Sir, Droit de suite first reared its head in this country in about 1992 (letter, Jan 26). Many artists thought it would serve them well; others disagreed. There was much discussion but the Government made no decision. Now, in 2006, we have it thrust upon us.
Most artists depend on galleries, art societies and “dealers from home” to sell their work and if droit de suite makes for more paperwork for lower profit, there will be less incentive for them to support the less recognised. In any case, they may well feel justified in raising their commission to artists to cover the extra expense involved, and in my view higher commissions lead to higher prices and fewer sales.
Dealers from home often go out of their way to seek out unknown artists of all ages and support them by buying several works at a time outright at rather moderate prices. In reselling they hope to balance a loss on one with a lucky strike on another.
These dealers are taking a chance and are a boon to the aspiring artist. If droit de suite reduces their profit on the lucky strike, they may well be reluctant to take that chance.
There are also modest collectors — sometimes they are one and the same as the dealer — prepared to sell a work they have had for some time to finance the purchase of another. They may well be put off by the extra paperwork and expense.
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The more red tape, the more polarised the art world becomes. There will always be the few who sell their work easily, but the many will be worse off, and many of these are likely to be the ones who can least afford it.
DIANA ARMFIELD, RA
Richmond, Surrey