Only 10 paintings sold?

The 159th Annual International Exhibition of the American Watercolor Society has finished at the Salmagundi Club. Some statistics - one jumped out to me (in red):

• 3,300 visitors 
• during the exhibition which ran for 3.5 weeks from April 7 – May 1
• $54,000 in awards, and 
• ONLY 10 PAINTINGS SOLD! 
• That means 
• only 0.003% of the visitors wanted to buy a painting!
• only c.6% of artists sold a painting

Facebook Post by AWS

You can find the names of the exhibited artists here (both AWS members and those selected from the open entry.)

These are the Award Winners. Paintings selected for awards can be viewed here.

Thirty-nine awards totaling over $54,000 were selected this year by the 159th Exhibiton Jury of Awards.

The only images online are those of award winners. They do not contain any details about size, materials or price.

Critique 

When art societies were first formed, the major reason was to share the costs of exhibitions of artwork so that artists could get their artwork in front of more people and stand a better chance of selling it.

It wasn't about showing off. It was about financing the artist to make money to enable them to continue being an artist. That's still - or should be - one of the primary reasons why artists exhibit today.

If an annual international exhibition by the one of the oldest and most prestigious watercolour societies in America can only sell 10 paintings then something they are doing is wrong!

AWS Facebook Page

Context

First, by way of comparison I'm going to highlight the number and percentage of sales of artwork exhibited at the Royal Institute of Painters in Watercolours last three annual exhibitions at the Mall Galleries (a large gallery supporting national societies of artists in the centre of London - accessible to fans, tourists and people walking up the Mall to/from Buckingham Palace)

As you can see, the RI have significantly more sales both in terms of actual paintings and percentage sold.

Royal Institute of Watercolour Sales in last three years

 

So why doesn't the American Watercolor Society achieve similar sales?

I'm going to reflect on some of the reasons why I think their sales performance is very poor.

AWS Context re Sales

This is the International Prospectus (for the 2027 exhibition) which explains how the AWS exhibition is run.

This is what it says about sales

• All paintings will be considered for sale at the price set forth by the artist unless marked NFS (Not for Sale) or 0 (zero). Prices may not be changed or withdrawn once accepted into the exhibition. 
• Any painting sold in the New York Exhibition or Traveling Exhibition is subject to a 35% commission. 
• The cost of shipping is borne by the buyer of the work

Display of artwork: catalogue and online

There is no catalogue. Hence no accessible record of 

• how many artists
• who painted what, size materials and 
• how they priced their work.

The artwork is NOT displayed for sale online (unlike the RI Exhibitions at the Mall)

People buying art now buy a lot of art online. By not having an online exhibition, the AWS is reducing the scope for sales. 

It's easy to put a catalogue online eg see the RI Catalogues 

• Buy the catalogue 
• read the e-catalogue

Very many art societies now use Issuu for their exhibition e-catalogues

Buyers like to see a visible price - they don't like to ask. Anybody telling you otherwise is just living in the past and/or being snooty!

A display via a YouTube video shows us what it looks like but says nothing about:

• name of artist
• price of painting
• whether it is for sale

Number for sale

There is no information on the website about:

• number in exhibition
• number for sale
• numbers per price range

Very many artists have not got a clue about pricing art. (Which is why I have a huge section on How to price your art on my Art Business Info for Artists website) 

I've been doing exhibition metrics for national art societies that exhibit at the Mall Galleries for a number of years. This involves 

• reflecting on how the number of sales vary by price range. 
• As a result of which I have made very strong recommendations to those applying for exhibitions who read this blog re how they should price their art - based on REAL SALES!

Price is completely academic unless it converts into a sale. Artists often 

• price far too high and 
• don't adjust for when the economy changes which often means 
• adjusting size of works for sale rather than changing what you sell art for 
• i.e. make your art more affordable by offering more smaller works

Location:

The Exhibition was on view at the Salmagundi Club in both 

• the main (Skylight) Gallery and 
• the lower (Rockwell) Gallery 

Could it be that only aficionados of the AWS visit the exhibition? That they miss out on foot traffic because they are showing in a club?

A plus point is that the annual exhibition is always free to exhibit.

A minus point is that the exhibition is only open afternoons for six days a week, 1-6 pm Tuesday – Friday and 1-5 pm. (so misses out on half the lunchtime traffic)

Style of Art

I've observed a number of times in the last 20 years of writing this blog that the style of art favoured by Americans is very different to that preferred by UK and European audiences.

On the whole American artists seem to believe Americans want:

• realistic and hyperrealistic art - lots and lots of tiny detail
• bright colours
• large paintings - because they have larger homes

For me, it means that 

• artists painting for this exhibition seem to indulge in what one might call "look at me I'm a very accomplished artist" types of painting - and choose subjects which enable them to show off how accomplished they are.
• many of the artists are:
• rather too much about the technical and 
• not enough about the emotional and the soul and what moves the artist. (and believe me I'm very very far from being an emotional diva!)
• there rather too many very obvious "painting from photographs" 
• there is not enough painting from life or from imagination.

Interestingly the Awards reveal that the selectors agree with me. I had few issues with paintings which received awards.

However, what I saw in the Video were an awful lot of very boring amateurish paintings of inane subjects which wouldn't get hung by art galleries in the UK. Some actually generated a "Yikes" comment!

While there is undoubtedly an appetite for "American Taste", it does mean that the more impressionistic and expressionistic figurative art gets a lower profile. Which is a pity. 

Maybe if there was a more eclectic mix of styles in the exhibition the AWS would find out what buyers really like?

Maybe there needs to be a more explicit "we like paintings like this" and NOT paintings like this?

I think that both need to happen if the AWS are to achieve more sales for their exhibiting artists - and more international status for their society.

There again - if they had a more eclectic mix then maybe more international artists would apply? I spotted only two award-winning artists I know who live/exhibit regularly in the UK

A Change of Emphasis

Maybe the AWS could put more effort into 

• generating funds to make the art in the exhibition more accessible to those who like buying art and 
• spending less on prizes and awards.

Awards belong to the era when winning an award gets you an art gallery. 

These days art galleries stuggle to survive - unless they are e-savvy - and artists do not need art galleries to sell art online!

I guarantee more artists would rather have a good chance of selling their art rather than have a tiny chance of winning an award. 

Particularly when you take the costs of exhibiting and transport into account.

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Herbert Smith Freehills Kramer Portrait Award 2026: SHORTLIST Announced

This is about the four artists shortlisted for the 44th edition of its prestigious Annual Portrait Award at the National Portrait Gallery in London. The Herbert Smith Freehills Kramer Portrait Award 2026 was  formerly known as the BP Portrait Award and before that the John Player Portrait Award - which is what it was called when I first started visiting.)

Some background

The Portrait Award has earned a reputation as one of the most important platforms for portrait painters. The highly competitive Award encourages artists over the age of 18 to focus upon, and develop, the theme of portraiture in their work. Since its inception, the competition has attracted over 50,000 entries from more than 100 countries and the exhibition has been seen by over 6 million people.

I'm pleased to see the NPG appears to have adopted my name for the competition ie The Portrait Award - as per my comment in this post last year!

Here's where I stand on the sponsor name. It's ludicrous. It's not a name which rolls off the tongue. People can never ever remember it and now they've added another name in!

Which is precisely why I will continue to refer to it as The Portrait Award at the National Portrait Gallery, sponsored by Herbert Smith Freehills Kramer Shortlist for the £66K HSFK Portrait Award at the National Portrait Gallery

Selection for the Herbert Smith Freehills Kramer Portrait Award 2026 

This post provides you with information about the four shortlisted artists, named today by the NPG,  and shows you images of their portraits.

Some facts:

• The Call for Entries produced 1,474 entries from Artists from across the world who uploaded a photograph of their finished painting to the National Portrait Gallery’s Competitions Portal for the initial judging of digital images
• Specifically, entries were received from 63 countries. 
• All entries were judged anonymously - which means it'll be interesting to see how many artists previously selected are selected again.
• The Selection Panel is an ALL FEMALE jury and appears to be "contemporary" in nature. Its members are: 
• Melissa Blanchflower - Senior Curator at the Turner Contemporary
• Es Devlin - digital artist and set designer, ;
• Amy Emmerson Martin - Contemporary Curator at the National Portrait Gallery (previously Assistant Curator of Contemporary British Art at Tate)
• Mary Evans - artist and Director of the Slade.
• Artists who made it through the digital judging round were invited to hand-deliver or courier their work to a venue in London for a second, physical round of judging
• A total of 52 portraits have been chosen for the exhibition which opens from 25 June to 7 October 2026 at the National Portrait Gallery
• The portraits by the four artists were chosen from the 52 portraits selected for final display. 
• Prizes comprise:
• first prize of £35,000 - one of the largest awards for any global art competition. 
• second prize of £12,000 
• third prize winner will receive £10,000
• young artist (aged between 18 and 30) prize- £9,000. This prize aims to profile talent and help support the career development of a young artist - one of the original priorities of The Portrait Award. 

The Shortlisted Portraits

Only one artist has previously been selected for this award/exhibition. Which means three appear to be total newcomers - although they may have previously submitted paintings but not got selected.

Three of the four paintings are concerned with portraits of individuals with a black heritage.

The italicised quotes are from the NPG Press Release and I assume are words constructed from what the artists have said about the sitter and their process.

Note: Having researched the artists I am beginning to wonder the extent to which the Judges (and all the shortlisted artists) read the Herbert Smith Freehills Portrait Award 2026 Rules. Specifically 2.2

2.2 The work entered should be a painting based on a sitting or study from life and the human figure must predominate.

 

Review: Royal Society of Portrait Painters Annual Exhibition 2026

Apologies for this late review of the Royal Society of Portrait Painters Annual Exhibition 2026. 

Post shoulder replacement sirgery, I'm still one finger typing - with the index finger on left hand holding down the shift key periodically - which is frustrating. Plus I ended up very tired from all my necessary outings last week and seem to be having another spate of surgery brain week this week - which makes getting started and writing anything difficult!

So this is going to be a short post. I may add to it later as I remember points I've forgotten!

If you'd like to see this exhibition, it's on at the Mall Galleries until Tuesday 19th May.

It comprises 208 paintings and drawings.

You can see 

• who won the awards in this blog post Royal Society of Portrait Painters Annual Exhibition 2026 | Award Winners
• my photos of the exhibition in albums on my Facebook Page. I try to snap every portrait in the exhibition - and then split them into albums by location
• East Gallery
• North Gallery

Just the West Gallery to go..... this is what it looked like last Sunday

view of the West Gallery

Key Points of Difference

I'm going to summarise what I saw as being the main differences from previous exhibitions

• It was another diverse and well hung exhibition. However it was only after I left and I started thinking about what was different that I realised the look of most of the exhibition has moved a very, very long way from the "stuffed shirt" main gallery that used to be the norm for very many years i.e. lots of commissioned portraits of eminent people in the government, forces, courts and education in very formal poses.

• there are still formal commissions - but most are so much more relaxed. Particularly as there are so many more women being portrayed in commissions! I particularly liked the two large portraits below - both by Jamie Routley RP

Two large naturalistic portraits by Jamie Routley

(left) Les Soeurs (The Sisters) by Jamie Routley RP 

Oil on linen, 100x110cm (105x115cm framed)

(right) The Winding Stair - Jesse Norman MP by Jamie Routley RP 

Oil on linen, 105x105cm (110x110cm framed)

• In part, I think this might well be because the artists are encouraging their clients to think out of the box rather than repeat "same as the last whoever" type portraits
• it really helps those who potentially want to commission - and make no mistake, this is primarily a marketing exhibition for RP members.
• I highly recommend, if there is no potential client in the commissions room at the back of the north Gallery that you have a look at the Commission Portfolio files if you want to see the range and calibre of artist on offer for potential commissions.

Portfolios for member artists and potential commissions

East Gallery - the Candidates Wall

• The East Gallery is a very high standard - and includes two former BP Portrait Award winners who are not RP members as artists selected from the open entry
• Wim Heldens (2011) - who I never met as I was "painting in Provence" - see Review: BP Portrait Award Exhibition 2011
• Craig Wylie (2008) - see Craig Wylie wins BP Portrait Award 2008 - which I remember very well as it was my first BP Portrait Awards night and the Chinese artist who won Young Artist of the Year beamed at me and said he read my blog before he tried again after missing out on selection the previous year!
  
• There's a fourth in the West Gallery! (see below)
• NOTE: There are three more BP Portrait Award winners in the exhibition - who are all RP members (Now HSF Award)
• Benjamin Sullivan RP (2017)
• Miriam Escofet RP (2018)
• Antony Williams NEAC VPRP (2024)

The two small paintings by the two former BP winners via the open entry are on this wall

• If you want to get noticed paint a very old artist. Which is what Neale Worley NEAC RP did in painting the centenarian figurative painter and multi award winner Anthony Eyton OBE RA RWA RWS - who is 103 next Sunday adnd has been painting for nearly 90 years! Neale won the President's Award for his effort. It's a very good painting - Anthony visits the Mall Galleries periodically and I saw him recently. Neale has also made a film about him.

SHOULDER REPLACEMENT: Half Way

It's now been three weeks since surgery ie HALF WAY through the official recovery period of sling wearing!  Pain has reduced and arm mobility is getting better. My one hand one finger typing is also getting faster! I can manage a left hand index finger on the Shift Key!

Last week was a big week for me as I went out five times on my own:

• Tuesday: Two week checkup with the clinical team at the Royal London:
• x-ray was done - which revealed nothing of concern
• silicon dressing came off, wound was inspected - looked very neat and nicely glued!
• bruises are now reducing and at the yellow stage
• my next appointment in six weeks time was booked
• Walked 2 miles back home from the hospital - along the quiet roads - photographing plants in season as I do most days on my walks

Laburnum tree in the Cemetery Park - as seen on my walk back from the hospital on Monday.
Probably Scottish Laburnum (Laburnum alpinum)

• Wednesday: In the afternoon I visited the extended Private View for the Annual Exhibition of the Royal Society of Portrait Painters. 
• Very civilised! Spreading the PV over several hours means there's more space to see the artwork on the walls. 
• Managed nearly three hours and took some photos.

Not quite time for the formal opening of the exhibition, speeches and awards ceremony
- but filling up

• Thursday: Visit to the Royal London again - this time to see the Physio
• reviewed the situation with me and how I was coping 
• added four more exercises to the my daily seven.
• Walked 2 miles back home from the hospital - along the quiet roads - taking more photos plants in season.  This habit started during Covid when I developed my Plants in Isolation series.
  

Iris foetidissima (Stinking Iris) in one of the parks I walk through

• Friday: Attended the May Meeting / AGM of the Chelsea Physic Garden Florilegium Society - at the Physic Garden which comprised:
• a wonderful talk about the strategic aims and future development of the garden within the context of a huge number of regulatory practices for a botanic garden by Emily Hazell, Head of Plant Collections
• send off for our Chair and Plant List Organiser
• AGM - at which I presented my Treasurer's report

The CPGFS Committee at the AGM 2026
My seat as Treasurer is on extreme left - but here I'm in unofficial archivist photographer mode

• Sunday: I returned to the Mall Galleries to take more photos of the RSPP Annual Exhibition and to see the exhibition with fewer people around.
• Bumped into Gail Reid, one of the past PAOTY Heat Winners - see Review: Episode 2 Portrait Artist of the Year (Series 10)
• who I've highlighted on this blog for her very useful posts about preparing for PAOTY - READ my blog post about her blog post about Preparing for Portrait Artist of the Year - Gail Reid shares her experience and tips.

A selfie with Gail Reid, Gail operating my phone!

This week is a much quieter week and I'll hopefully get some blogging done.

Next week, on Friday morning, me and my sling will be stewarding at the Chelsea Physic Garden Florilegium Society Stand in the Great Pavilion at the RHS Chelsea Flower Show. 

My visit to the RSPP Annual Exhibition was by way of a test to see if I could cope!

More travels with my sling (my official “don’t bump into me” sign!) to come....

SHOULDER REPLACEMENT: Two Weeks Later

It feels a bit odd to think two weeks ago, I'd been awake for four hours after completely out for the count for five hours, due to my shoulder replacement surgery having a major hiccup.

Tomorrow I go to see my Consultant at the Royal London who is part of a Barts NHS Trust team which focuses solely on trauma, elective shoulder, elbow, and hand surgery.  It's always nice to know they do these all the time!

What's changed?

• Pain is not quite so bad. I still take painkillers last thing at night - with the hope of a decent night's sleep plus when I need them during the day - but have stopped the routine four times a day.
• The alarming bruising is disappearing fast - from black to dark crimson to light crimson to hardly there
• I don't feel quite so post anaesthetic tired as I did for the first two weeks
• Actual sleep is still very variable but if active I don't get wiped out in the afternoon quite so much.
• The dressing is trying to come off - and my allergic itch is raring to go.
• Bought a second sling so that I can wash the first one. (Both by Willcom). this blue one is better for colder days. The first one I got is better when you need a more lightweight breathable sling for warm/hot days - experienced last week.
• the correct way to wear the sling remains a bit of a mystery after reading the diagrams and watching the videos. 
• Trying this new one with a different set-up.

my new second sling - which has a back strap (like my white one) which distributes weight better. 

• Developed a new wheeze this morning so I could wash my hair. 
• Took the sling off
• Tied my arm to my side using a belt - so I wouldn't make any "brain programmed to do this" movements - and it worked really well
• JR did squeezing shampoo into my hand and the big final rinse plus towelling dry my hair and then shaping a towel turban - and I was able to do everything else.

The Shampoo Belt! 

• Doing exercises pays dividends re movement and pain levels.  I'm not very good at the three times a day regular as clockwork - but I do more twice a day as I get changed to make up. 
• Doing regular walks is also helping - not least because it gets me outside! Not walking as far as normal - only did 15 miles last week - but this was an increase on the previous week! 
• I still cannot centre my bun - but at least it's up.

I walked 15 miles in week 2

This week I'm doing a lot of outings!

• Tuesday - see my consultant at Royal London - plus (I'm guessing I also get an x-ray to check what it looks like inside; plus they take the dressing off to take a look at the wound. I'm pretty sure I've got dissolving hypoallergenic stitches)
• Wednesday - go to Private View of the Royal Society of Portrait Painters Annual Exhibition at the Mall Galleries
• Thursday - start seeing the therapists re recovery of functionality and yet more exercises to do
• Friday - delivering my Treasurer's report to the Chelsea Physic Garden Florilegium Society AGM

I'm hoping I've got the energy for all of this - but will be erring on the side of caution rather than being silly.

I reckon I'll have earned a treat after all that! ;)