When the sculptor Arlie Regier first came to me in 1994, he was as unknown an artist as I was a gallery owner.  But I instinctively realized that his works, some of them composed of 5000 pieces of stainless steel, would find a broad audience if I could just succeed at promoting him.  Man, did that take years of hard work for both him and me.  A new artist (he was 64 at the time) is always slow to be recognized.  But if you believe in the work and the artist…

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I recently finished negotiations on a large equine sculpture for a major developer. Erik, a sculptural genius, is working with me on this. To date, we’ve had three meetings, and have invested about 8 hours of our time-most of that coming from Erik in the form of renderings. And all of this we did without…

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"Mark Twain" by Jim Brothers

I placed Jim Brothers‘ monument of Mark Twain in Hartford, CT after an earlier deal fell through with a scheming Missouri businessman who tried to “commission” the piece from Jim, meaning the guy wanted it for next-to-nothin’. The City of Hartford bought it in 1994-although for far less than what Jim gets now.

Why did I take the lesser price?

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Okay, so this art is really not in question at all. And the materials aren’t exactly “quirky.” And yet… something about the whole way these images landed in my inbox gave these the same aura of quirkiness as our Marzipan babies of last week.

After these driftwood and oak horses turned up in an email, without an artist’s name, I was compelled enough to go searching on Google.  ”Driftwood horses” did not lead me to the artist’s website, but to another website,  where I did find her name and her website: Heather Jansch.

What I found most interesting, on this viewing adventure, was that the presentation of her images was so much better on the website that was not her own.

And herein lies a caution tale for artists:

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