Someone has written to you through your page. This is the moment most artists overthink, rewrite four times, and then send something that reads like a cover letter. You do not need to be impressive here. You need to be quick, human, and specific about what happens next.
Not because there is a rule, but because interest has a short shelf life. Somebody who wrote on Tuesday evening was in the mood on Tuesday evening. By Friday they have looked at forty other things.
A short reply the same day beats a beautiful reply three days later, every time. If you genuinely cannot answer properly yet, send one line saying when you will.
Hi [name], thanks for writing. Good to hear that piece landed with you. It is part of a series I made last winter, all worked the same way.
If you ever want to see them in person you are welcome in the studio, I am in [neighborhood]. Easier than photos, the surface never comes across on a screen.
Either way, thanks for taking the time to write.
Note what this does. It answers, it adds one piece of information they did not have, and it opens a door without pushing anyone through it. Three short paragraphs. That is the whole job.
Hi [name], that one is [size], [medium], and it is [price]. That includes [frame or stretcher, whatever applies].
If you want to see it before deciding, you are welcome to come by. It is a different piece in person.
Let me know if you have questions.
Say the number. Do not pad it, do not apologise for it, do not explain how many hours it took. A price with an excuse attached reads as a price you do not believe in, and people notice.
Yes, very welcome. Does [day] around [time] work for you? I am usually here between [x] and [y].
The address is [full address]. It is the [description of the door], buzzer [number], [floor]. I will send a reminder the day before.
Say if another day suits you better.
Propose one concrete moment instead of asking when suits them. “When are you free?” makes them do the work, and that is where these conversations go quiet. Give a date, they either take it or counter it.
One follow up, roughly a week later, and then let it go.
Hi [name], no pressure at all, just checking whether you still wanted to come and see the work. Happy to leave it if the moment has passed.
That is it. A second follow up almost never works and it changes how you come across. People go quiet for reasons that have nothing to do with you.
Decide in advance so you are not deciding under pressure. A workable position: no discount on a single piece, ten percent if someone takes two or more. Then you have a real answer ready.
I keep my prices the same for everyone, so I would rather not go under on a single piece. If you are interested in two, I can do [x] for the pair.
Consistency is worth more than one sale. The person who paid full price last month can see your page too.
Commissions are between you and them, we are not involved. Two things to sort before you agree:
And you are allowed to say no. “It is not really what I do” is a complete answer.
A step by step guide to starting an art collection: how to train your eye, set a budget, decide where to look, buy your...
Buy what you love is good advice and hard to act on. Here is a practical way to choose art you will still want to look a...
A checklist. What to hang, what to leave alone, the entrance and the buzzer, where coats go, and why the unfinished work...
New writing, open studio dates, and the date of the first HEYATELIER Weekend in New York. Unsubscribe in one click.
You confirm by email. We never share your address.
© HEYATELIER, 2026 All rights reserved.