Lorica takes it name from Celtic lore and means a breast plate for the soul. The logo, also from Irish mythology, depicts the wondrous child who signifies hope and trust in the future.

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About Collecting

 

There have been more than a few occasions when people will come to the gallery treading oh so carefully in trying not to make any noise and if they’re with someone, actually whisper. We know that galleries can be intimidating but we foster a relaxed atmosphere, where we greet customers and then leave them alone to browse at their own pace. Still, we sense that for some a comfort level whereby they’ll even venture a comment, never mind ask a question, is hard to come by. “I don’t know anything about art” is a common response to what seems daunting at first. Our reply is that they probably know more than they think. Somewhere, either consciously or unconsciously they’ve seen artwork. We encourage them to go with their instinct and trust their own judgment.

We’ll ask if there is anything they see that they like. More often than not it’s a certain artist’s style of painting. For some, ultra realistic, without a hint of brush stroke, is what strikes them. Others are drawn to a looser, less structured type of piece with thick paint. Then subject matter followed by color. What attracts them? Is it a pastoral landscape or an edgy cityscape, dark and moody, or light and tranquil, a scene with people or not, full of riotous color versus calming hues. All these factors come into play, subtly influencing their likes and dislikes, commanding their attention or their immediate dismissal. One gentleman declared he didn’t like cows in landscapes, whereas a woman said she loved scenes of Ireland but they had to have sheep. So you see, we all have very decided opinions about art. If you buy a painting because you love it, you will never be disappointed. That is the most important criteria on which to base your purchase. Not because of trends, they come and go. Not because your best friend, mother, or decorator approves…they aren’t paying for it or living with it. And live with it, you will, for how ever long you want. It is something that will give you pleasure and happiness for a life time and then some. We liken art to durable goods that will outlast practically everything else we own. In reality you’re purchasing an heirloom. The value is intrinsic. It’s what it means to you and those you share it with. That’s the all the appraisal you need.

 

But how do you know if the painting is worth the asking price? The same way you determine the price on most of what you buy, gathering information. If you’re interested in a well established artist there will be very little variation, if any, in the cost of their work from gallery to gallery. New emerging artists collaborate with the gallery to set a price for their work. Demand becomes a determining factor. If the desire for an artist’s work outpaces the supply, then the price will go up.  This can be a wonderful thing for the artist but disastrous in some cases for the buyer. Art is subjective and perception more than real value can drive prices. Some of the most talented artists never achieve the critical or financial success they deserve. Others do, but it’s owed to circumstances more than merit.

You may remember a cautionary little tale called, “The Emperor’s New Clothes.” The lessons in that story can be applied here. It’s important not to get caught up in trends, gimmicks or good talkers. There are artists whose work has skyrocketed in price and then crashed. If an artist has been selling well steadily for twenty years, during that time, the price of their paintings will have increased to its current cost. Will it continue rise? There are too many factors to allow forecasting with any certainty. If you are going to buy an expensive piece of art, learn how long the artist has been painting. Where else do they show their work? Are they local or regional, national or international artists? How prolific are they; do they produce a hundred pieces in a year or only twenty? What is their age?  Are they members of prestigious art societies. Have they been published?  Have they been collected in well known private and public circles? All this information will help you make a more informative decision. Still, the ultimate determinant is what you feel when you look at the painting.

 

Where to Start

Now that you have a direction, you may still be unsure how to begin. One young mother asked, should I buy for a specific spot in a room or should I just plan on finding a place for it. The answer is both. Many people start looking for that first piece with the living room or dining room as the designated spot. The right place is secondary to someone who collects, they’ll make one. In a defined space, say over a fireplace mantel you, want something that fits. Typically, the popular choice of painting in this particular spot is usually in a traditional horizontal rectangular or “landscape” dimension. However it’s just one option. A vertical or “portrait” dimension can work equally well. Vases, candleholders, or topiaries, can fill in the extra room on either side.

Sconces come in all shapes, sizes and styles and can accent a tall piece nicely. Or an arrangement of several paintings can just as easily serve the same purpose as one large piece. Here at Lorica, we present the art work in what’s called, “salon style.”  It’s a method of hanging paintings from the late 1800’s, where the framed pieces are arranged closely together with other works and stacked high to low on the wall, as opposed to fewer works hung in one row called, “modern hang,” where theirs a lot of breathing room around each painting. We owe our style of presentation to the owner’s wonderful mentor and friend Ken McGilloway, of The McGilloway Gallery, in Derry, Northern Ireland. It’s a good illustration of what different styles can look like in the same room. When we hang pieces near one another, we’re looking for similar pallets in the paintings that compliment each other. The color harmony provides balance and continuity.

 

 

This same idea follows in framing your painting. Framing is key and can make or break a piece. While there are no hard and fast rules, some guidelines will help. Most galleries sell framed art and if that is the case you can usually expect the painting to be framed well. The frame will bring out the attributes of the piece. If you’re making the framing decision and you have a traditional landscape and want a traditional frame, that’s half the battle. From there, we would recommend finding the right color and then the best shade. If the choice is gold, would bright and shiny be the way to go or would a rose gold in a matt finish be best. There are many variations of the color gold as well as silver, bronze and copper.

Do you want the piece to look like an eighteenth century estate piece from France? Providing the piece will look good that way, you can choose a heavily carved, ornate frame. Looking for something that goes with most any style? We would suggest a moulding with clean simple lines, relatively flat, or will little scoop to it. The width of the moulding can also lend itself to a traditional versus modern look. A thin, low profile frame can look sleek and modern. Linings are another aspect of framing. Linen is commonly used but you can achieve that look with another thinner moulding called a fillet, pronounced “fillit.” A slim, beveled or carved fillet within a wide frame can define the work in the same way as a cloth liner. You can also stack frames together. Keep in mind that a lot of art is framed without liners at all. Take your time at the framers and experiment with various samples.  What if you make a mistake? You’ll be in good company, even the best don’t always get it right. Decide if you can live with it or is it going to be a nagging reminder that you’re not satisfied with it. If it gets in the way of enjoying your painting, then go back to the drawing board. It will be worth it when you take into account how long you’re going to have the painting.

 

When you are seriously considering a painting, we recommend trying it on your wall to be sure it’s what you envisioned. Even with measurements, it’s difficult to know exactly how a painting will look. Most galleries will let you take the piece home for a specific amount of time on approval. If you’re not at that point in your search, center a brown piece of paper, cut to the size you want and affix it to the intended wall. This will give you a good idea of proportions. Household tape, stuck on a piece of material first, reduces the amount of adhesive and won’t take the paint off your walls. Avoid hanging a small painting alone, in spot that’s too big, it will look lost. Conversely a large painting still needs room around it.  Sometimes you will have more wiggle room with shape of the painting than you thought. A 24” x 24” square painting might work just as well as an 18” x 24” rectangle. Or, what about two small pieces hung side by side.

Most artwork is sold framed. Always consider the width of the frame. If it’s 4” wide, you’re adding 8” to the overall dimensions. Now you’re working with 32” square. Is there still room, and if not, can you make it work with a slimmer moulding. We have clients who solved a spatial problem in this way. Their home, built in the 1700’s has very low ceilings and very tight area above the mantel. Just a small change in the frame width gave them the painting they fell in love with, in the spot they had their heart set on. Hanging paintings at eye level is a standard rule but that said, it’s not always possible. If you’re hanging a piece over a highboy for instance or you may have to allow for tall decorative candleholders on a serving piece. Staircases are another example. Big areas don’t necessarily dictate the need for a large painting. You can group different size pieces together and mix painting styles as long as they don’t compete against each other. Similar frames will tie the pieces together. One idea is to use five paintings, two small 9” x 10”s side by side hung below one that’s 15” x  36.”  Add two 12’ x 16’ one over the other to the left or right of that grouping and in effect you’ve created a square of about 5’ x 5’. This is a centuries old way of hanging art work. The result can be just as symmetrical and color balanced as putting four identical pieces together.

 

If you’re trying to choose a painting as a couple and you have diametrically opposed tastes, all is not lost. It’s a common occurrence. We’ll often have someone bring their partner back with them to look at a painting only to be disappointed by a less than exuberant reaction. All we can say is don’t give up. And by that we don’t mean it has to be a win lose situation. Take small steps at first. Maybe a piece that won’t play such an important part your home will take some of the pressure off rather than trying to find “the one” for over the fireplace.

Art is an extension of our self expression and we identify with it. It is therefore highly personal which in turn makes it extremely subjective. Have patience with each other and keep in mind diplomacy goes a long way. Agree to disagree but try not to disparage the other’s taste. You can’t use the argument “it’s nothing personal” because that’s exactly what it is… to your partner. Find out why you’re both taken with certain paintings. Being open to the others likes and dislike will promote more comfortable discussion. Find a way to compromise. We have clients that take turns. In the meantime, if you both love art, keep going to galleries, art shows, festivals and have fun. And don’t be surprised if you occasionally lean toward the same artwork. The more you look, the more developed your ideas will become. There is so much wonderful artwork out there your frame of reference can’t help but grow. Think of the possibilities!