to forums, so they will be well supported by expert advice. If you’d be up for opening and moderating a forum please let me know. We’ve undertaken an extensive period of testing of data flow and functionality, but as with any project of this scale I’m sure there will be things that don’t flow as they should – I would be grateful for both patience and the relevant url to accompany any issues you may come across. ● Louise Hay is the Chief Executive of the Fine Art Trade Guild
Art on the Street set to transform the town centre again THE NEXT Art on the Street event will take place in Maidenhead on Saturday 1 December. Once again, the town centre will be transformed into an outdoor gallery and market. The May event featured creative workshops, live music all over town, a BMW ArtCar for visitors to doodle on, two £10,000 state-of-the-art digital whiteboards for children to play on, a vintage café and a room of ceramics. ‘Art on the Street is one of those breakthrough ideas that, once initiated, you wonder why it wasn’t put into place much earlier,’ enthuses Artists & Illustrators Magazine. www.maidenheadartmarket.org 16 October 2012
A car was placed in the middle of Maidenhead High Street for passersby to paint on during the Art on the Street event this spring
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Art and framing goes to Harrogate
Inbrief 160th autumn exhibition of original affordable art THE ROYAL West of England Academy is holding its 160th autumn exhibition of affordable original art from 21 October to 30 December at its gallery in Bristol. Last year’s event featured 508 works by 338 artists, with prices from £25. This year’s show looks set to be even bigger, with work from both established and emerging artists. www.rwa.org.uk
IT HAS been revealed that the Art & Framing Convention UK, which takes place in May 2013, will be at the historic Old Swan Hotel in Harrogate. Harrogate is the perfect location for a long weekend. Guests can visit the famous spa town’s Royal Pump Room and Turkish bath and enjoy the range of upscale independent shops and cafés. There’s also historic sites such as Betty’s Tea Rooms and the RHS gardens at Harlow Carr. The convention includes two days of training and educational opportunities, as well as an exhibition of work by Guild artists. There will be both seminars and hands-on masterclasses The black tie awards dinner will take place at the same time. The event is open to all art and framing professionals, and the beautiful venue should encourage them to bring guests. Ticket prices, which will be reasonable, will be announced shortly. www.fineart.co.uk
Getting reading for the autumn show
Record product launches at PermaJet IMAGING SUPPLIER PermaJet took their largest range of products to date to the Photokina trade show in Germany this September. Highlights included Mercury Ultra White Matt Canvas 405gsm, a smooth, heavyweight product with a beautifully structured base that has been designed to reproduce fine detail and brilliant colours. PermaPROtect Fast Drying Canvas Varnishes, available in 2.5 litre cans, are available in gloss, satin and matt finishes, all made with a unique water-based polymer formulation. The varnishes are designed for canvases and guarantee a
ART BUSINESS TODAY
clear, water-resistant and non-yellowing protective coating. The Image-Block Print Display System is the easy way to produce and present stylish inkjet images in a 3D display format. This modern and minimalist look is easy to create in seconds and is available from 6x4” up to A3 sizes. The Epson R3000 Eco-Flo System has been developed and tested over many months, allowing users to save up to 80 per cent on their ink costs. The system uses moulded cartridges that slot into your printer and stay in situ permanently. Refilling is carried out by topping up external reservoir bottles, therefore avoiding unnecessary wear and tear on the cartridges and microchips. The kit includes the very latest inks PermaJet have been improving existing ink technology and the result is the specially formulated Image-Life® pigment inks which have been successfully tested for archival stability on various Epson printers. www.permajet.com
Restaurant chain supports art THE WINNERS of a competition to design the dining plates used by restaurant chain Zizzi are announced. Graphic designer Helen Turner won, with fashion designer Richard Brownlie Marshall as runner-up. There were hundreds of entries and the competition was judged by artist and illustrator Natasha Law, who is also designing plates for the restaurant. Plates featuring the winning artists’ work will be on sale. The artists receive a royalty from every plate sold and a percentage of the proceeds will go to The Prince’s Trust. www.zizzi.co.uk
Natasha Law with the winning entry
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IN PRINT ‘Intimate knowledge of digital imaging is king’
Michael Setek
ctually printing images only takes up about 20 per cent of my time; other aspects of digital imaging occupy the remainder of my day. The vast majority of my efforts are focused on tasks including the capture, creation and processing of digital images. That’s why I describe my company as offering specialist fine art reprographics services; the term ‘printer’ hardly suffices. Some months ago I received a call from the Fine Art Trade Guild asking why artists should use a professional printer, rather than buy their own fine art printing equipment. The most crucial point is that digital image capture, and all the steps up until the physical output of a fine art print, must not be an afterthought. It’s easy and affordable to buy a wide-format inkjet printer, but what about these other considerations? What really lies at the heart of a business like mine is the variety of methods involved in the preparation of the ‘matrix’ from which prints are made. It’s akin to a traditional artisan printermaker, who spends many hours preparing the plate or surface upon which an image is inscribed (the matrix) in order to take the ink. The act of outputting a digital print onto paper or canvas is the conclusion to a set of processes, and in terms of investments in time and money, it’s relatively simple. The aspect of the printing process which has the most bearing on the success of a run of fine art prints is the choice of image capture device, either a
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scanner or camera, as well as lighting and ancillary equipment. Then there’s the computer, imaging software, calibration equipment (hardware and software) and, not least, the skills and knowledge required to use them effectively. Not so long ago I was working with a photographer in preparation for his solo exhibition. I was given a set of files to print proofs from, and for some reason my output was not to his liking. Then I discovered that he had accidently attached sRGB profiles to the digital images, instead of real working space Adobe RGB profiles. This shows that intimate knowledge of digital imaging is king and there’s many subtle variants within the process of preparing an image for print that can make all the difference. At Art4site we try to get the best out of any print edition. Sometimes our efforts are painstaking and lengthy; dozens of steps may be required before we can produce the perfect print. Sometimes clients even comment that the prints are better than the original! Once the setup is complete, the rest is easy and we can guarantee an exact copy again and again. What I enjoy most is seeing the final print, the culmination of a variety of techniques. The matrices are then archived, ready to produce further prints, like finely engraved plates ready for inking. ● Michael Setek runs fine art reprographics and giclée printing specialist Art4site, gicleeprinting.co.uk
The Russell Flints: a family affair MOBILE ART enterprise The Horsebox Gallery is hosting an exbition of work by Alex Russell Flint in Motcomb Street, London, from 9 until 25 October. The artist, the great grandson of Sir William Russell Flint, is currently focusing on painting glamorous women against the backdrop of Argenton Chateau in the Maine et Loire region of France. ‘Alex’s women are more realistic than Sir William’s, and a tad more troubled. His work is devoted to what he calls a pleasing sense of balance combined with the decorative,’ explains gallery director Emma Richeldis North. www.thehorseboxgallery.com 18 October 2012
Detail from Olivia Sitting by Alex Russell Flint. Oil on canvas panel, 73x92cm
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Capturing the UK
SINCE THEIR UK launch in 2010, Australian hanging system manufacturer Gallery System has become fully established in the marketplace. ‘We have enjoyed a great response to our product, both in the UK and Ireland. It’s not just galleries that are buying our hanging systems, but also domestic users and offices. Last year we launched a new system in Australia, the UK and the US called the Slimline System, which is
Inbrief
actually marketed for home and office use. It has generated a great response as it is unobtrusive and affordable,’ says business manager Jillian Buchanan. Gallery System has recently installed hanging systems in Cube Gallery and The Society Club, both in London, as well as The Art Nest, Hitchin, and Spencer Swaffer Antiques in West Sussex. www.thegallerysystem.co.uk
The Art Curator launches new fair THE LOVE Art Fair, which takes place for the first time from 11 to 14 October at Middleton Hall in Milton Keynes, is a new venture from online gallery The Art Curator. ‘Many people feel uncomfortable in commercial galleries,’ explains director David Norris. ‘But if you show them art in a neutral environment they quickly
become engaged, which is why the Love Art Fair will take place at the heart of a busy shopping centre.’ 15 galleries will present work from around 100 contemporary artists. www.theloveartfair.com www.theartcurator.com
A new chapter in page production for CXD CONSERVATION, STORAGE and equipment specialists Conservation By Design has started making its extensive range of high-clarity Timecare™ Polyester HCL Album Pages directly at its manufacturing facilities near Bedford. With the capacity to produce large quantities of all standard album pages, Conservation By Design is now able to fulfill orders within precise timeframes and can cut down on lead times. Timecare™ Polyester HCL Album Pages offer a safe longterm storage solution that is guaranteed to protect documents and photographs from dust, dirt, scratches and finger prints. They are nonyellowing, non-brittling and free from harmful plasticisers. These pre-hole punched album pages are available in a variety of combinations, including single pocket A4, double A5, negative, Cartes de Visite and cigarette card sizes. All products pass the Photograph Activity Test (PAT). www.conservation-bydesign.co.uk Association of Illustrators relocates to Somerset House THE ASSOCIATION of Illustrators is now based in Somerset House, London, along with the National Youth Orchestra and the Royal Society of Literature. The move coincides with the opening of Images 36: Best of British Illustration, an exhibition at Somerset House that opens in October. www.theaoi.com
An image from Anuska Allepuz that will appear in Images 36: Best of British Illustration
ART BUSINESS TODAY
October 2012 19
NEWS
Inbrief New fine art inkjet paper from Hahnemühle MATT FIBRE Duo is the new art paper for books and albums from Hahnemühle’s Harman range. The paper is designed for long-lasting albums and has a warm white tone and smooth surface, suitable for both colour and monochrome images. The 210gsm paper can be printed on both sides, yet it is thin and flexible enough to be bound. When binding books, the paper fibres always should run parallel to the back of the book cover to make turning the pages easier and avoid breakage of the spine. Therefore, the direction of the fibres is identical in all the sheets of a package and indicated on each box. www.hahnemuehle.com
Fletcher-Terry buys Alfamacchine ITALIAN FRAMING equipment manufacturer Alfamacchine has been bought by US manufacturer FletcherTerry. The company has also acquired AMP, which makes framing equipment in the USA. Fletcher-Terry intends to operate the businesses independently and will continue operations at all existing Alfamacchine and AMP facilities. Alfamacchine’s tradition of trade accounts, innovative products and outstanding service will remain the same and there will be no changes to employee contact information. Fletcher-Terry president Blair Tomalonis commented, ‘We are very excited that Alfamacchine and AMP are joining The Fletcher Business Group.
These acquisitions dovetail perfectly with our core businesses as we continue to serve our wholesale trade accounts in the wall décor and picture framing markets. Alfamacchine provides us with a manufacturing base in Europe and enables us to better serve our international customers as we continue to expand our production and distribution facilities.’ Alfamacchine is best known for the Minigraf range of underpinners, while Fletcher-Terry’s board and glass cutters are respected internationally. AMP manufactures a range of picture framing equipment. www.alfamacchine.com www.fletcher-amp.com www.fletcher-terry.com
Pollyanna Pickering is AAA guest speaker
The Print Foundry now an official MPA trade partner THE MASTER Photographers’ Association is pleased to announce a new trade partnership with The Print Foundry, which specialises in fine art printing, mounting and framing. The deal extends across a number of mutually beneficial areas and includes a high profile presence on the MPA’s website and in publications. Trade partnerships are a recent initiative developed due to the need for photographic companies to work more closely together. www.theprintfoundry.co.uk, www.thempa.com 20 October 2012
THE ASSOCIATION of Animal Artists is delighted to reveal that world renowned artist Polyanna Pickering will be guest speaker at their annual dinner this autumn. Her illustrated talk, entitled Giant Panda and Sleeping Dragons, focuses on her remarkable journey to China to study and paint giant pandas. Pollyanna and her daughter and business manager Anna-Louise travelled to remote areas of Tibet and worked in a small hospital for sick pandas. Anna-Louise was a finalist in Cosmopolitan’s Woman of the Year Awards for her role in writing
the book that documents their trip. Pollyanna is winner of this year’s Simon Combes Conservation Award, presented by Artists for Conservation. Part of the proceeds from the evening will go to Pollyanna’s charitable foundation. Both members and non-members are invited to attend the dinner, which takes place at the Villa Country House Hotel near Preston on Thursday 1 November at 7pm. Tickets are £30, which includes a welcome drink, three course dinner and a charitable donation. www.associationofanimalartists.com www.pollyannapickering.co.uk
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NEWS
New work from the ‘Wodehouse of art’ The Gentle Art of Persuasion measures 61x50cm, is a signed edition of 600 and retails at £90
Europe’s largest artists’studio complex opens its doors WIMBLEDON ART Studios, the largest single site art studio complex in Europe, is holding an art show from Thursday 22 until Sunday 25 November. Artist Ken Howard OBE RA is making a rare public appearance to officially open the show at the private view on 22 November. There will be a pop-up bar run by local wine merchant SA Wines Online and Stark-Condé Vineyards, and 80 local people have volunteered to help run the event. Local business Jacksons Estate Agents are sponsoring the show. More than 140 artists are based at the complex and £155,000 worth of sales were made at last year’s event, which was visited by 10,000 people. Resident artists include painters, ceramicists, sculptors, textile artists, photographers, printmakers and furniture designers. www.wimbledonartstudios.co.uk Visitors to last year’s event
SMS EDITIONS, which publishes the work of Sue Macartney-Snape, has added eight new signed limited edition prints to the range, so over 110 images are now available. A brand new catalogue has been published. The artist is known for her keen eye, quick wit and very English observations. She and her writing partner Victoria Mathur made their debut in the Telegraph Magazine in 1993 and since then their popular Social Stereotypes column has run more than 900 times
and highlights have been re-published in nine books. Sue Macartney-Snape won the 2004 Pont Award for drawing the British character and was acclaimed as the ‘Wodehouse of Art’. The glaringly obvious foibles that we all try to hide are presented by Sue with characteristic humour. She opens our eyes to these sights and allows us to rediscover the quintessential comedy to be found on our very doorstep. www.sms-editions.co.uk
SPRING 2013 TRADE EVENTS Top Drawer 13-15 January, London UK, topdrawer.co.uk Maison Objet 18-22 January, Paris France, maison-objet.com Paperworld 26-29 January, Frankfurt Germany, paperworld.messefrankfurt.com West Coast Art & Frame 28-30 January, Las Vegas USA, wcafshow.com Spring Fair International 3-7 February, Birmingham UK, springfair.com Art Expo 21-24 March, New York USA, artexponewyork.com Focus on Imaging 3-6 March, Birmingham UK, focus-on-imaging.co.uk FrameArt Expo 22-24 March, Milan Italy, frameartexpo.com The Art & Framing Convention UK May, Harrogate UK, fineart.co.uk ART BUSINESS TODAY
October 2012 21
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Inbrief Team Fine Print finishes 11th LION PICTURE Framing Supplies has completed the 2CV 24 Hour Race at Snetterton, Norfolk. The framing supplier’s car is emblazoned with Team Fine Print colours, promoting their range of fine art printing hardware and consumables. LION MD and 2CV enthusiast Martin Harrold reports, ‘We had a terrible misfire in practice, caused by the Weber carburettor. We took the carb apart and blew out any rubbish with the air line. By the end of the race the gear selectors were worn and the driver could only get third gear, which meant the engine was revving high, running hot and missing badly. Eventually something plastic in the carburettor melted two laps before the end but we classified 11th. The team is already planning for the 2013 race.’ www.lionpic.co.uk
Animal artist in the media spotlight ANIMAL ARTIST Anne Corless decided to focus on achieving media coverage in 2012, and this has been a record year for her. She is celebrating the screening of her video entitled How to Draw and Paint Horses on Sky TV. ‘I love working as an equine artist so am delighted that my video is on Horse & Country TV in the UK and Ireland (on Sky Channel 280) and in the Netherlands (via cable). It is also on the Horse & Country website, www.horseandcountry.tv,’ explains the artist. The 17 minute video has now been uploaded to YouTube. Anne Corless was also invited to teach a three day portrait workshop at BBC Radio Merseyside. ‘I was delighted to teach a portrait workshop at BBC Radio Merseyside, some of which was broadcast live on air. Thank you to radio presenters Billy Butler, Willie Miller and Helen Jones for making this workshop such fun. A big thank you also to Voluntary Arts and the
Anne Corless, right, with BBC radio presenter Helen Jones
Campaign for Drawing, for supplying art materials and supporting the project.’ www.annecorless.com
New website for art commissions launched
New website for Legion Paper LEGION PAPER, the US manufacturer of the Moab range of fine art inkjet papers, has launched a new fully-searchable website which includes more than 1000 high res images, which can be magnified to show the texture and character of each paper. The site, which was designed for resellers, artists, professionals and paper-lovers in general, includes an interactive forum that grows each day. colourconfidence.com are the UK distributors for Moab products. www.legionpaper.com 22 October 2012
PAINTMEAPRESENT.COM HAS been launched to connect people wanting a portrait or personal commission with artists working in a range of styles. In the words of founder Katie Massie Taylor, ‘This service allows talented artists to provide unique and personal paintings at affordable prices to consumers who want to be inspired.’ Buyers have access to different artists who can turn a photo into a painting or illustration. Paintmeapresent.com is designed to make the process of commissioning art easy and fun, and buyers end up with unique images that
Paint Me A Present’s founder Katie Massie Taylor
will not be seen anywhere else. ‘In response to the growing trend for personalised and hand-made products, Paint Me a Present seeks to make commissioning art transparent,’ says Katie Massie Taylor. ‘Many people perceive commissioning paintings to be out of their reach but with this service you can get a painting or illustration created from scratch for between £50 and £500, with an average price of just £150.’ The site’s 30 artists range from recently qualified art graduates to retired professionals. All artists sign their art with their first name, remaining semianonymous, ensuring that the service is fun rather than investment oriented. Founder Katie Massie Taylor was formally an equity derivatives broker on a city trading floor but has always had a keen interest in art. She spotted a gap in the market for an art-specific platform following the huge success of companies such as Not on the High Street and Moonpig. www.paintmeapresent.com ART BUSINESS TODAY
FACE TO FACE
MARK BRAITHWAITE explains how he juggles his work as a street artist with self-publishing and supplying galleries, including The Braithwaite Gallery, which he owns with his wife and business partner Anne Braithwaite
Street life Have you always been an artist? I always wanted to be, but I didn’t think I’d be able to make a living, so I studied video editing. One summer I saw a pavement artist in York, and he seemed to be making money, so I thought I’d have a go myself. My first efforts were copies of Raphael masterpieces on canvas. I ended up giving up college and working as a pavement artist for four years, which is a bit like busking. I earned enough to keep me going and I enjoyed being outside and meeting people. I shared a pitch with Wolfe von Lenkiewicz, who is now very successful. Back in 1993 I acquired a licence to sell prints on the street which I still use. I’ll go out this afternoon with prints ranging between £3 and £150. Why do you still paint in the street? People are not afraid to say what they think about your work when they see you in a public place, whereas in a galley they don't want to say the wrong thing, so tend to keep their opinions to themselves. Therefore the open air is a great place to rest public reactions to new work, though people can be very blunt so you need a thick skin, but luckily I have learned to please the public over the years so I have a high hit ratio now. When did you open your first gallery? About 14 years ago me and Anne took on a little room in an antiques centre. I’d paint in the street outside, then lead interested customers down the road and up two flights of stairs, so it wasn’t ideal. We opened The Braithwaite Gallery ten years ago, at our current site, which is a medieval building just by York Minster with lots of passing trade. Anne runs the gallery, leaving me free to paint, and she acts as my manager. The gallery doesn’t just sell my work; we offer images from a range of artists, as well as bronzes and a bespoke framing service. The gallery not only gives me a route ART BUSINESS TODAY
to market, but it’s a way of testing whether new work will sell. Having said that, certain images sell well on the street but not in the gallery, as people buy on the street who would never dream of setting foot in a gallery. Do you print your own work? Yes. I have an Epson Stylus Pro 7880 and I scan most of my work myself. I enjoy colour balancing and adjusting images in Photoshop. If an image is particularly successful, and we are selling hundreds of prints, it makes financial sense to commission a run of offset litho prints. Keeping my Epson printer running flat out is expensive in terms of ink and paper. I’ve worked with publishers too. I met one of the directors of Solomon & Whitehead at a Fine Art Trade Guild awards event and they reproduced some of my figurative work. After the company folded I ran into Buckingham Fine Art at the Spring Fair and they still reproduce some of my London images.
Collection, which features cutesy pictures of a baby girl in a ballet dress and red wellingtons, began as a picture of our daughter for Anne’s Christmas present. I’m stunned by how successful this has been; we are selling prints by the hundred. When beginning a new collection I generally start with about six compositions, but about half of them don’t even make it to the easel. Of the remaining three, one will stand out as by far the most successful. I am commencing work on a series of images of breakdancers. It took a long time to find any male breakdancers who were happy to be painted, but I’ve just found one. I have a hunch that this series will sell well. Do you sell licences? Sometimes. Licensing agreements used to be very restrictive, so we were wary of them, but they have become much more slack recently. We would only work with a company that was happy for us to continue publishing prints; that seems to be fine with licensees today, but it wasn’t in the past. I’m talking to some greeting card companies at the moment and have just negotiated for 12 images to be published. We couldn’t produce our own cards as we don’t have the time; we work flat out as it is. ● www.yorkartist.com See Mark’s work on page 24
How do you market your work? I sell to other galleries as well, mainly businesses owned by friends and contacts. It’s often a mutual arrangement: I sell their work if they sell mine. I don’t need to push this aspect of the business very hard, since we’ve got the gallery and my street sales. I am pretty active on Facebook, but that’s more about finding new artists, looking at new work and testing reactions to my own art than it is about marketing. Anne updates the website and handles marketing and PR for the gallery. I have an agent who finds corporate and private commissions, but work is intermittent. A recent project was painting the view from the window of Deloitte’s head office in London. Is it easy to tell which images will be successful? To some extent. The Rosebud October 2012 23
PRODUCT NEWS
The Braithwaite Gallery
Arqadia
Madame Butterfly is one of the 17 giclée prints that make up The Rosebud Collection by Mark Braithwaite
The Mediterranean touch of Larson Juhl’s new Sevilla Brown collection offers a versatile way to complement artwork. With intricate Spanish patterning and timeworn exposed distressing, the Sevilla Brown series is available in five finely crafted, detailed profiles with matching mountslips, and has an authentically rustic muted hand-made finish. A wide range of profiles with real character that can offer either bold ornamentation or dramatic scoops, the intricately embossed Sevilla Brown collection is available to order from Arqadia from £3.90 per metre length, or £5.46 per metre chop.
01904 655707 www.yorkartist.com
01234 852777 www.arqadia.co.uk
Alex Borissov
Bookroom Art Press
Promoting the concept of sustainability, Alex Borissov has created a ‘roll painting’, an artwork made on a used CWS cotton hand towel roll. Human impact on environment can be reduced not only by consuming less, but also by optimising the full cycle of production, use and disposal of goods. CWS cotton hand towel roll, for example, during its life cycle replaces some 30,000 paper towels, and now it has found a second life as an artwork.
Artist: Miroslav Sasek Title: Piccadilly Circus Underground Format: limited edition (1/850), embossed, giclée Image size: 31x37; paper size: 43x50cm Trade price: £39.50 The Bookroom Art Press is delighted to be publishing the works of Miroslav Sasek, famous for his bestselling ‘This Is London’, ‘This is New York’ etc. books. This is mid-century retrocharm by an established name, widely recognised. Ring for a trade catalogue.
00 41 79 843 7881 www.abfile.com ab2@abfile.com
01273 682159 www.bookroomartpress.co.uk
Chantry Fine Art
Clinton Banbury Illustration Leading From The Front (below) by Ray Goldsbrough shows Sebastian Vettel driving the Red Bull RB7 leading team mate Mark Webber at the 2011 Spanish Grand Prix. 2011 was a successful season for both Sebastian Vettel, who was crowned Formula One World Champion and Red Bull Racing who won the Constructors Championship. Edition size: 195 Image size: 61x37cm Trade price: £50 print only / £75 mounted
Majestic Thunder (above) by leading black and white pencil artist Jamie Boots shows the imposing African Elephant in all its glory. Edition size: 195 Image size: 60x43cm Trade price: £35 print only / £60 mounted
Title: 30 assorted bestselling prints for adults and children. Wise up this Christmas? At the RRP of only £20 they make buying art as a gift very affordable. With over 350 prints to choose from they can be bought for all ages for all sorts of occasions. Take advantage of an introductory offer: £220 for 30 prints, saving you up to £70.
01373 464528 www.chantryfineart.co.uk
01789 773526 or 07971 106628 www.clintonbanbury.com
24 October 2012
ART BUSINESS TODAY
To advertise here, call 020 7381 6616 or email: info@fineart.co.uk Entries are £80 for Guild members, £150 for non-members (+ VAT)
SMS Editions
PRODUCT NEWS
Gallery Systems
SMS Editions publish the work of Sue MacartneySnape, of the UK’s top selling artists. Title: The Gentle Art of Persuasion Size: 61x50cm Format: signed limited edition of 600 Retail price: £90
The Slimline art hanging system is a new range designed for home and office use. It’s an unobtrusive system based on a very slim track which is designed to butt up against your ceiling or cornice, where it is less noticeable. The system is made up of four main components: 1. Track
2. Wall anchors (these are sold separately and are used to fix the track to the wall) 3. Hangers, which fit into the track 4. Hooks which fit onto the hangers It’s easy to make changes, to add or remove hangers or hooks to achieve the layout you want. Gallery Systems designs and manufactures in Australia.
0800 160 1414 www.sms-editions.co.uk
www.thegallerysystem.co.uk
Expressive Art
Geoff Beckett Art
High quality giclèe prints mounted onto 10 or 15mm acrylic or photo blocks. Can be free standing for desk tops, with black felt backing or with fixings for wall mounting. Wide range of sizes available. For more information please contact Paul.
Showing part of a new range of watercolours. Original paintings and limited edition prints available to order at trade prices online. SOR supply currently available for a limited number of galleries in the Midlands and North West.
01438 726955 www.expressive-art.co.uk
07944 893305 www.geoffbeckett.co.uk
eXpression Fine Art
Studio of James Wheeler Title: Swirling Mist Size: 48x48cm Trade price: £54
Title: Boxing Hares Edition: 125 of each paper and canvas Image size: 27x35cm
Title: Moon Gazing Fox Edition: 125 of each paper and canvas Image size: 27x35cm
eXpression Fine Art are pleased to offer limited edition prints by Amanda Gordon. Her watercolour illustrations depict British wildlife beautifully undisturbed within its natural environments, creating a sensitive and intimate insight into the animals. 01344 762272 www.expression-art.co.uk ART BUSINESS TODAY
01484 714636 www.studioofjameswheeler.co.uk October 2012 25
PRODUCT NEWS
Clinton Banbury Illustration Title: A Parliament of Owls Format: signed limited edition giclée print Edition: 195 Image size: 30x30cm Price: £16 (umounted ), £18 (mounted) RRP £39/£45
01789 773526 or 07971 106628 www.clintonbanbury.com
Fine art photography of London
Beautiful photography of London available in limited editions in almost any size including very large sizes. Because the images were shot using state of the art optics they can be reproduced to very large sizes. We supply homes and offices internationally. Trade enquiries welcome. Call us now to discuss bespoke collections. 01992 535344 www.MrSmithWorldPhotography.com
Washington Green Fine Art
Richard Young FRSA
Artist: Stuart McAlpine Miller Title: Sunbather to Fear Format: boxed canvas edition of 95 Image size: 40x27¾” Retail price: £795 Sunbather to Fear is taken from Stuart McAlpine Miller’s debut collection of limited edition art for Washington Green Fine Art. Featuring visually arresting images of beautiful women juxtaposed with nostalgic cartoon iconography, the collection offers a commentary on the superficiality of fame and celebrity.
Original dance and figurative fine art oil paintings, pastels and self-published gicleé prints. Publisher, gallery, agent representation and exhibition opportunities always welcomed.
0121 633 0645 www.washingtongreen.co.uk
07813 138680 www.ryoung-art.com inquiries@ryoung-art.co.uk
Tiffany Budd
Lucy Art
Tiffany is an established UK artist who has developed a style she has named ‘Fractured’, inspired by the Russian Constructivists and Cubism. She regularly exhibits her work and demonstrates to art societies. Tiffany accepts commissions for artwork in a range of styles, depending on the customer’s requirements. 07870 293424 www.tiffanybudd.co.uk 26 October 2012
Need more stock for your gallery or website?, Lucy Art’s new ‘Photo Vault’ can print any image from a choice of 15 million direct on to canvas, fine art paper, wallpaper or perspex. All canvas prints are produced on 350gsm cotton canvas and are fully varnished to last a lifetime. Please contact us for trade rates or follow us on twitter @Lucy_Art
0845 6590660 www.lucyart.co.uk sales@lucyart.co.uk ART BUSINESS TODAY
To advertise here, call 020 7381 6616 or email: info@fineart.co.uk Entries are £80 for Guild members, £150 for non-members (+ VAT)
PRODUCT NEWS
Graham Clarke
I Love Art
Artist: Graham Clarke Title: Perfect Harmony Edition size: 300 plus 30 artist's proofs Medium: handcoloured limited edition etchings, produced entirely by hand using traditional processes RRP: £295
Art for all – the best price guaranteed! No matter your favourite technique, whether you are a professional artist, an intermediate artist or a beginner, the management of your budget is important to you. I LOVE ART offers an innovative and clear answer to your wishes and an unbeatable price match guarantee. The online daily price update guarantees to be, without any conditions, the lowest price in the UK throughout the year.
01622 743938 www.grahamclarke.co.uk
www.ilove-art.co.uk
James Buttifant
Paul Tavernor, Leaping Fox Marketing
The ‘Penguin Adventures’ seen here are two of the latest series of six paintings by James Buttifant, available to the trade through Blu Tulip.
‘A fleeting glimpse of a secret world, welcome to Paul Tavernor’s wildlife collection’ Artist: Paul Tavernor Title: Reynard Edition size: 125 Image size: 28x20cm Trade price: £20 Demand for James’ work just keeps growing as more and more collectors fall in love with his humorous take on our lives through the eyes of these charming creatures. What Fish? (left) and One Too Many (why me?) (above) are both editions of 99.
www.blutulip.com www.jamesbuttifant.com
Selective Prints
leapingfoxmarketing@gmail.com www.paultavernor.co.uk
Marialuisa Marino Two new Margaret Clarkson prints are published, both limited to 200 copies. Bat and Ball and Bucket and Spade (size 215x215mm) are available separately, but are similarly themed and would be perfect as a pair. The RRP is £48 (inc VAT) per image.
Marialuisa Marino is a portrait artist and poet. Email the artist at marialuisamarino@ live.co.uk
Margaret has many devoted fans who routinely collect her pictures on release, so we expect sales of these pictures to be rapid.
01948 81 81 81 www.selectiveprints.co.uk ART BUSINESS TODAY
07770 553787 www.marialuisamarino.com October 2012 27
BUSINESS
Ahead of the curve IRIDESCENT Images courtesy of Trend Bible Archive; Bendseating; Jo Nagasaka; Trend Bible Styling
PURIST
Images courtesy of: Louise Parr; Sarah Young; Wallpaper Magazine; Trend Bible Styling; Sybil Andrews
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L IA R E EC I O S U SP ER IS T IN IGN S DE
Images courtesy of Ingrid Jansen and Trend Bible Styling
BOTANICAL DISCOVERY
TRIBAL SOCIETY
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Images courtesy of Darling Dexter; Louise Parr; Trend Bible Styling
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BUSINESS
Designed to work Supplying frames, artwork and mirrors to interior designers can provide ongoing repeat business which is hassle-free, since most designers know what they want. Three experienced picture suppliers share their experiences of working with interior designers
This page: The pictures in the reception area of Londonâ&#x20AC;&#x2122;s new Ampersand Hotel, a boutique hotel in Kensington, provide accents of colour and tie in with the rest of the patterns. The simple frames complement the sleek modern furniture Opposite page: Cushions, memorabilia and pictures provide splashes of colour in the Casa de Caminio Hotel, California
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ART BUSINESS TODAY
L IA R E EC IO SU SP ER IS T IN IGN S DE
ART BUSINESS TODAY
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Price is not normally discussed at the beginning, the designer is more likely to start by telling us the theme, whether the feel is traditional or contemporary and a colour palette
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BUSINESS ➺
❞ A large hotel project might require £8000 or £10,000 worth of pictures and mirrors. A retirement home might include 100 bedrooms and bathrooms, so would need 200 pictures
❞ Top: Designers often use mirrors to provide an illusion of space (image from designsmag.com) Right: The picture in this boardroom is a focal point, and conveys the message that the company is modern and syleorientated (image from iseecubed.com) Above: The mirror and group of four pictures shown here work together to form a grid pattern that is pleasing to the eye (image from zimagz.com)
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THE PUBLISHER’S PERSPECTIVE International Graphics MD Lawrence Walmsley and export manager Ian Cairns explain what interior designers want ever. We work hard at developing our ‘Designers value flexibility; we have 5000 database of designers. images which can be printed on different Canvas is less important than it was, the substrates, and in a range of sizes and, in many cases, colours, and since production is market has been spoiled by low-quality imports. Aluminium and Plexiglas are in-house we provide a quick turnaround. popular with designers; these products Customised products are fashionable, have a high quality feel as they are harder people like to have something individual. to produce than canvas, you need an They also value the fact that we are a oneexpensive flatbed printer. Designers stop-shop for all their image requirements. particularly like thin aluminium pictures; We meet designers through trade fairs, and they look clean and neat, unlike bulky box we’ve exhibited at lots of them this year, canvases, and that’s a fashionable look, the including furniture fairs in Cologne and same aesthetic as flat screen TVs, micro thin Singapore. We also show at events for the phones and iPads. Slim is a vogue word. hotel, restaurant and catering industries, Deisgners want suppliers to be competitive such as Hogatec in Germany. We took a on price, but not cheap. Our prices are stand at Grand Designs Live 2012, which is competitive for the quality we offer; it’s a public event, and though designers visit more about value than price. Designers are too, the show provided valuable insight looking for quality and they understand, for into what the end customer wants. example, the difference between an image The other key way that we reach designers properly printed onto Plexiglas with is through our catalogue. Many of our lightfast inks and one that’s just a poster competitors have cut back on printed stuck onto the back of a piece of acrylic.’ catalogues, which means that designers www.ig-team.de value our weighty publication more than
➺ ART BUSINESS TODAY
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BUSINESS â&#x17E;ş %" # " "' # "$ *
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Pictures play a crucial role in all the interior schemes shown here, both adding colour and helping to tie the elements of each room together (images, clockwise from top left, courtesy of zimagz.com, homeincast.com, iseecubed.com and International Graphics
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❞ I like working with designers because they know what they want and their ideas are often experimental. The public require more guidance and their designs are more modest
FROM THE ARTIST’S STUDIO Lhouette
❞ $"# !" ! # " " *# $# $! ! #$! " $! & " # & ) ! # ! # # & $" ! ! # ( & *" # ! " $# # #*" " ! #" # ! "# $! " ( $" # ! ! *# $ $!" # ( *# # "" #!( # # $!" # " ' #(! # ! " "# $"" ' $ # & # % ! " # #" $! " !"* $"# !" ! # !% # & & ( ! & # " & ## ! $" $ (# # # ( # " #( $"# ! ( & !#& ! # # # ( & # # % ! $# # ( ( " ! #" !! !" % " #! " $ #" $ # #( " $ #" ! " !" ( ! ! " !" & ! ! "# ! ! % " &! " ! ! $! #! ! " # ! ! # !" # ! ! " ! "! ! ( # ## $#" # #*" # ! ! #( ! $! $"# !" & ! % " # # $! ! " ! ! & $ &# " "# # ! ( " !*" $ # # ( ! ! (# " # " # ! #% " # # " $" # $# $! ! ! "" " !" % "# & $ # "" $ "# (% $ ! "$ !" " # ( % # &# " ( ! # "$ !" ( "" " ! #( " !% ! ! !# # # ## # "# ( *# # "" "# " # " $# "# ! *# ! !# # " !# & ! # $" " !# $ # ! ! *# ! ! # (* # &" # (& ! *● ART BUSINESS TODAY
Lhouette, an artist who works regularly with designers, explains how arrangements typically work ‘When discussing commissions with interior designers you must be open to their ideas and loosen the grip of artistic autonomy; some of the most exciting artwork comes about through collaboration. Project your ideas confidently during the conceptual stages, but do not ride into a project with all guns blazing! Be patient and listen to the needs of the client. Make sure that you are properly prepared when you attend meetings with designers. Colour charts and framing catalogues are free! Keep up to date and do your homework, so that your artwork references modern and trending styles. Colour schemes are of course a front-running topic during early meetings with designers. My work is easily adapted and I have a practical approach, so I am happy to work with pre-determined colour paletters. We generally begin with a brainstorming session and I try to obtain as much information about the designer’s client as possible, so I can produce artwork that they will like. I have never had a designer bring a client to my studio, I always work through the designer. Know your facts and figures and be practical; you will lose client confidence if you are woolly over important topics such as turnaround time and pricing. I ask about the budget right at the beginning; I show the designer work that I’ve completed, explain how much I normally charge and check that they are happy with my rates. A constant communication stream is key throughout the commissioning process. Be sure to send regular JPGs showing how the artwork is progressing, so there’s no chance of the designer rejecting the work at the end. I produce JPGs during the concept stage, then midway and just before completion. Make sure everyone is reading from the same page; make your terms and conditions clear from the start. Sometimes designers want the piece in three weeks, sometimes they give you six months, but the important thing is not to agree to a timescale you can’t adhere to. Designers vary enormously from hobby mums to big companies, so you can’t take much for granted. I work with a few designers on a regular basis; design work doesn’t form the bulk of my business, but it’s useful. I have made my contacts by networking. If you know someone who knows someone in the design trade, make sure you grab the opportunity of an introduction. Don’t be shy. Make sure that people are aware of what you do and get your name out there in as many ways as possible.’ www.lhouette.com October 2012 35
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EMILY KEITH EQ INTERIORS % ' ! " "! " " !! " $ # % ! # "! " " ! " " " "% " " )" ! $ " !" " ! " " # " " !" % " ! !# !" " " "! # " "! " # '% ) % "! "! " " " )! !# # ! ! !# !" " " !% " " % %" " ! ! & " " ! %! " ! ! ! '" ! " " ! $ "! " " % " !" " " " " % " ' ! '% ' # $ !" " ')! $ ! " " # " !" "! " !" ! ! % ) % " " ! %" " ! " % %" " " !"' ! & " % # "" ! ! $ " " ' ! ! % '%" " ! " % % ) ' % " '% "" "
The art of design " " " '
This page: The Jade Bar at New Yorkâ&#x20AC;&#x2122;s Gramercy Park Hotel was designed in collaboration with artist Julian Schnabel Opposite page: Specially commissioned artwork forms the centrepiece of each room at San Franciscoâ&#x20AC;&#x2122;s Hotel des Arts
36 October 2012
Three highly experienced interior designers explain how they source artwork and frames, including both mass market framed prints and exclusive original pieces
! ! ' % ! " ! ( ! !# % '" ! #" " " "% " % % ' # " ! ")! " "" " ' !" ' # % #" " $ % " ! ( ! % ' " !" ' !" " ! ! # " ! " ! #" " ' )" % "# !# ! $ !" " ! !%" ! $ ! % !# ' %" " " "! ! ! % ! $ !" " " & ' ART BUSINESS TODAY
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
KARIN VERZARIU KEY INTERIORS %'$ ! " ( ) ) ! #)(0 * )( ) # )$ ) $ ! *% $' ) . + ) " )$ $#( ' ) % )*' ( )*' ( ) # )$ $( # ' ) )) # $ ) $ , # + ) !. " #( ) ) ) . + )$ ) #)$ ) $+ ' !! $!$*' ( " #)!. ! #) , #) )$ (% # !$) $# % )*' ($ (* () $$( # ) ( '() # ) #" ) # ) $!$*'( )$ ) % )*' *) ) ) ,$*! $#!. %% # # -% #( + % )*' , ( %! ## $' ! #)( ' ' !. $" )$ *( , ) * ) (% !!. $' % )*' ( . ) # )$ , #) *( )$ ( . $, "* $ , !! $() ' ) ' ) # ) $) ' , . '$*# #! (( .$* #$, ! #) , !! # ' + '. $# #) ) ) .$* *# '() # ) ' ) () *. # % )*' ( # &* ) *!) ." . # .$*' ( ! ) $# $ % )*' ( #(* #)!. - ) # )$$ $+ ' ) )$% )$$ $#) "%$' '. $' + '. $ ) # *# ') # $*) ) ' $ $ " ( ( # %*) .$* # ) %$( ) $# $
➺ ART BUSINESS TODAY
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BUSINESS ➺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+ , & &', ,' /'*# "* ,$1 /",! *,"+,+ ,!'- ! ! . '' $ & % + & ', "& ,'- ! /",! *,"+,+ &'/ & ,! & ! (*' $ % "+ ,! , %1 $" &,+ * & * $$1 . *1 (-+! '* ,"% +' ,! 1 & '% /",! % ,' '& &,* $ '& '& $$ *1 ,' $''# , * & ' *,/'*# -, ,! 1 ! . &4, ', ,"% ,' ."+", *,"+,+4 +,- "'+ "& * %', $' ,"'&+ '-$ ' '-*+ +!'/ $" &,+ *,/'*# '&$"& -, ",4+ +, " ,! 1 + ,! * $ ,!"& '* '%%",,"& ,' -1 ! . + . * $ ( , * % *+ /",! /!'% 4. & /'*#"& '* 1 *+ '/ 1+ /'*# (* ,,1 %- ! 0 $-+". $1 /",! '& ,'( '& '& * % * /!' & % # &1 +" & * )-"* "& &1 "&"+! & ' ! * *."& * % * +,'* ,"'& & % # * ($" , "$
This page, clockwise from top right: The drawing room at London’s new Ampersand Hotel; the Panic Room at Marseille’s Au Vieux Hotel is by graffiti artist Tilt; a bedroom at the Ampersand Hotel; an urban sitting from from livingroom21.com Opposite page: A white living room (left) and a white kitchen with scarlet highlights, both from iseecubed.com
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!) % $% )!$ ) & $ % ( $ % "$ $ &! !& & & %& "$ ) & & $+ & $+ (! % + & + &! & & % + % " $ & $$ & ! % $% % & $+ &! (! & & & + $ & $ & ! %% ! ! &!" ! & $+ % % "$ ! $ & $ &% . ) !& $% $ -" &'$ !'$ + $ & !$ %!'$ " &'$ % %! & + &" ) & $& & '+% !$ !& .
GILLY CHANCE STAVEDENE INTERIORS . !! !$ ! $ % !$ & ( $& &! "'& ! ) % ( %& ! % ( $ % % ! " % ) ! "$!( )& $ $&)!$ &'$ % & &! ! !'& ! + !( $ ' & & $ % .& % " $ & ' & !$ " &'$ % &! !) ' ) %" & ! %" & ! & % ( $ +& $ % .& !' ! + &! '+ * & + ) & )!' '%& )!$ )& * & " &'$ %'"" $ & & !' ( " $%! $ ! &! *" & ! !'$% $!! !% $ % !' &% & + "$ & & $&)!$ ! !'$% &! %' & + $ #' $ &% && & & "$ & % & % &+" ! %"! $&)!$ "!%% % $ & !$ % $% ( !' %'"" $% !( $ & & $ & '& &.% $ &! %% %% ) ! ) %+ &! )!$ ) & && +! $
ART BUSINESS TODAY
%!' '%' & $ !&
% &!! !! &! &$' & + % !& $ "$! )& & " &'$ %'"" $% % & & & + ! $ ' $ % ' $ %! % ( .& !& & & !$ " & &! &$ ) & $!' " % ! $&)!$ %! ! !! ) ! $ ) !) ! '" ) & )!$ % % '%% & % !$& %& ! + % !$ & $!! % ) $ + &! ! ( % & $" & !$ "$ & ) & $ & !& $ $!! % $ #' $ &$ & ! % !$ % %&$ &% !$ ) & ( $ ! !) + $ & %'"" $ !$ + #'!& % "$ & $& &.% ! + !$ & & . !$ .& !$ & ) % ) % '%% %% *" % ( & $ & ( % ' & )& !$ & ! $! $ % ! & ! % ) !% )!$ ! &! & ) & $ & ! ! % $!' + & & & & " $& ' $ ! + ! )!$ !) !! !$ &)! % " &'$ % & % %&+ ( .& $ + !& & &! ! $!' $& $% $ + ( !! &)!$ ! ! & &% & !' $!" &! & !$ $& $ ) ! & % ! '%& &! " %'$ & & . $ %& ! '$$ & &$ % + & & $ & % !$ '% ' !$ $ % $ &!" $ %& %'"" $% ! %% $ & $+ ! $ %'"" $%. ) % & % $ ( $+ % $ &.% $ &! %% %% ) ! ) ! $& %& % $( ) $ %& !$ $& ( $! $ % % ( $+ $ & $ ( %% % % $! %'"" $% % + - ! +!' '+ $& . &.% $ &! !) ) ! ) +
!! & %'"" + & + ( )!' &! %" % " $& ' $ !! !$ %&+ ) ) " % $% $ $ +!' %'$ & & +!' !'& $! & $!) +!' ! $ %& & % % ( $+! % +!'$ % !& % + &! '" & ) $ $ &+ !$ & !& %&+ " $& & % %* $ % '" ) & %' %& ! % !$ & &! ! &$ " $ $ ) % &! * ( % % &'$ ! ! $ % & $ '$ & ( !$ %&$ & % $ %&+ &! &)! %" $& %&%. )!$ +) $ ( ' & + &)! ! & % * '" ) & %' %& ! % & & & !'$ $ #' $ &% ) '" '+ $&)!$ $! ! ! & $ % ( , $ $ ) ! ! $% $ $ ! $ % & *&'$ % % % & & & % $ $ "$!( $ $ !$ ( $ ! " & & + " !" )!' (% )!$ !$ %! "$ ( & &% & & ! &) ! ( "$ %% ( $& ! & ! ( '%& !( !'% $ $& %& !! % %&' & )+ !$ & $!! % '& & $ % $ !! && & $ ! $ % &( ) +! %'$ & & $&)!$ &% &! ) !$ & ( % ) $ % ( !$ & ! &! $$!$% & &! ! & $!' '$ &'$ ' &'$ $% $ & $ & $ $% $& %! & ! "!% $ & &.% $ %"! % % + %' &( $ % $ + $ & $!' &! + % % !$ '$ &'$ %%!$ % !$ $' % $& % %! & &% ! & % ! &! ( & $ !) !" ! % !'& . ●
October 2012 39
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Many artists find that the best ! " way to sell their work is to open a " # % gallery of their own. AIDAN ! LYNCH GCF visits Annemarie # " $ ! " # Bourke’s Fine Art Gallery & Store % # # % # in Limerick’s O’Connell Street and % finds that a warm welcome and a " % ! " cup of coffee await him % ! % !% ! &
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❞ Lowering the price of originals isn’t the answer; you can’t compete with people offering cheap and cheerful wall décor, independent artists need to focus on quality
❞ Opposite page: Annemarie Bourke painting en plein air This page: A group of students attending an art course at Annemarie’s studio (the artist is third from the right), and a watercolour by Annemarie Bourke
3!(( / ( * / ,!/ /$! , %*0/ /0%(( (%"!/ * "%#1. 0%2! 3+.'/ %* " 0 3$ 0 /$! .! ((5 , %*0/ %/ (%#$0 /0%(( (%"! +" "(+3!./ * $ (" ,!!(! +. *#! ) ! )5 )+10$ 3 0!. +1( *! .(5 /)!(( 0$! 6!/0 +" 0$! +. *#! /0++ %* 3! /%(!*0(5 +*0!),( 0%*# 0$! .!"(! 0%+*/ %* 0$! +,,!. &1# * 0$! !(% 0! +(+1./ +" 0$! ,!0 (/ 1/0%* **!) .%!;/ $1/ * %/ (/+ $!. 1/%*!// , .0*!. .!0%.! 0! $!. 1/0%* $ * (!/ 0$! +1*0/ (( )%*%/0. 0%+* * .1*/ 0$! # ((!.5 3$%(! **!) .%! %/ 3 5 .1**%*# , %*0%*# +1./!/ ART BUSINESS TODAY
$!.! .! , %*0%*# ( //!/ * 3+.'/$+,/ 3$!.! !*0$1/% /0/ * %/ +2!. 0$!%. 0 (!*0 1* !. **!) .%!;/ !4,!.0 #1% * ! / 3!(( / %*/0.1 0%+* ( / +.0$ +)%*# /!//%+*/ %* (1 ! 3 0!. +(+1. +1./! +* +2!) !. 3$!.! /01 !*0/ 3%(( (! .* 0+ , %*0 $+((5 %25 * (!/ +. *5 $.%/0) / %) #! 0$!5 3%/$ "+. "!! +" !1.+/ 8 3+ 5 +1./!/ +2!. 0+,% / /1 $ / , %*0%*# %*0!.%+./ %* 3 0!. +(+1. +. .! 0%*# )++ * 0)+/,$!.! %* +%(/ * 0$!.! .! (/+ 3!!' +1./!/ +* +""!. **!) .%! %/ )!) !. +" (!%*
%.! +((! 0%2! +" .0%/0/ +))%00! 0+ +10 ++. , %*0%*# $! )%*%/0!./ #.+1, 0$ 0 )!!0 )+*0$(5 0+ , %*0 :!* ,(!%* %.; 0 2 .%+1/ (+ 0%+*/ +* .!( * ;/ /+10$ 3!/0 + /0 : $%/ %/ /+)!0$%*# 0$ 0 .! ((5 !*&+5 / %0 #!0/ )! +10 +" 0$! /01 %+ * %*0+ 0$! +,!* +1*0.5/% ! $! $ ((!*#!/ ,.!/!*0! 5 3! 0$!. +* %0%+*/ * 0$! $ *#%*# /! /+*/ .! .!"(! 0! %* )5 3+.' ; $! # ((!.5 /0 .0! /!((%*# (%)%0! ! %0%+* ,.%*0/ 0$.!! 5! ./ #+ : ! !# * ,.+ 1 %*# #% (7! ,.%*0/ +* *2 / 3$!* 0$! .! !//%+* /0 .0! ; !4,( %*/ **!) .%! : " ,!+,(! *;0 ""+. +.%#%* (/ 3! 3 *0 0+ +""!. 0$!) $%#$ -1 (%05 (0!.* 0%2! +3!.%*# 0$! ,.% ! +" +.%#%* (/ %/*;0 0$! */3!. 5+1 *;0 +),!0! 3%0$ ,!+,(! +""!.%*# $! , * $!!."1( 3 (( 7 +. %* !,!* !*0 .0%/0/ *!! 0+ "+ 1/ +* -1 (%05 ; 4 9 $ * "%*%/$! #% (7! ,.%*0 +* *2 / 3%0$ ". )! .!0 %(/ 0 !1.+/ 8 $ ,.%*0 %/ 1*%-1! 0$! /1." ! %/ 0.! 0! 3%0$ 0!401.%/%*# #!( 5 0$! .0%/0 * $%#$(%#$0/ .! ,% '! +10 %* , %*0 : 2!.5+*! 3 *0/ *2 / 0 0$! )+)!*0 1/0+)!./ ,!. !%2! *2 / ,.%*0/ 0+ ! !00!. 2 (1! "+. )+*!5 0$ * , ,!. * 0$!5 * /0%(( ! .+((! 1, %* 01 ! %" .!-1%.! ; /$! .!) .'/ .%*0%*# %/ $ * (! 5 **!) .%! . 0$!. 0$ * 1/0%* /$! /!!/ .! 0%*# .!,.+ 1 0%+*/ / * 01. ( !40!*/%+* +" 0$! .! 0%2! ,.+ !// $! 1/!/ *!3 ,/+* ,.%*0!. $ 2%*# 1,#. ! ".+) /) ((!. )+ !( 0$ 0 +""!.! (%)%0! +(+1. # )10 : ;) *+0 #+%*# 0+ /0 .0 ,.+ 1 %*# ,.%*0/ "+. +0$!. .0%/0/ ; /$! !),$ /%/!/ : ;) ,.%) .%(5 , %*0!. * 0$ 0 3+1( ! 0 %*0+ )5 , %*0%*# 0%)! ; **!) .%! +!/*;0 "%* 0$! ,.+ 1 0%+* ,.+ !// 0++ $ ((!*#%*# * 0$! ,/+* #!*0 %* .!( * %/ $ ,,5 0+ +)! .+1* * ,.+2% ! 0! $*% ( /1,,+.0 3$!* .!-1%.! October 2012 41
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ART â&#x17E;ş
Two paintings by Annemarie Bourke, left and top, and the artist at her easel
" %)*' ( !($ ## " ' 0( ' (%$#( ! ). % $)$ ' % ( ' ,$' , ) %$ #) # ( $$) # ($# *" - " ' ( ( ) $ ()* $ ! )( *) %' '( )$ ) % $)$ ' % ( # # )*' ! .! ) , ' %$(( ! !! '. - !*( + !. ( !!( ## " ' 0( ,$' ( # ) " # ()' ) $# #+$!+ # ( !! # ) $# ! ' # ( ,$*! ) #)$ ' % #) # ) " ) ' ) # % #) # ( # %' #)( ) ' ( # ##* ! ! # ' )*' # ) ') ()0( +$*' ) % #) # ( '$" ) ) . ' # %* ! ) $# $ ) ( ( '!. , ) $+ " ' ' ,$' ( + ! ! # *() ),$ !! ' ( ( '$" ' $,# $# # * ! # # $# # $' / " )$ %'$ * &* ! ). ,$' "!") ( )$ $, "* # %'$ * # . ' ($ )$ *) $# ) $#( # ) #*" ' $ !! ' ( ) ) (*%%!.0 !! '. *( ( ) ' $' $*' !$ ! ' " '( % ')!. ($ ) $ (#0) $" )$$ ' ! #) $# $# (*%%! ' *) ## " ' !($ ! + ( # (*%%$') # ( " #. !$ ! *( # (( ( ( %$(( ! 42 October 2012
Marketing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
ART
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Annemarie’s digital workload is formidable: she is active on Facebook, Twitter, LinkedIn, Myspace and YouTube, as well as a blog, an e-newsletter and updating two websites
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HOME FROM ABROAD ~ Trade Price £40 ~ Retail Price £130 640 x 510mm ~ Edition of 150 copies
THE HOT XMAS ~ Trade Price £25 ~ Retail Price £75 410 x 310mm ~ Edition of 150 copies
ART BUSINESS TODAY
p 5P TO 70% gr oss margin p 5P TO 70% gross margin on print print sales sales p /VER signed llimited imited ed ition p rints available available p /VER signed edition prints atalogue p .EW 0AGE Free p .EW 0AGE Free C Catalogue
October 2012 43
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Keep it moving Artists often have old works languishing in their studios that they would like to clear out to make way for new ideas. Is it best to set up some kind of â&#x20AC;&#x2DC;bargain basementâ&#x20AC;&#x2122; and make a little cash, or would that cheapen your art and impact negatively on future sales? Annabelle Ruston talks to a range of artists about the issue of old stock
+!'-( %& % & & )!$ #' %& ! % -& $ !$ #' &+ & +!' % !' & $ &( +! ) ) +% ! "$ % & & & & &! $ & %& $ %% $! & $& %&% %"! &! ! -& $'% &! % !' & & '& & ) + & % -& %! & $ -% !& )$! )& & & )!$ $ & $ & & $ & $& % % & "$ !%& $& %&% ( % %& % !' &
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Quality control , &-% !& &" & & +!' % !' %&$!+ & - ( % % ) & $ ! !'$ %& ( $+ $& %& %"! &! ! & % !" ! $ & )!$ & & +!' !) &! $ !$ & !) "$ ) +!'$ $ "'& & ! & )!$ % "!!$ #' &+ & & + !& % & + "$ $%& %& " % &! ! % $ ) + &
$&)!$ #' %& ! % -& %! % +% $ " & $ % ) , !' &! !'& ) &-% )$! ) & & % && + $ !$ & !$ ! $ "" & + !$ * " & & $& &+" % ! ) & $ ! & ! !$ '$ & ( "!% % '%& ! -& '+ $% !! !$ " && $ % & !'& !) & ' %! )!$ $% $! +!'$ %& % $% & $ ! !'$ $& %& && )% % +% & & " $! +& % ! $ !! & ! " & % & + ! -& & ) & & ) $ )!$ % & & $ % $+ ! % -& %" + & , )!' -& $ ' & "$ '%& '% %! '%& !' " &'$ ! & + $ !$ & & !* % & % -& & &% ) & + '$$ & )!$ %! -( "$ & && % ( , ! )!$ ! % !! & )!' -& &! & ) ! &
Most artists are against the 50%off method of shifting slow moving stock, seeing this as more suited to selling everyday consumer goods than fine art
44 October 2012
ART BUSINESS TODAY
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❞ Is it technically inferior, dated or lacking commerical appeal? Maybe certain types of animal, weather condition or figurative poses just don’t appeal to buyers
❞ $+ - ! & ' % && )% , $& + )!' -& "' + % !' & & % & & !! % " '& &! $ ( $ % !' & % !) & )!$ &! '%&! $ ! & & ' & )!' -& %&$!+ ! )!$ ' %% & ) % $ + $$ %% % +!' ( $ !) ) %! ! % ! &! ! $ #' %& & & %" %' & $ ! ! ) $ ( $ &! ' $ %& & "' & %& +!' & " &'$ ) ' '& %! ! % & !( & %! )!' ) $+ !
ART BUSINESS TODAY
%&$!+ ! )!$ & & $& %& &! '$+ '%&$ & ! % &% &! ( , $ ' ! ! " &'$ %- , $%& %& " % &! %'$ & & & #' &+ % -& $ !$ & % & +!' % !' %&$!+ & $ % +!'$ & " &'$ % $ & $ & $ "'& & ! + % %' %& $ )!$ & + $ $ !$ & &$+ &! % & % "$! + ) %& ! & +) + " &'$ % + $ $ !! #' &+ & + ( -& & "$! %& & -& & + & $ ! + ! )!$ &! ( $+ &$ % !) ! -& ( $+ %! %! ( &! & Routes to market && )% &$ % %&! & & $!' ) ( + '& & -& $ + )!$ !$ , "'& ( " &'$ % '" & $ %! ! %! &-% !& )!$& $ " & & * $ % % ) '& ! % %& ! !) & + $!'& , $& & )!$ ! + % +(% &-% !& % $ & ) + ! % !' & )!$ " !" !! +!'$ & " $&)!$ ! + + & $%& &
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&! '$+ ) % & % '$$ & + *& % ( + '" & %! & " % &! !( ! %&! & $!' & %& , !& ! &! % !' & % & + $ " $ & + !! " &'$ % ) $ '%& ) & !$ & $ & " $%! &! % & $ -% ! & &! & !' & ! " &'$ % ) %" + ! %! ( ) + ) % & % & ) + &! % + & ! ' &-% "!$& & &! & !$ % % "$!" $ + %! " !" ) && +) & % + ) & + % $ !$ %" %' &( !'% $& %& %" % $ % % " % !& &% $ ' % %' %&% & & $ & $ & % !' & $& %&% % !' ! % $ ) $!'& % &! $ & , " & & !& % & + '& &-% !! & ) % ) & $ & " $%! % % & !' ( &! " & & $ ! % )!$ & $!' $& %! &+ !" * &! % ) *"!% +!'$ $& &! ) $ ! ) '%&! $% & ! %% ! $ & % $ $ + !) % & $!' & !+ $ + & &! $+ & $%-
October 2012 45
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Image from jeane-artit.blogspot.co.uk
â&#x17E;ş
When the piles of unsold paintings become oppressive, it is only advisable to destroy the inaquate ones. With patience and careful marketing the high quality ones will eventually find a buyer
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)&& .#)( ) /./'( & 0# 1- ), )( )( - ( - #. #*. & ), ." -")1 .) ' , )." )& ( ( 1 #' ! - #( . ."#- *." ( #(. , -. .) ." ) 3 ) 1),% , 3)/ )/& .,3 ! ..#(! .)! ." , 1#." )." , ,.#-.- ( */..#(! .)! ." , '#2 -")1 8 Discounting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❞ So long as the price tag is roughly within the customer’s budget, price won’t be a deciding factor. Focus on making the buying experience enjoyable and personal instead
❞ " # " ! ( ( !" & ! # # # # & $ % # ) " ! (# ) # " (" $ ,# ! ! # #! " , " # " $ # # " # # & ! !"# " & " % ! ( !" + # & " ! # ) & ( !" ,# " ( $!! # ! ! ! & ! ") & $ ! # #$! " & #" $ #( & " ! ! & $ % "#! ( # " # # & ! ! & $ #" ! ! " # " # $ #( !#& ! # # " ,# " # ! #( $ # " " & ( & ( ! && ! , " & " (" # # ( $ ! # " $ # ( $! & ! ( $,% # # ! $ ! " ( # "# ! # ! ## ! # " " + ," # ' # ( # ! # " $ ## " (" ( $ ! # " $ #& ! # "#$ % # ! % ( $! & " # ( $ $"# "$! # # ( $! !( & !" ! & ! # " ( ! "$! # $# ( $ #!( # $ ! $# # & # ( $# # , "# & ! "# " & + # # $( !# $" # ( # ! !# & # # !# "# # # !# "#," & ! ! " # ! #" % ! " $!" ! % # * "# " ( ,# $( ) # * $# " "# ! # "! $ (&# $"# !," $ # ! & ,# # ! # !# " $ # $" # $( ' ! " !" ( " "" # #," & # " ,● ART BUSINESS TODAY
October 2012 47
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BUSINESS TIPS MARGARET CLARKSON WWW.MARGARETCLARKSONORIGINALS.CO.UK
BARRY HUNTER WWW.CHILTERNWEB.CO.UK/BARRY_HUNTER
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
0
MARY ANN ROGERS WWW.MAROGERS.COM
GORDON KING WWW.GORDONKING.CO.UK
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48 October 2012
*-%(! $ ) (+ " & (* +" ("/ $ "%) !$ * " )+ ) #%*%( ( $ (* 3 , ) (* )*) *% % $ * ( " , $* *( %( $ ) * %$) $ #/ ) * + " % %*%( $ (* )*) $ * $ (* ( +" ) ) %% - / *% # ! %$* *) * /%+( -%(! $*% . * %$) $ , "%& /%+( %$" $ &( ) $ ! $ )* $ ) * * ( * ) %-) ) #&%(* $* *%% * , ) /%+ ( " */ $ # ! ) )+( * * /%+( $ # $ %# !$%-$ %+ $ ) # $/ " $!) *% $ (%# /%+( - ) * ) &%)) " $ /%+ ) %+" * *% !$%%* ( (* )*) -%(! $ $ * ) # " ) /%+ ) /%+ $ "" "& %* ( 1
ART BUSINESS TODAY
ART
FOR ARTISTS TONI HARGREAVES WWW.TONIHARGREAVES.CO.UK
ELAINE COOPER WWW.ELAINECOOPERART.COM
2 +5* '&** # +& )% 0&,) # - % * % )+ *+ ,+ %&+ % + ) (, " +&) . 0 &, - +& ')& ** &% # .&)" ) % * '# % ,* % + * ## %+& . % &.%#& &) 1 % . * ,' % ),%% % . + % - $ %,+ * #& ## ,*+&$ ) %(, ) * % ) *'&% $$ + #0 + 0 ) &% &&" % #, $0 4# " 5 ' &% $0 $ # + % * &% * & *&$ &% ++ % % +&, 0&, % #&&" % + + ) &,* &% && # )+ % ** ** % . + ) + 0 ) * ) &,* &,+ ,0 % )+.&)" 3
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
PETER HAYTON GCF WWW.PETER-ART.CO.UK
PHILIP GRAY WWW.PHILIPGRAY.COM
2 )+ *+* &%* *+ %+#0 ,% )- #, + ) .&)" 0# "+ &% % +& *" ) ') &) .&)" + + * + " % $ %0 &,)* +& ) + 0&, ') )+.&)" +&& #&. ' &'# + %" +5* %&+ .&)+ ,0 % &'# . & . %+ +& ,0 (, # +0 )+.&)" /' + +& ' 0 ) *&% # ') + ') * +&& #&. + 0 ') *,$ + (, # +0 $,*+ #&. +&& ) %+#0 - * % )+ *+ . & . * * ## % ) &) % #* + 1 +& ) * + ') +& 1 % * ## +& * 0 * 5 !,*+ *&# .&)" &) 1 % + ,*+&$ ) %5+ + % 0 # +&# ) +& *" 1 % /+ + $ ,* "%&. ) .&)" * .&)+ + + $, 3
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ART BUSINESS TODAY
October 2012 49
FRAMING
Preserved for posterity Step by step illustrations of framing an 18th century King George III French and Indian War related document. Clockwise from top: A close-up of a Mylar corner pocket; The top and bottom mounts are â&#x20AC;&#x2DC;bookhingedâ&#x20AC;&#x2122; along the longest edge - never use double-sided tape to join the mounts; The document mounted with all four corners in place; The archival corrugated board which is used as the final backing. This board is safer than foam centred board, as even pH neutral foam board can emit destructive gases over time; The museum grade acrylic that I prefer; Proper weights are used to prevent damage to the artwork; Positioning the document before applying Mylar corners
50 October 2012
US museum framer RICK BADWEY explains how he frames and mounts antique artwork on paper
!
$ # # $ !#& ! ! " # # ! ( $" "" ! ( ( !" " #( !#& ! $!" "# # ( " # ( % " # # !( ! " # # % $ "# !# # # "# # # ! $"# ! % !" " "# # ( " (! % # !#& ! ! # ! & # $# !" # "# ! !*" ! # ! " !% # !#& ! ! $#$! ! # " #" ! # " $ #$ ( ! # ## $" $ $ # ! " $ $" & # # ! % ( $ # ! ! & $ # "#" % # " $ ! &# $ ! # # ! ! # $#! $ ! " ! # " ! $# # $ $!# ! ! # #!$# ## ! # $!! # "# % !# % $ # # %! # # !" "$ " $ #( # # # " #( # & ! & # " #( $ # ! & # # !#& ! $" "# ! $ #" ! # ! " " $ # $! # ( ! % # " ! ' " ( ! " !% # ! & " $" " ! ! # ( ## $" $ $ # ! " $ ! $ ## ! # # "$ !# # !#& ! # " (! # #( $ ) *# # $ # &# # & & # # $ ! $ # !#& ! " $ ## # # $ ! $ # ## & & $ # " # " ! % "# "# "# "$ !# # ! $ !# ! !# " !# # ! )# #* # # " $ # "$! # # # !#$! " #! % !
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ART BUSINESS TODAY
FRAMING
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❞
'
Never apply any type of tape to antique works on paper, even tape made with conservation quality paper and adhesives. I use Mylar strips, corners or encapsulation
❞
%'*"% ! ' % % " & "!& ' ' (& ' &&( ! & (, ' %" % ) &(## %& ! (& &' * ' % '" ') ' ' &) "( ! (, (' '" & , % &'% #& & &) ! %" !, *' % ) &(## %& ! ' &(## %& ! ( ! ) %& ', %" ( '& ! ' #% && "!& & &) ' # & !"' #' "% "!& %) ' "! *"% , % & , ! %' #%" ( ' ' ' & )"(% , "!& %) '"%& *"% * ! ' &# , "% ( ' &) " & !"' " !'" "!' ' * ' ' %'*"% ! , % & #" , &' % & ( ' # " & !"' "% #%"# % "! * ' ' (& "%! %& %" "' , % ! # # % # ! ! "! ' * ' ! (# " ' %'*"% , % "%! %& ! #(% & %" !, % ) &(## % "% # # % ! & (& & '& " #,% ! % ' ' ,& * & &, '" " % $( % ! (&' "(# ('& ! " & , ! '' * ' "( & ' # "% &' % # &' ! #&( ' (&'" %&. %'*"% * ! ' , &# , % $( &' ' &
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ART BUSINESS TODAY
October 2012 51
➺
FRAMING
FIVE LEVELS OF FRAMING The Fine Art Trade Guild’s Five Levels of Framing, which can be seen in full at www.fineart.co.uk, outline the materials and techniques that should used when making museum quality frames through to frames for customers on a budget. Museum Level framing offers the ultimate level of protection, while Conservation Level framing should offer a high level of protection for artwork for around 20 years under normal conditions. Here, the key points of these top two framing levels are outlined. MUSEUM LEVEL Mountboard: At this level only cotton museum mountboard at least 1100 microns thick and conforming to Guild standards should be used for both undermount and windowmount. Where possible, the windowmount should project at least 5mm over the edge of the artwork, thus holding it firmly in place. Double windowmounts should be joined together with starch paste or EVA adhesive, not double-sided tape. The two mounts should be hinged together along the longest side with museum quality paper or fabric and either starch paste, MC (methyl cellulose) or SCMC (sodium carboxyl
methylcellulose). Attaching the artwork: The artwork should be hinged to the undermount with Thinges, along the top edge, or a similarly reversible process should be used, such as corner pockets made from naturally ligninfree museum quality paper. Hinges should be made from naturally lignin-free, pH neutral paper and the adhesive from starch paste. Hinges should be torn, not cut. Hinges should be weaker than, or the same paper weight, as the artwork; never heavier. Hinges should be attached to the back of the artwork, not the front, and should overlap onto the artwork the minimum amount necessary to give proper support (for the majority of art on paper 5mm should be sufficient). Artwork should be hinged to the undermount, not the back of the windowmount. Glazing: An appropriate conservationquality glazing should be used, ie glazing with a high degree of UV filtration. Back board: pH neutral back boards are preferred. If MDF, or other acidic board, is used a 500 micron barrier board or conservation quality polyester (or similar) barrier should be used in addition to the undermount. Finish: It is recommended that glazing,
The final presentation of the document which relates to the North American Seven Years’ War, 1754-1763
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52 October 2012
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windowmount, artwork and undermount are sealed together with gummed conservation quality paper tape with water-soluble adhesive, before being fitted into the frame, to keep out dust and insects. The frame must be secured with framers’ points, tacks or better; flexible tabs are not acceptable. It is not acceptable to seal the back with self-adhesive tape; gummed-paper tape must be used. CONSERVATION LEVEL Mountboard: Conservation-quality or cotton museum mountboard at least 1100 microns thick and conforming to Guild standards should be used. The undermount should be hinged to the windowmount with gummed conservation tape with water-soluble adhesive. Attaching the artwork: If hinges are used, it is not acceptable to make them from selfadhesive tape; conservation or museum quality tape with water-soluble adhesive must be used. Glazing, back and finish: Glazing with high UV protection should be considered; pH neutral back board is preferred; gummedpaper tape must be used to seal the back of the frame.
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FRAMING
❞ The more support you can provide for fragile artwork, the better. Evenly distributed mounting points should not create stress on any part of the artwork
❞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● ! " - . *( ) ) +) +$ ( $!% % !) ) !% !( !%! --- $+) +$ ( $!% &$ ART BUSINESS TODAY
October 2012 53
FRAMING
Providing support Below: The Larson-Juhl Verona moulding pattern mirrors both the tassel twists and the vertical stripes in rug
Framer and author CHRIS A PASCHKE GCF CPF frames two heavy Mexican rugs and a fragile American Indian weaving
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54 October 2012
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ART BUSINESS TODAY
FRAMING
ou Ann
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The most cost-effective method would have been to hang them vertically with verso pockets and rods, or Velcro and wood cleats, but the carpets were the focal point
❞ .#%- #614$1#4& /#; 016 %744'06.; $' #8#+.#$.' +0 $76 5+0).' 5*''65 1( 9*+6' /#; $' 274%*#5'& // 6*+%: // (41/ 105'48#6+10 ; '5+)0 105'48#6+10 $; '5+)0 #.51 5'.. 9*+6' (1#/ %'064'& $1#4& +0 6*' .+/+6'& 5+<' #8#+.#$+.+6; 1( : // : 0; .#4)'4 6*#0 6*+5 $1#4& /#; 9#42 +( 57$,'%6 61 57((+%+'06 574(#%' 6'05+10 6*'0 +6 /#; 4'37+4'
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%1706'4/1706+0) 61 /#+06#+0 +65 (.#60'55 1706'4/1706+0) +081.8'5 $10&+0) 691 $1#4&5 61)'6*'4 51 6*' 5#/' &')4'' 1( 6'05+10 +5 #22.+'& #6 6*' $#%- 9*+%* 5*17.& '.+/+0#6' 6*' 9#42 6*+%- 57$564#6' 9+6* 5647%674#. +06')4+6; #0& 4+)+&+6; 57%* #5 #614$1#4& ;%14' 14 ':#/1706 9+.. 9+6*56#0& 6*' 4+)145 1( 9'6 #&*'5+8' &4; /1706+0) 14 6*' 574(#%' 6'05+10 1( # /1706'& (#$4+% '8'0 10 # : 241,'%6 Mounting &'%+&'& 6*#6 # (.1#6 52#%' #4170& 6*' 47) 917.& $' (.#66'4+0) *' 2'4('%6 %1.174 /#6%* 61 6*' $.7' +0 6*' 9'#8+0) 2#66'40 9#5 74#0)1 1$#.6 57'&' (41/ 4#0-5 #$4+%5 !#0 7;5 +0%' (#$4+% +5 2410' 61 #$51426+10 #0& #&*'5+8' 51#- 6*417)* +6 +5 $'56 61 75' # 9'6 &4; ! /1706+0) 6'%*0+37' *' $1#4& 9#5 %76 61 5+<' #0& 6*' 57'&' (#$4+% 9#5 %76 #$176 10' +0%* .#4)'4 #.. 4170& 91 %1#65 1( 4#0-5 #$4+% &*'5+8' # *'#8; $1&; ! 9'4' '8'0.; #22.+'& 61 6*' 57$564#6' 9+6* # 5210)' 41..'4 #0& 6*+5 9#5 #..19'& 61 &4; $'69''0 %1#65 *' (#$4+% 9#5 (+66'& +061 10' %140'4 1( 6*' $1#4& #.+)0+0) ➺
Colourmount Lustres Eight vibrant, shiny colours Available in 815 x 1200mm, 1.4mm thick white core A radically different look, ideal for framing memorabilia, photographs, or strikingly different art work.
Pure Conservation Backing Board Designed to exceed the requirements of even the most conservation-conscious framer Available in size 815 x 1200mm, 1.2mm thick A welcome addition to the range of Colourmount backing and self-adhesive boards.
Ask your Colourmount representative for samples See <http://www.colourmount.co.uk> for full details.
ART BUSINESS TODAY
October 2012 55
FRAMING
clockwise from top left: Whip stitching the fuzzy loop side of the Velcro along the top verso edge of the rug; waxing the thread; a 3M Jet-Melt glue gun with #3797 off-white 2" glue sticks; the finished rugs; strips were mounted, cut and fitted to hold the glazing in place; Hexamount and Tycore honeycomb boards; side strips 3/16" thick were cut from black foam centred board; A fine white line was drawn 43/4" from the substrate edge in order to position the hook Velcro
56 October 2012
ART BUSINESS TODAY
FRAMING ➺ .-$ +.-& -# .-$ 2'.13 2(#$ -# #18 ,.4-3$# 3. 3'$ #1($# (- '.3 5 "44, /1$22 3 #$&1$$2 % '1$-'$(3 %.1 %.41 ,(-43$2 %3$1 ,.4-3(-& 3'$ % !1(" 6 2 31(,,$# "+$ - "43 3. 3'$ $#&$ .% 3'$ !. 1# 2 (3 #(# -.3 -$$# 3. !$ 61 //$# 1.4-# 3'$ $#&$2 $+"1. 6 2 ' -# 2$6- 3'$ %4++ +$-&3' .% !.3' 3'$ 3./ -# !.33., $#&$2 .% $ "' 14& 3. /1.5(#$ 23 !(+(38 -# 231$-&3' -# 3. /1$5$-3 3'$ 14&2 %1., 3.4"'(-& 3'$ &+ 9(-& $" 42$ .% 3'$ #$-2(38 -# 6$(&'3 .% 3'$ 14&2 !+ "* /.+8$23$1 3'1$ # 6 2 2$+$"3$# %.+#$# 3'$ 3'1$ # (- ' +% 3'$- 3'1$ #$# 3'$ %.+#$# $-# 3'1.4&' 3'$ -$$#+$ 2. (3 6 2 04 #14/+$# '$ %.41 /+8 3'1$ # 6 2 #1 6- 3'1.4&' 3'$ $#&$ .% " *$ .% !$$26 7 3. 4-(%8 -# 231$-&3'$- 3'$ 3'1$ #2 2(-& 3'(2 231$-&3'$-$# 3'1$ # 3'$ %4998 +../ 2(#$ .% 3'$ $+"1. 6 2 6'(/ 23(3"'$# 3. 3'$ 3./ $#&$ .% 3'$ ! "* .% 3'$ 14& '(/ 23(3"' (2 2(,/+$ .5$1 -# 4-#$1 23(3"' 24(3 !+$ %.1 ).(-(-& 36. /($"$2 .% % !1(" +($12 -# ,$3 + 3'(,!+$ 6$1$ -$$#$# 3. '$+/ 2$6 3'1.4&' 3'$ $+"1. 8 /+ "(-& 3'$ $+"1. 3'$ 2 ,$ #(23 -"$ %1., 3'$ $#&$ .% 3'$ 14& /+ "$,$-3 .% 3'$ $+"1. 231(/ &+4$# 3. 3'$ % !1(" 24!231 3$ (2 $ 2(+8 "'($5$# $ 241$ 3. 5$1(%8 3'$ 14& /+ "$,$-3 .3'$ ! "*(-& -# "'$"* 3'$ %+. 3 2/ "$ 2411.4-#(-& 3'$ 14& .+# ! "* 3'$ +.-& 2(#$ 3'$ $+"1. (2 23(3"'$# 3. -# ,$ 241$ %1., 3'$ 14& $#&$ 3. 3'$ $+"1. 231(/ ## 3' 3 #(23 -"$ 3. 3'$ %+. 3 2/ "$ #(23 -"$ %1., 3'$ 1$! 3$ .% 3'$ %1 ,$ % (-3 6'(3$ +(-$ 6 2 #1 6.- 3'$ 24$#$ 3 : %1., 3'$ 24!231 3$ $#&$ 3. +." 3$ 3'$ /+ "$,$-3 %.1 3'$ +.6$1 $#&$ .% 3'$ '..* $+"1. .3' -# $3 $+3 '.3 &+4$ 42$# 6(3' .+8&46$1$ 3$23$# %.1 !.-# 231$-&3' 6'$33 "'(-& 3'$ /.+8$23$1 $+"1. 3. 3'$ % !1(" ".5$1$# 24!231 3$ $3 $+3 '.3 &+4$ (2 #$&1$$2 % '1$-'$(3 #$&1$$2 "$+"(42 -$431 + / '(&' ,$+3 #'$2(5$ 3' 3 (2 6.-#$1%4+ %.1 !.7 !4(+#(-& -# 33 "',$-32 -.3 (- #(1$"3 ".-3 "3 6(3' 13 '$ -$431 + / '.3 &+4$ 6 2 "'.2$- %.1 (32 2/$$# .% !.-# -# (,,$#( 3$ "41$ 231$-&3' .1 /1./$1 +(&-,$-3 23("* 3'$ 36. 2(#$2 .% 3'$ $+"1. 3.&$3'$1 //+8 '.3 &+4$ +.-& 3'$ 6'(3$ +(-$ 3'$- %.+# 3'$ $#&$ .% 3'$ 14& #.6- 3. %42$ 3'$ +../ $+"1. 3. 3'$ #'$2(5$ -"$ 3'$ 3./ 231(/ (2 //+($# 5$1(%8 3'$ +(&-,$-3 3'$- 1$/$ 3 3'$ /1."$22 %.1 3'$ .//.2(3$ ➺ +.-& 2(#$ ART BUSINESS TODAY
“This textile framing bible will provide you with the knowledge to frame fabrics with confidence and style, whatever their type”
Framing and Presenting Textile Art is £15.99 from the Guild Bookshop (£13.99 to members), plus p+p. Contact Moira Sanders on 020 7381 6616 or moira@fineart.co.uk to order
October 2012 57
FRAMING ➺ Assembly and fitting .1 3(% 2)$% 231)/ 24//.132 24%$% 6!2 6%3 $18 ,.4-3%$ 3. "+!#* &.!, ".!1$ 3(% &4++ +%-'3( .& 3(% ".7 !-$ 6)$% %-.4'( 3. "% #43 )-3. &.41 6)$% 231)/2 ()2 !++.6%$ &.1 5%18 #+%!-+8 #43 231)/2 3(!3 #.4+$ %!2)+8 "% 2)9%$ 3. &)3 2-4'+8 !'!)-23 3(% 2)$%2 .& 3(% &1!,% 3. (.+$ 3(% '+!9)-' )- /+!#%
(%1% 6%1% 23)&& +)33+% 36)23%$ 3!22%+2 !3 %)3(%1 %-$ .& 3(% 14'2 3(!3 6%1% !++.6%$ 3. 1%,!)- +.2% ')5)-' ! -!341!+ !//%!1!-#% (% &+.!3 2/!#% !++.6%$ /+%-38 .& 1.., &.1 3(% 3!22%+2 !-$ #1%!3%$ ! 2.+)$ &)%+$ .& "+4% !2 ! "!2%+)-% &.1 3(% 14' 3. 5)24!++8 1%23 .!12.- 4(+ (%23-43 %1.-! ,.4+$)-' 6!2 2%+%#3%$ &.1 )32 -!341!+ !-$ From top: Polyester felt was fitted behind the weaving and between the Velcro; the final presentation has the appearance that the weaving is floating slightly; the weaving is framed with Larson-Juhl’s Onyx Lucerne moulding and is mounted onto black linen
58 October 2012
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TRADE SECRETS SHARON-LEE MCKEE GCF DROMORE PICTURE FRAMING
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October 2012 59
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Pete Binghamâ&#x20AC;&#x2122;s
Agony Send your framing problems to: pete-bingham@hotmail.co.uk
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ART BUSINESS TODAY
(London).. T UK Sales: D & J Simons & Sons Ltd (London) Tel el +44 20 7749 8250 joe.adepoju@djsimons.co.uk Valiani Support Group: ‘There to Help & Support’ - valianisg.uk@btinternet.com Valiani Rep. of Ireland Sales: Scorpas Moulding (Kilkenny) Tel +353 56 777 0949 - info@scopasmouldings.com (Kilkenny).. Tel
October 2012 61
BRANCH NEWS
Membership Assistant Nii Tackie reports on the Cotswold branch visit to the Oxford Printmakers’ Co-operative
Making prints in the Cotswolds Guests at the Cotswold event visited the Oxford Printmakers’ Cooperative. Left: Winner of this year’s award for Best Mount Design, Stuart Hibberdine GCF, with printmaker Heather Power, who screenprinted the design onto the trophy Right: Fine Art Trade Guild CEO Louise Hay learning about stone lithography from printmaker Keith Isaacson
!# % #$ %% % ' % % # # # %& #% # %$ + & # % &% $ #% $%$, !# %$ ( % % ,' # %$ & &% ( % * # ( % ' & # %' ' #$ % $ ( % &$% #$ ( ( % % &* !# %$ $! # ! $% ( , ((( ) # !# % #$ &
& $%$ % # * $ % ' % %% ) # # % #$, ! # %' ' (% &$ # % # * &# $ # $% &# % ( # #$ % % %( # $ # $ &# % $ &% $ % !# $ %( $ %$ $%# % $ !# %
% "& $ $ ' #$ $ % $ # !# % $% % # ! * # !# % !# % + #% $% $%# % $ % $% $ % # $ % ( & #$% % %( ! &$ % * !# %$ % &%&# % ( $ % # ' , $ *$ # # $ # % # # #$ #% $%$ # % #$ !& $ #$
What’s on in 2013?
Details of upcoming branch events, reports on past events and details of officers and regions can be seen in full at www.fineart.co.uk
COTSWOLDS
LONDON, INC MIDDX & SURREY
SOUTH WEST
REGIONAL ORGANISER
BRANCH MASTER
REGIONAL ORGANISER
Cath Friend GCF, Emerald Frames 07507 774017 12 Feb, 18 April, 27 June, 10 Sept, 12 Nov
Paul Webb GCF, Artwork Creations 020 8390 0205 23 Jan, 20 Mar, 15 May, 17 July, 18 Sept, 27 Nov
Position currently vacant
Andy Rossiter GCF, Artisand Framing and Art 01778 394664 13 March, 17 July, 9 October
REGIONAL ORGANISER
BRANCH MASTER
Louise Hill, Permajet 01789 739200 1 May, 8 Oct
John McDermott, Still Photography 02893 368682
WESSEX
EAST MIDLANDS BRANCH MASTER
WEST MIDLANDS
NORTHERN IRELAND
REGIONAL ORGANISERS (EASTERN)
NEW ZEALAND
NORTH EAST
REGIONAL ORGANISER
REGIONAL ORGANISER
Keith Stewart GCF CPF; +64 6 358 9014; TBA
Maxwell Roberts, Headrow Gallery, 0113 269 4244 26 March, 25 June
62 October 2012
Johanna Cruickshank, Framing Star, 01962 850430 and Suzanne Parker GCF, Appleshaw Frames, 01264 772251 20 Feb, 22 May, 2 Oct, 20 Nov ART BUSINESS TODAY
NEWS LETTERS
Letters and emails
Write to: The Editor, Art Business Today, 16-18 Empress Place, London SW6 1TT, UK annabelle@fineart.co.uk
3'(2 1(&'3 .- 6.1* (- ".,/+$3$+8 #(%%$1$-3 238+$2 1$ 3'$8 (-3$1$23$# (.1(&(- + 6.1*2 .6 +.-& 6(++ 3'$8 ".-2(#$1 -$6 6.1* %.1 !$%.1$ 8.4 1$ ++.6$# 3. .%%$1 (3 $+2$6'$1$ Valuing sentimental artwork 13 42(-$22 .# 8 1$ #$12 ,(&'3 !$ (-3$1$23$# (- 1$"$-3 +$& + /1.!+$, .% ,(-$ "423.,$1 !1.4&'3 (- - &8/3( 3.41(23 2.45$-(1 %.1 %1 ,(-& 6'("' ' # -. ".,,$1"( + 5 +4$ !43 ,8 "423.,$1 + 3$1 2 (# (3 6 2 $-#.6$# 6(3' 31$,$-#.42 2$-3(,$-3 + 5 +4$ -%.134- 3$+8 6$ +.23 3'$ (3$, ".-3 "3$# 3'$ (-$ 13 1 #$ 4(+#<2 %1$$ +$& + #5("$ +(-$ '$(1 $7/$13 2 (# 3' 3 3'$ + 6 #.$2 -.3 ./$1 3$ 24!)$"3(5$+8 .1 ".,/$-2 3$ %.1 2$-3(,$-3 + +.22 -# 3' 3 "+ (, -32 ' 5$ 3. /1.5$ - (3$,<2 .!)$"3(5$ 5 +4$ % (3 ' 2 -. 2(&(%(" -3 .!)$"3(5$ 5 +4$ 3'$%1 ,$12 2'.4+# 318 3. 2$33+$ 3'$ , 33$1 !8 ;6(3'.43 /1$)4#("$< .%%$1 2 &$2341$ .% &..#6(++ '$3'$1 : .1 : 6.4+# !$ //1./1( 3$ #$/$-#2 .- 3'$ (-#(5(#4 + " 2$ 2. %1 ,$12 2'.4+# 42$ 3'$(1 )4#&$,$-3 423.,$12 ".4+# 1$3 +( 3$ !8 "+ (,(-& 3' 3 3'$8 ' 5$ 24%%$1$# /28"'.+.&(" + # , &$ 2 1$24+3 .% 3'$(1 +.22 !43 3'(2 "+ (, (2 4-+(*$+8 3. !$ 24""$22%4+ (- ,.23 " 2$2 .1$$- ,(3'$12 '$ 1 ,$ './
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October 2012 63
B2B
REPLYING TO A BOX AD? Email your contact details to sales@fineart.co.uk or fax 020 7381 2596. We will forward your details to the advertiser
Richard C O Lovesey Fine Art & Desktop Publishing. Personalised stationery, business cards, all in full colour. Products for artists: greeting cards, keyrings, notelets. Giclée printing. Mountcutting service. +44 (0)1507 600836 www.loveseyfineart.com PRINTS AND ORIGINALS
BUSINESSES FOR SALE For sale due to retirement – wholesale picture framing and supplies. Based in East Yorkshire but easily re-locatable. Superb reputation of 27 years trading. We have long standing relationships with a broad range of customers and suppliers. We have a strong repeat client base and excel in quality products and services. There is huge scope for development and opportunities for further expansion/diversification. T/O £300K per annum. Contact S and J Butterworth. Tel: 07955002385 Scottish Highlands - stunning gallery in former church near Inverness. Building and business for sale, owners retiring. Successful increasing sales right through recession. Much further potential. See www.tore-artgallery.co.uk SERVICES Affordable giclée printing for galleries, framers and artists. Easy upload, trade discounts and great prices. Specialists in affordable canvas prints. Visit point101.com for more information and full price lists or call +44 (0)20 7241 1113 Digital artwork suppliers. High volume photographic restoration and enhancement services. Range of photo-to-art products available includes Caricatures, Pop Art, and Fantasy templates. Free to register. 0208 144 2472 or yasmin@photo-wonder.com Frame pricing software available for both Macs and PC's and in imperial or metric measurements. Powerful yet simple to use and easily adapted to suit all businesses. An indispensable tool for the modern framing business. Visit www.framingsoftware.co.uk or call Mike Royall GCF on +44 (0)1454 617022 Giclée printing for artists, photographers and framers. Top quality prints on fine art papers and canvas print specialists all at trade rates. Visit www.lucyart.co.uk or call +44 (0)1924 360226 National Acrylic Painters’ Association (1985) promotes through exhibitions the excellence and innovation of acrylic paint. Contact NAPA for membership details: 0151 639 2980, www.napauk.org, kjhnapa@hotmail.com 64 October 2012
Fine art photography of London available in limited editions from Mr Smith World Photography. We supply homes and offices internationally. Call now to discuss bespoke collections. info@worldonfilm.com. 01992538899 MATERIALS & EQUIPMENT Hardwood wedges for stretched canvases. Over 50% of 19th and 20th century stretched canavases have broken or missing wedges. We manufacture eight different size/thickness combinations of replacement hardwood wedges, £5.50 per set of ten plus £3.50 p & p per order. Try the Studio Selection:10 each, 4 useful sizes, £23.50 post paid and save £2. Tel 01603 743374 with credit/debit card details. Leveton Studio, Orman House, 17a Grove Avenue, New Costessey, Norwich, NR5 0JD
Subscribe to our weekly promotion For saving up to 50% off Top brands of consumables, machines and serving Subscribe to: sales@ukframingsupplies.com www.ukframingsupplies.com
Daler Rowney inspiring creativity since 1783 For all mountboard requirements, please contact: Tom Hopper Key Account Manager - Framing. tom.hopper@daler-rowney.com
Keencut Arrow 76 mountcutter plus blades. In excellent condition surplus to requirements. Price in the region of £200. Collection from Alton Hampshire, contact 01420 22834 Mounts4You. Online web based mount cutting service. www.mounts4you.co.uk Stretcher bars and canvases made to measure in the UK. Fast turnaround. Softwood and hardwood bars. Any size from 200mm to 3000mm. Print stretching service. Made by the UK’s leading manufacturer. For a catalogue call us now on +44 (0)121 2480030. www.harrismoorecanvases.co.uk TRAINING Applegarth Framing, Derbyshire. Individual framing training, beginners to advanced, courses tailored to suit students’ requirements. Contact Mary Evans GCF Adv on 01283 703403 or mary@applegarthframing.co.uk Art of Framing Training School. www.fringearts.co.uk or call Lyn Hall GCF Adv to request prospectus. Flexible training to suit your needs. Accommodation available. Based outside Guildford/Farnham. Call (01483) 810555 Atkin Framers Ltd – Individual/joint tuition on all aspects of picture framing offered to new and experienced framers. Fine Art Trade Guild and ILA Scotland accredited. Call Richard 07821 918 476 www.atkinframers.co.uk Down School of Picture Framing. ALL courses accredited by the Fine Art Trade Guild. Call Steven McKee GCF Adv 028 9269 3807 / 07834 787487 downschoolofpictureframing.co.uk ART BUSINESS TODAY
NEW To advertise here email info@fineart.co.ukNEWS B2B
A practical introduction to water and oil gilding in an intensive 3-day course with an optional 4th day covering antique frame restoration. Courses held in London, Oxford, Salisbury, Newark, Hastings and Scotland. www.gildingcourses or call Jan Pike on 01424 754104 or 07973 732184
B2B AD BOOKING Call Moira on 020 7381 6616 to order
GILDING COURSES
JANUARY 2013 DEADLINE Please send coupon and payment by 21 December to: Art Business Today, 16-18 Empress Place, London SW6 1TT, UK ■ CLASSIFIED (TEXT ONLY) 30 words: £35 + VAT (FREE to Guild members). 50p per word thereafter. Box number £10 + VAT, Guild members £5 + VAT ■ BOXED CLASSIFIED Box: £55 + VAT per 60mm (£40 + VAT to Guild members) + £5 for picture or box no YOUR LISTING
Harlequin Frames. Framing tuition tailored to individual needs. Courses fully accredited by the Fine Art Trade Guild. Contact Mal Reynolds GCF Adv. on 01673 860 249 or Mal@harlequin-frames.co.uk Hedgehog Art & Framing is a Fine Art Trade Guild accredited trainer. Basics to advanced, worldwide training on your premises. Over 500 students to date. Roy Rowlands GCF 01527 876293, training@hedgehog-art.co.uk In a Frame - Individual framing training by a qualified GCF (Hertfordshire/Essex borders). Courses fully accredited by the Fine Art Trade Guild. Call Richard Williams GCF on 01279 260069, www.inaframe.co.uk Northern Framing School, Sheffield. Run by trainer and author Pete Bingham GCF. All aspects of framing, including GCF refresher courses and 4-day beginner course. 0114 245 1547 or pete-bingham@hotmail.co.uk
Guild Commended Framer Study Guide
Published by the Fine Art Trade Guild Researched, edited and compiled by Annabelle Ruston and Fiona Ryan GCF
The GCF Study Guide The indispensable part of every framer’s training Call Moira on 020 7381 6616 to order ART BUSINESS TODAY
________________________________ ________________________________ Harlequin Frames, Lincolnshire. Individually tailored textile framing workshops. Contact Mal Reynolds GCF Adv to discuss details 01673 860249 or e-mail mal@harlequin-frames.co.uk
________________________________ ________________________________ ________________________________ ________________________________ ________________________________
Royall Framing (Bristol). Individual or joint tuition is offered by Mike Royall who's been a GCF since 1994 and is the only framing trainer in the UK who’s also a qualified adult education teacher. All courses are fully accredited by the Fine Art Trade Guild. For more information visit www.royallframing.co.uk or call Mike on +44 (0)1454 617022 Sophie Brown Conservation Framing. Registered GCF tester in Australia. Individual tuition from basic to advanced framing. The emphasis is on conservation. www.conservationframing.com.au +61 2 9518 0624 Sports Framing offer training from basics up to GCF standard. I day engineering courses on the Morsø. Oldham, Lancs. www.sportsframing.co.uk UK School of Framing. A range of courses available at a pace to suit each level to allow students to enjoy and absorb what is taught. Courses take place at venues all over the UK and are accredited by the Fine Art Trade Guild. www.ukschoolofframing.com, 01494 459545 Wessex Pictures Framing School (est 1987) offers training to novices and experienced framers. It is recognised by the Fine Art Trade Guild. The 5-day course in Leatherhead is £395 + VAT. Phone Garry White GCF, 0845 456 9970
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LAST WORD
A century of service What’s your back story? 2//2:,1* $ &$5((5 ,1 6$/(6 )25 &203$1,(6 ,1&/8',1* $'%85< $1' $//0$5. (1'(' 83 $6 &277,6+ 5(*,21$/ 0$1$*(5 )25 ,(/6(1 $,1%5,'*( ,1 " 2/52<' :$6 581 %< $&. 2/52<' 7+(1 *5$1'621 2) 5('(5,&. 2/52<' :+2 67$57(' 7+( &203$1< %$&. ,1 1 7+( 6 7+( %$&.%21( 2) 7+( %86,1(66 :$6 &$53(7 6$/(6 %87 :,7+ 7+( $'9(17 2) 7+( %,* &$53(7 6+('6 $&. $1' +,6 )$7+(5 28*/$6 6+,)7(' 7+( (03+$6,6 72 3,&785(6 $1' 7+(1 21 72 )5$0,1* 6833/,(6 9(178$//< $&. 0$'( 0( $1 2))(5 &28/'1?7 5()86( 62 ,1 %(&$0( +,6 6$/(6 $1' 0$5.(7,1* ',5(&725 1 ,&2/$ $1' )250(' $ 3$571(56+,3 :,7+ $ %86,1(66 &2168/7$17 $1' %28*+7 7+( &203$1< ?0 12: $1' 0< 0$,1 $,0 ,6 72 &217,18( 72 ,03529( 285 6(59,&( /(9(/6 $1' ,1&5($6( 285 352'8&7 5$1*( ,1 25'(5 72 .((3 285 &86720(56 +$33< :+,/( ,&2/$ ,6 ),1$1&,$/ ',5(&725 $1' ,6 5(63216,%/( )25 7+( '$< 72 '$< 5811,1* 2) 7+( %86,1(66 What’s FW Holroyd like today? "( $5( $ 21( 6723 6+23 )25 %(632.( )5$0(56 $// 29(5 &27/$1' $1' ,1 7+( 1257+ 2) 1*/$1' "( %28*+7 $ */$66 9$1 $ &283/( 2) <($56 $*2 $1' :( +$9( (;3$1'(' 285 */$=,1* 5$1*( 72 ,1&/8'( 63(&,$/,67 352'8&76 :+,&+ $5( 6(//,1* 9(5< :(// "( 6(// 028/',1*6 )520 81),1,6+(' 352),/(6 72 :$7(5 *,/'(' '(6,*16 $1' :(?9( -867 7$.(1 21 ,1(59$ 32/<0(5 028/',1*6 )520 ,&785( 5$0,1* 833/,(6 "( 672&. 02817%2$5' )520 $/(5 54$',$ $1' ,(/6(1 $6 :(// $6 0$&+,1(5< $1' 681'5,(6 ,&2/$ $1' (03/2< )285 27+(5 3(23/( How have things changed? 5$0(56 '2 127 1((' 72 ,19(67 62 +($9,/< ,1 672&. $6 6833/,(56 /,.( 86 2))(5 1(;7 '$< '(/,9(5< <($56 $*2 ,) <28 6+2:(' 620(21( $ 1(: 028/',1* 7+(< :28/' 25'(5 ? 7+(5( $1' 7+(1 +( *22' 1(:6 )25 )5$0(56 ,6 7+$7 7+(< &$1 12: ,19(67 ,1 0$5.(7,1* 5(7$,/,1* $1' ',63/$< ,167($' +(< '21?7 1((' 72 5,6. %8<,1* 672&. 63(&8/$7,9(/< 85 1(: -867 (128*+ 028/',1* 6(59,&( ,6 :,'(/< 86(' $1' $//2:6 &86720(56 72 2))(5 $1 (;7(16,9( 5$1*( 2) 028/',1*6 :,7+287 66 October 2012
Scottish framing supplier FW Holroyd celebrates its centenary this year. KEN RALSTON, who bought the business in partnership with his wife Nicola five years ago, says there’s great potential for selling art and framing for those with a professional approach to sales and marketing
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