I must respectfully disagree with the suggested closing techniques used in overcoming objections. That is not to say that the artist shouldn't defend their work or that they shouldn't accentuate the quality of the work, awards or any feature of their stature of in the artworld. They ultimately benefit the collector in acquiring the work.

But, these techniques have been circulating in the art market for some time, and surely the collector (unless they are a novice collector) would easily recognize the technique.

And although the seminar (from which those suggestions originated) labelled them as being "soft closes", or phraseology focusing on the Collector owning the piece, and the "hard close" focused on the monetary transaction, they should both be considered hard closes due to their manipulative nature.

Take for instance, the hard close focusing on the monetary transaction. Anyone expecting to collect art is going to expect to pay for it. And only the type of individual that believes in obtaining something for nothing would be surprised at the monetary transaction involved!

Having worked as an art marketing consultant in a major market, I found art collectors are savvy and thoughtful in acquiring their collections. And the long-term effect of the hard sell on the Collector is resentment and defiance toward the person who led the manipulation.

The resentment manifests itself in avoidance of that person and results in the loss of future sales. It should be noted that the seminar in question was (if memory serves me) was designed toward "Art Consultants" and their sales techniques in high-end markets mainly on the Hawaiian Islands catering to the tourist trade.

I hope that you find this insight helpful. If your work meets the criteria of collectibility, that is, that it is original, thought-provoking and uses a "leap in the imagination", the collector will recognize it and sales will be made without the unwanted affects in the long-term.

Best regards,

Cynthia Houppert:)