Re: Studio Pottery V main Stream

by **philpot** Thu Jun 20, 2013 7:32 am

The intriguing thing of course,is what is 'personal taste'? How is it formed? What guides us to what is beauty,art,or that which is worthy of recognition by all of us?
In Art in general you have enough critical writing on the beauty and aesthetics of the whole,to fill a library,or two. But in pottery that same sort of analysis is rare indeed. In Studio Pottery There are probably are not enough books on the 'Why' to fill half a shelf. Nearly all of the writing on the subject consists of the 'how'. Perhaps this is why Studio Pottery is generally regarded in low esteem by the Art Establishment? Is there just too little intellectual framework to hang high fallutin prices on? Happy

by **Eclectic-Dorset** Thu Jun 20, 2013 10:27 am

Any investment worth having is always a gamble be it pottery stocks and shares etc, or less you have a good eye or verry good knowledge or lucky finds at boots or charity shops buying pottery for investment is an extremely tricky game who will be the next Lucy Rie, Leach. Hamada etc, answer is no one knows .

I buy all sorts of different pieces from mainstream Midwinter from the 50's 60's my true love to modern Studio and most things in between including Glass but i normally buy what i like the only exception is pieces ugly as sin or at least to me but bought because they where verry cheap, win win.

by **tenpot** Thu Jun 20, 2013 12:17 pm

Potty wrote:
studio-pots wrote:Fine but why did the customer buy that £250 plate. Crazy.

Reminds me of one potter telling me that he took a glass cabinet to shows, not because it was really necessary, but because the pots in the cabinet would sell fast and he would keep stocking it up with the pots that were on the table not selling! this quote thing doesn't seem to be working tenpot says: at the moment I have alot of pots on shelves when people look at them they find it hard to choose and say they look good together I have found in order to finalise a sale I have to isolate a piece they like on a pedestal on its own

by **dantheman** Thu Jun 20, 2013 12:27 pm

people also assume it must be the best one,otherwise why would it be on a pedestal?

by **BrandX** Thu Jun 20, 2013 3:21 pm

S-P's account of the most expensive piece selling reminds me of a photographer who came to prominence in the late 70s/early 80s (can't remember the name). He sold both B&W and colour prints, but the colour prints only sold a fraction of the B&W, despite being half the price. As his popularity increased he took on an agent to look after the print sales. The agent immediately increased the price of the colour prints to that of the B&W prints, and in a very short time the quantity of colour prints sold was approaching that of the B&W prints. Whether it was a case of the higher price conveying undeserved authority to lesser work, or whether it made the purchasers feel that their aesthetic judgement was backed up by measurement against a monetary scale, is open to conjecture.

by **dantheman** Thu Jun 20, 2013 4:09 pm

I once had a long chat with a very old antiques dealer,he told me to stop messing about with nickel & dime deals and go upmarket,he said I should always charge top dollar and never reduce my prices to speed up sales because good buyers like to see big price tags.

by **skipposal** Thu Jun 20, 2013 5:50 pm

Hmm - of course the opposite is also true - the people who really liked my own work, could rarely afford it

by **big ed** Fri Jun 21, 2013 3:00 pm

dantheman wrote:I once had a long chat with a very old antiques dealer,he told me to stop messing about with nickel & dime deals and go upmarket,he said I should always charge top dollar and never reduce my prices to speed up sales because good buyers like to see big price tags.

Moral - Beware of wise old men telling porkies Big Laughter

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