Art has the widest price range of anything on this site, which makes being clear about what the object is more important than being clever about the number.
Start from what it is
Original, limited edition, open edition, reproduction. That decision sets the band before anything else does.
Then
- Medium — oils and acrylics on canvas generally above works on paper, and originals above prints
- Size — bigger carries more, up to the point where delivery becomes a problem
- The artist — a name you can support, or an honest "unattributed"
- Condition and restoration
- Framed or unframed, which is as much a delivery decision as a value one
Where to start
Unattributed and decorative work: start low and let the room find it. This is how a show builds an audience and how you learn what your room likes.
Your own work: price from your hours and materials, like any maker. Pricing handicrafts sets out the floor method, and it applies here.
Anything attributed or scarce: start where you would be content and set a reserve.
Series work
Running a series across a show works well. The room sees the body of work, learns your pricing, and later lots lift.
Delivery is part of the price
Large and framed pieces cost real money to send, and a buyer who has not thought about it bids as though they do not. Say the position up front and offer collection where it makes sense.
Questions people ask
Should I price my own work against prints?
No. You are not selling the same thing, and competing on price with a printer is a race you lose.
Do I discount for an unknown artist?
You price what is there: the work, the medium, the size, the condition. An unknown name is not a flaw.
Is a reserve rude?
No, and saying there is one helps the room bid toward it.
More: how to price for auction, selling art.