Holding an art exhibition for funds raising

The second half of the 19th century witnessed a dramatic rise in the number of
exhibition societies, artists' professional societies and sketching clubs being established.
These exhibition societies served a number of different functions. Significantly, these
societies provided an alternative exhibition space apart from, although not necessarily
rivalling the Royal Academy. Academicians were not barred from exhibiting with these
societies, but it was progressive artists, amateurs and artists working in a genre or medium, or
indeed of a gender, discriminated against by the R.A., who substantially benefited. Exhibition
societies, on the other hand, offered a welcome sympathetic environment to hang their works
with often no jury to pass judgement. Amateurs and young professionals of both sexes were
welcomed to the monthly meetings of the Artists' and Amateurs' Society, of which N.
Chevalier was President in 1880. The only restriction was numerical, members being limited
to 400.
Many societies had open memberships. For example, membership of the Sunday Society at
the Conduit Street Galleries, was simply by means of an annual subscription. A number of
older, more conservative societies sought to expand their membership in the 1880s, largely as
a result of dwindling numbers and lack of funds. It was for this reason that the Institute of
Painters in Water Colour at the Dudley Gallery made the decision to admit all watercolour
painters to its exhibitions. Other societies chose to remain more select in order to retain a
distinctive identity. For example, the Photographic Salon at the Dudley Gallery Art Society,
first held in October 1893, 'was called into existence by a brotherhood or informal society of
photographers called The Linked Ring for the purpose of exhibiting only those examples of
contemporary photography which in their opinion give evidence of a personal artistic feeling
and motive.'
Societies not only provided a congenial exhibiting venue, but also offered other facilities,
such as drawing classes, studios where patrons could sit for their portraits, and other artistic
facilities. The Artists' Society was established in 1830 'for general study from the Life'. For
this purpose it had a library and collection of costumes, armour and other artistic accessories.
There was the opportunity for members to make studies from life every evening, both from
draped and nude models, between 7-9 pm. A conversation was held in January, February and
March at which the Society's pictures were exhibited. Connected to the society was the
Langham Sketching Club, which met on Friday evenings (October-May). Its subscription rate
was other societies provided financial assistance. The United Arts Gallery was founded by
the London International Exhibition Society to encourage young artists 'by affording them
facilities for study in the great Continental academies, supplying them with grants of money'.
Societies could also be the venue for lectures and debates on aspects of art and culture. For
example, the Society for the Encouragement of the Fine Arts at the Conduit Street Galleries,
which was founded in 1858, held lectures and debates on art topics, as well
as conversations in metropolitan art galleries and visits to private galleries. In 1889 the
Honorary Secretary was E. P. Loftus Brock, F.S.A. Collectors and connoisseurs, not just
artists, were encouraged to join these societies and participate in their intellectual life. The
stated purpose of the Burlington Fine Arts Club, whose secretary in 1889 was J. Beavan, was
'To bring together Amateurs, Collectors, and others interested in Art'. This is reflected in its
exhibition programme, which was not only intended as an exhibiting forum for artist
members, but included 'special Exhibitions which shall have for their object the elucidation
of some school, master, or specific Art'. Exhibitions were wide in scope covering 'pictures,
original drawings, engravings, and rare books, enamels, ceramic wares, coins, plate'. The
Arts and Crafts Exhibition Society had a notably strong educational drive, organising lectures
and demonstrations to coincide with its exhibitions, which were also accompanied by
catalogues containing essays on the decorative arts. The variety of resources and facilities
that societies offered its members also included libraries and study rooms.
Holding an art auction is an excellent way for non-profits to raise money, for artists
and art-related businesses to publicize their art or products or services, and for bidders to buy
quality art at reasonable prices. The following pointers will help everyone have a great time
and realize their goals at art auction fundraisers, regardless of whether they're buying, selling,
or donating.
Tips for artists
 Career-wise, the best fundraisers for donating art are those that benefit visual arts
organizations and attract members of the art community including collectors, gallery
owners and related fine art professionals. These are among the best opportunities to
get your art and your name out in front of anywhere from dozens to thousands of
people who like art, collect art, patronize arts organizations, and support the visual
arts in other ways.
 Donate to a non-art related fundraiser only when it's an established art auction or you
believe strongly in the organization's cause or goals, and not because anyone promises
you exposure or career benefits. Donating to a non-art fundraiser where art is mixed
 in with lots of other merchandise, or to one that attracts mainly people from fields
other than art usually does little or nothing for your career.
 If you're not familiar with an organization that's requesting a piece of your art, do
some research, find out who they are, make sure you support their cause, find out
whether they've conducted art fundraisers in the past and if yes, for how long and how
successful they've been. You might even ask for names of artists who are donating to
the event or who have donated in the past and contact them about their experiences.
 At the very least, expect free admission to any event you donate to. Also find out how
your art will be presented-- whether your name and bio will appear alongside your art,
whether the work will be listed or pictured in a catalogue, whether it will be pictured
online, whether your contact information will be published in either the catalogue or
on the organization's website (including your email, phone or active link to your
website or a social networking page), and so on.
 Before you decide which piece of art to donate, talk to the people conducting the
auction and ask what types of art and what price ranges sell best. Better yet, ask if
they'll provide you with either websites or catalogues of previous auctions so you can
see for yourself. The more accurately you pinpoint bidders' tastes and budgets with
your donation, the better the chances your art will attract attention and sell for a
respectable price.
 Donate a good piece of art. Don't donate the worst, least significant or most outdated
piece you have lying around your studio. You want your donation to reflect positively
on your level of generosity as well as on the quality and type of art you currently
produce. Putting inferior works of your art out into the public just because you want
to get rid of them is never a good idea.
 Include your bio (significant career accomplishments) and contact information with
your art. You want to attract and introduce yourself to as many new collectors as
possible. People who like your art tend to bid higher when they know something
about you, what you've accomplished in your career, and how to reach you if they
want to buy or learn more. Keep it simple though-- career high points will do fine for
now.
 Whether your art auctions silently or live, set the minimum acceptable opening bid
and selling prices at reasonable levels, but not so low that they make no sense with
respect to your typical selling prices. When you set minimum bid amounts too high,
you scare bidders away. Remember that many people go to art auction fundraisers
 looking for bargains. Also remember that having nobody bid on your art does not
reflect well on you and your career. If you're a good artist, you have an established
track record of shows and sales, and people know it, your art will be bid up to a fair
selling price no matter how low you set the minimum opening bid.
 Cooperate with the people conducting the auction and generally do everything within
your power to make sure your art sells. If they ask for certain information, provide it.
The worst possible outcome at this type of event is for your art not to sell.
 Do not donate to every single cause that asks for your art, especially if you have
gallery representation. You can actually end up diluting your market by donating too
frequently, or giving collectors the idea that rather than shop at galleries or buy
directly from you, all they have to do is wait for the next charity event and then buy
on the cheap. If you really want to support lots of charities, either sell your art direct
to buyers or through retail outlets and donate a portion of the profits.

Nevertheless, it is indisputable that exhibition societies in the 19th century provided valuable
opportunities and facilities for their members. These amenities were particularly appreciated
by young and low-status artists, who were provided with valuable exhibition and studio
space, library facilities and educational support, in addition to financial assistance and access
to new patrons and markets. For these artists, exhibition societies were a life-line in their
struggle for critical recognition and commercial success. Amateurs and collectors also
benefited from the opportunities and facilities afforded to them, not least of which their
introduction to a sympathetic circle of artistically minded fellows.

Benefits

 Trade shows are generally targeted at an industry and people involved or interested in
that industry. Exhibiting at a trade show can be a great way to advertise to a target
market and create brand awareness.
 Exhibitions are open to a large and sometimes diverse range of audiences (usually the
general public). This provides you with a platform to promote your product or service
to a broader group that may have little or no knowledge of your products and services.
 Depending on your type of business, product and market testing can be carried out at
trade shows and exhibitions to gain industry or general opinion about your offering.
  Being involved in a trade show or exhibition can provide you with opportunities to
branch out to business-to-business trading and create a customer database from the
visitors to your display booth.

Risks

It is also important to ensure that you have thoroughly researched attending a trade show or
exhibition, and if you have a business adviser, discuss it with them. There are risks involved
and you need to be aware of those risks in the planning stages, including:

 Trade shows require at least a day and probably more of your time

 Travelling to trade shows can be costly

 Displaying at a trade show can also be costly

 There will probably be quite a bit of competition at all shows.

Choosing the wrong trade show to exhibit your business's products or services can result in
displaying to the wrong audience. Poor promotion can mean the costs of attending the trade
show outweigh any revenue you gain.

Promoting a business at trade shows and exhibitions

 Trade shows and exhibitions can be an excellent way to promote your business and
the products and services that you offer. They are also a great way to network with
other industry members and grow your customer base.
 A trade show is an event where goods and services in a specific industry are exhibited
and demonstrated to other businesses. An exhibition is the same, except the audience
is normally the general public.
 Trade shows and exhibitions can be useful marketing tools; however, not all
businesses benefit from them. Consider your business situation and do your research
before getting involved in trade shows and exhibitions.
 This guide explains how to get involved in trade shows and exhibitions, what the
benefits and risks are, and how to get the most out of exhibiting.