by Carolyn Edlund
Higher end work can help your art business make sales of all types. Here’s how.
Sometimes artists hesitate to show higher-priced work, thinking that it might scare buyers away. It could be that they don’t want their work to seem too expensive, or believe it will reduce overall sales if buyers cannot afford the price. This fear is totally understandable. And, it is often reinforced by well-meaning advisors who encourage artists to play it safe by “staying affordable.”
But in the real world, showing higher-priced art frequently achieves the exact opposite, by helping buyers feel more comfortable purchasing everything else. This can be seen in galleries, art fairs, open studios, and artist websites. The reason behind it is rooted in how people naturally perceive value, and their response to that perception.
Let’s take a look at how it works: When someone looks at your art, their brain is constantly evaluating whether the price feels reasonable. The are deciding whether the work represents good value. And, they might compare it to art they’ve already seen.
Buyers never judge prices in isolation. Instead, they compare them to the first meaningful price they encounter. Psychologists refer to this as price anchoring. And actually, artists experience it all the time, whether they’re aware of it or not. The first price a buyer sees sets the tone. Everything that follows is judged relative to that initial reference point, or “anchor.”
High prices make lower prices feel safe
Let’s say a buyer encounters a $6,000 painting at first. Comparatively, another painting priced at $1,200 piece feels much more approachable. However, that same painting feels very different if the first piece of art they see is priced at $250. You can easily see that the $1,200 painting would then feel relatively expensive in comparison.
Nothing about the art itself has changed, but the context in which they see it has. You may have noticed that professional galleries almost always lead with a large, ambitious, or expensive piece of art. Even if those pricey pieces don’t sell, they shape how buyers perceive everything else in the space.
Case Study #1: Art Fair Booth
One artist regularly sold prints priced between $150 and $400 at regional art fairs. But she avoided bringing her larger original paintings. They were priced around $3,500, but she believed they weren’t realistic for her audience and worried that her work would seem unapproachable.
Eventually, she decided to experiment by displaying one large, high-impact original painting, placed prominently at the entrance to her booth. That piece didn’t sell, but the effect was immediate and noticeable. Visitors stayed longer in her space. The conversations she had with them became more focused. Instead of asking whether she had anything smaller to sell, they ended up discussing which piece they preferred.
Her print sales increased, particularly at the higher end of her range. Several buyers commented that the prints felt like a very good value compared to the large painting. The higher-priced work did its job simply by being present.
Case Study #2: Art Website
A mixed media artist sold mostly small originals and studies online. His prices typically ranged from $500 to $900 retail. And his website featured only these works, even though he also created large, museum-scale pieces priced between $5,000 and $8,000. Images of the higher-end works were kept hidden from the public and kept in a private portfolio online. He was concerned they would intimidate buyers.
Eventually the artist decided to reorganize his website, and feature the larger pieces on his Home page. Instead of showing only the lower-end art, he clearly showed the full price range on his site. Consequently, the tone of buyer interactions changed. He received fewer emails asking if his prices were negotiable. Instead, it seemed as if purchasing decisions happened more quickly, and the buyers expressed greater confidence in their decisions. He realized that his audience better understood his work and market position.
In this instance as well, the higher-priced art didn’t have to sell in order to be a valuable tool in his marketing. The change he made provided clarity and context.
Why this strategy builds trust
Does this approach sound manipulative? It’s actually just a decision on how to present your portfolio. You’re not inflating prices or hiding information. Nor are you pushing buyers beyond their comfort zone. You’re simply allowing buyers to see your work within a context that you want to share.
High-priced art communicates experience, commitment, professionalism, and confidence. When buyers see this included in your presentation, they feel reassured that purchasing at any price point is a sound decision.
Are you accidentally undermining yourself?
When artists show only their least expensive work, buyers may assume that’s all the artist creates. And in an attempt to appear accessible, artists can unintentionally reduce the confidence of buyers they want to attract.
Showing higher-priced work sends a different message. It subtly communicates that the artist understands the value of their work and is comfortable standing behind it. Buyers respond to that clarity more than many artists expect.
How to use this effectively
You don’t need a large inventory of expensive work to use this strategy. One or two strong, higher-priced pieces presented clearly and honestly are enough. Their role is not to pressure buyers, but to show your professionalism and talent, and to establish value.
When positioned thoughtfully, those pieces do far more work than their square footage suggests. Your higher-priced art doesn’t scare buyers away. It creates contrast, and thus makes your lower-priced work feel attainable. It strengthens your professional presence and adds credibility. Even when it doesn’t sell, it’s still working on your behalf.