Gallery doesn't display prices of paintings
Tony Max
the consigned paintings on the walls.
I don't like the fact that the prices aren't shown, because it gives the
gallery owners a chance to raise the price of the paintings to a level
higher than agreed on with the artist, which would increase the
gallery's share of the profits and make it more difficult to sell the paintings.
What do you think of this situation?
Barry Stevens
In my wife's case, she has determined what she wants to make on a work, and
makes that deal with the gallery. She sets a dollar amount.
There's also the "% of the sales price" option.
With the first option, of course, there is, as mentioned, the option for the
gallery owner to raise the price and make more. I've watched the owners of
the galleries where Nanci's work is shown. That ability to increase the
price also seems to give the owners the incentive use the "Artist's
Background Book" we gave them to learn about Nanci's techniques, the
description of each piece, and Nanci's mystique - her "story". They seem to
take time with the customers, using what they've learned. And the customer's
buy - not every customer, not every time - but we're working on that.
If we had chosen the % of sales price option, we'd have to have some way to
track and verify the sales prices. That's nearly impossible, and it sets the
wrong tone with the gallery owner. For over 30 years, Nanci has worked on a
basis of trust, and has never been cheated. And, if the owner doesn't have
the opportunity to MAKE more, there's little incentive to DO more.
Back to the first option - in marketing, the markup on any product has to be
big enough that there's room for the people that help with marketing, sales,
and distribution to make a reasonable profit. On original art pieces, that's
not much of an issue beyond the gallery owners. But in our case, as one
example, where we have nearly 8,500 prints of 17 original images sitting in
file cabinets in Nanci's studio, we have to drop the price of the prints to
move them out in volume, rather than the one-at-a-time sales that have been
happening. We also have to find distributors that supply to nationwide or
regional chains of galleries, and the price needs to allow them to make a
reasonable profit as well.
Many artists I've met have been sensitive to allowing others to profit from
their work. However, being willing to share the wealth motivates others to
help.
Barry
"Tony Max" <to...@design-write.com> wrote in message
news:3B52FB28...@design-write.com...
Gale Force
>
>Tony -
>
>Most legitimate galleries do not display prices beside the work. Prices are
>listed on a separate sheet. This sheet also gives information like medium,
>size, etc.
I disagree wholeheartedly with that statement.
MOST galleries that I know ARE legitimate.
Whether or not they display prices is their
prerogative and MOST galleries that I know of
DO post prices alongside the works. It's an
exception to find a gallery that doesn't give
the price on the label. Perhaps it's a USA
vs elsewhere issue that we're dealing with here?
I live in the USA and near Santa Fe - now one
of the major art centers in the USA.
Tony Max
Most galleries I've seen here in Canada display prices alongside the works.
Tony
Tony Max
>
> Two thoughts, Tony:
>
> In my wife's case, she has determined what she wants to make on a work, and
> makes that deal with the gallery. She sets a dollar amount.
>
> There's also the "% of the sales price" option.
>
> With the first option, of course, there is, as mentioned, the option for the
> gallery owner to raise the price and make more. I've watched the owners of
> the galleries where Nanci's work is shown. That ability to increase the
> price also seems to give the owners the incentive use the "Artist's
> Background Book" we gave them to learn about Nanci's techniques, the
> description of each piece, and Nanci's mystique - her "story". They seem to
> take time with the customers, using what they've learned. And the customer's
> buy - not every customer, not every time - but we're working on that.
> And, if the owner doesn't have
> the opportunity to MAKE more, there's little incentive to DO more.
I've seen dealers who charge 30 percent commission who are just as
motivated as dealers who charge 50 or 67 percent commission.
A dealer getting a regular (40 percent commission) should have
sufficient incentive to use your promotional material and take time with customers.
If the dealers have to charge more than a 40 percent commission to be
motivated to sell the art, maybe they're not the best dealers for you to
be doing business with.
> If we had chosen the % of sales price option, we'd have to have some way to
> track and verify the sales prices.
It's not hard to track the sale prices if the prices are displayed with
the art in the galleries.
> That's nearly impossible, and it sets the
> wrong tone with the gallery owner. For over 30 years, Nanci has worked on a
> basis of trust, and has never been cheated.
I have been cheated by at least three gallery owners. There are probably
other cases that I've forgotten about.
Tony Max
> basis of trust, and has never been cheated.
If she deals with a variety of dealers and has never been cheated, that
is an unusual situation and she has been very lucky.
Gale Force
>
>Most of the galleries I'm familiar with are in the urban northeast US,
>which may be the factor here.
Could be. I hope that trend in the NE isn't
developed elsewhere, if that's the case.
It's a fact of life for newbie artists that
they are far more likely to encounter the
odd unscrupulous dealer when they are desperate
for gallery representation in their rush
to be seen. More experienced artists are far
less likely to place work with a gallery that
doesn't have an established reputation. And
as with everything in the business world,
unfortunately, it's every person for themself
when it comes to looking out for one's own
best interest.
Dale Ford
described by Dan.....as in prices on sheets. The idea is that the posted price
interferes with the display of the art work and is also seen as some what crass.
Dale
Xena
to ask for a price list from the director. The more *upscale* the gallery, the
more likely the price will not be along side the works.
I'm ok with this practice. These galleries probably got sick of loonies coming in
off the street and saying things like "Hey Marge! They want $5,000,000 for this
Pollock guy!!! I'm in the wrong business, I tell ya - I shoulda been a painter
instead of a plumber!"
Barry Stevens
The gallery commissions we have been working with are also 40%.
If a chain buys prints in bulk, we do a 50% discount for advance payment.
--
Barry Stevens
619-697-1610
"Tony Max" <to...@design-write.com> wrote in message
news:3B545A94...@design-write.com...
Tony Max
>
> In article <20010717104105.765$v...@newsreader.com>, danf...@yahoo.com says...
> >
> >Most of the galleries I'm familiar with are in the urban northeast US,
> >which may be the factor here.
>
> Could be. I hope that trend in the NE isn't
> developed elsewhere, if that's the case.
>
> It's a fact of life for newbie artists that
> they are far more likely to encounter the
> odd unscrupulous dealer when they are desperate
> for gallery representation in their rush
> to be seen. More experienced artists are far
> less likely to place work with a gallery that
> doesn't have an established reputation.
The gallery's reputation and length of time in business and the
experience of the artist are all sometimes irrelevant.
For example, had a signed agreement with a gallery to pay me for some
prints I gave to the gallery.
I think the agreement was for 90 days payment terms and that the gallery
sold the prints.
When the payment was overdue, the owner kept stalling on payment with
various excuses and then lied by saying a cheque was in the mail.
Then I called one day and the phone number was out of service.
I found out later that the owner declared bankruptcy and I got nothing.
The gallery had been in business for many years.
Gale Force
>I found out later that the owner declared bankruptcy and I got nothing.
No doubt about it, the bancruptcy laws in
the USA need overhauling. Too many people
writing off their debts (leaving their creditors
holding the bag), and getting right back
into business as if their credit had never
suffered at all. I'd sure put this ahead
of some issues, like campaign finance reform,
for needing reforming.
Barry Stevens
art work you give to the gallery is "real property", and you have a "secured
interest in that property until the interest is released by payment as
specified herein", in much the same way as the contract for a car, or a
house provides a security interest... you may be able to place the art
pieces into a "secured debt" category during a bankruptcy.
That means, according to my lawyer friends, that collateral for a secured
debt can be taken out of the bankruptcy proceedings - secured debt is always
handled first. Then the unsecured debt is discharged.
Not always foolproof, but ask your favorite lawyer.
--
Barry Stevens
"Gale Force" <ag...@noemailever.com> wrote in message
news:3b56d...@oracle.zianet.com...
Dale Ford
Dale