One of the Southampton Art Society committee reflects on why some art sells:

For many years amateur artists have struggled with the task of pricing their work. I find it the most taxing part of this relaxing past-time but may have a solution.

With the exhibition season starting, there are hopes of showing and selling our work. One of the biggest hurdles to achieving sales is the inconsistencies in pricing within an exhibition. If one artist prices too high, the public won't buy that artist's work because of the price nor will they purchase from the other artists because the lower price would suggest something inferior. Even the best artists in our market cannot afford to price at a professional level for that reason.

Sales in an exhibition encourage confidence in the other viewers and other sales become more likely. However, underpricing is as dangerous because the lower priced work will give the wrong signal to the buyer about what is a good deal.

A good picture is a good picture in any medium but it must also appeal to a member of the public and be a good deal for it to be bought. Oils have traditionally been priced higher but in the buyer's eyes it is the art they are buying not the media or the artists time.

In pricing our work you need to look at the market we are in and the visitors the exhibition will attract. Talking to artists whose work sells, I have discovered a simple formula. Price your work at three times the cost of the frame you have chosen for it. Don't forget to then add the commission charge on top. This gives you a rough total to put on the label.

Don't try to artificially inflate the price by putting your art in an expensive frame you wouldn't normally use. This just makes your work look wrong and it will not sell.

One final word: If you don't want to part with your work, don't price it to protect it because you could ruin other sales at the exhibition. Label it "NFS" (Not For Sale.)