I plan on approaching local galleries to exhibit several pieces, but I’m smart enough to know how dumb I am with regard to what it takes to get floor space. A little thinking makes me believe that an owner or operator wants new, interesting work that will sell well, from an established craftsman that will provide pieces regularly, thereby keeping that floor space of the gallery productive. The exhibits should also complement the theme of the entire store, enhancing all the other works as well. I plan on asking several of the well-known interior designers for a short list of the most desirable names in town. I have pictures of most of my work and plan on asking galleries what they would like that they don’t have now. I am assuming a 10 to 30% cut to the gallery. Its my job to convince a gallery that it will make money with me and a track record of successful sales will speak volumes. I know I will likely have to buy my way into the market initially, likely by giving up margin on the price. I hate the idea of discounts because it almost always does not work out for everyone, but I may have no choice.
So much for rationality. I strongly suspect that there is more to it than that, because almost every business I have been in runs according to rules that you never would have expected, looking in from the outside. Any suggestions?
Replies
10-30% to the gallery? That would be nice...<G>
Galleries will take 40% and upwards of the retail price on a consigned piece. Most common in my experience is 50% in the Northwest; Richard Jones will hopefully chime in on practices in the South. The better galleries charge a higher percentage. Even for a referral, the standard fee is 15% for something that doesn't even pass through the showroom floor.
If you have items they might buy outright, they will likely "keystone" or mark up the price to double your wholesale. The highest i've experienced so far is a markup of 120%. Some artists get miffed at this perceived inequality, but as long as i get my wholesale price and they manage to continue selling, what's the harm?
In my experience, the gallery owner knows what sells, so any attempts to maneuver them into accepting my work has not been needed or useful-- they either want it or reject it. I don't worry too much about complementing other people's work of the gallery, but make what i want to make and find the gallery that shows it to advantage. My work looks contemporary, with some of it speaking with a Southwest accent, so i don't lobby the Ethan Allen types.
You mention wanting floor space in a gallery, but you might also consider wall space--an often overlooked genre.
Also, if you intend to do any shows in proximity to one of your galleries, make sure they know you are showing; some galleries have clauses in their contracts about being exclusive representatives for a geographical area, or tell you that anyone else selling your work must not sell it for less. If you move a piece from one place to another, or sell similar pieces in different locations, this may be something to consider.
Read the fine print. I will often fix shopwear as a matter of good busines, but i've read contracts that completely absolve the gallery of any loss due to damage, theft, fire, etc. I refuse to sign these, since i have no faith in a gallery that wouldn't take responsibility for my work while in their possession.
When i got started, i read a lot of good info on galleries--which were best and what to expect--from the It's primary aim is to assist the person who does art fairs, but the business information in it will be very useful to you, especially if you plan to branch out beyond your own town. A much greater proportion of my furniture clients have come from doing high-quality art fairs, so don't sneeze at that as a way to showcase your work. Best of all, you get to keep all the money!
Colleen
Colleen,
Thanks very much for the comments. What was the word that dropped out of the text:
"When i got started, i read a lot of good info on galleries--which were best and what to expect--from the It's primary aim is..."
Sounded like maybe the local Chamber of Commerce?
Thanks,
John
Sorry, John. I tired to make "The Crafts Report" a hot link; it worked when i did it, but Then Something Happened...
The URL is http://www.craftsreport.com/
Rich made an invaluable suggestion to ask other artists where they sell and the rep of the gallery. I get the best leads on galleries from the art shows i do, both from customers and from the other artists. Gallery owners will often shop the shows looking for new talent, too, but sometimes it's bec they've used up their good will with their other artists--ask me how i know. :/
Edited 10/1/2002 9:33:49 PM ET by SPLINTIE
Thanks for the tip. Here's what a quick search found for furniture shows in '03. I've done alot of trade shows for other industries and know the routine well--stand up, be engaging, have an inviting booth, be able to give the 5 second, 30 second, and 2 minute pitches about you and your work. Business cards/pictures of work available. This is very much the large corporate model; the other kind of art show I think of is the street side type with booths under tents and such. What is your approach to either? Have a preference?
Philadelphia Furniture & Furnishings Show5/2/2003- 5/4/2003Pennsylvania Convention CenterPhiladelphia, PA
Show Category:
Retail/Wholesale
Type of Craft Sold:
Mixed Styles
Age of Show (in years):
9
Expected Attendance:
10,000
Admissions:
Paid
# of Exhibitors:
250
# of Craft Exhibitors:
250
Booth Fee(s):
$870-$1,765
Booth Size(s):
10x10, 10x15, 10x20
Jury Requirements:
5 slides
Jury Fee:
$25
Application Deadline:</B.
11/22/02
SASE:
Not Required
Furnished:
S P
Rent:
Tables $ Chairs $ Electricity $
Other Details:
N/A
John, there are many, many more shows than that available. Some are in the same range as far as quality and price, while others are more in line with the ones i find most profitable and enjoyable to do. Lee Grindinger (anyone see Lee posting lately?) did the Philly show last year, but if i'm not mistaken it was more work than it was worth to him-- but then he had to haul his stuff cross-country.
My favorite show has about $350-500 booth fee which keeps out the crochet-doily pack, is well-juried, and is produced by a decent museum for their yearly fundraiser or a coop of artists who have their poop in a group--non-profits get all kinds of publicity and in-kind bennies that for-profit promoters won't get free, for which the artists end up footing the bill in higher fees. I like my booth fees to be about 10% of what i gross; overall costs no more than 30%.
I originated an extensive thread last year on art fair info, but the Prospero software won't give it up--maybe someone else can find it, but i can't and i know others have also searched to no avail. I have some of the information in manuscript format, which may interest you even though it isn't solely oriented to "fine craft". (Incidently, this term or "fine furnishings" are the terms you should use when searching for good quality shows.) If you send your email addy to [email protected], i'll send you the article and it will talk in detail about the various types/levels of fairs and what to expect from them, plus other infomation.
Thanks for the very classy help. I'll email you.
John
Not wanting to change the subject at all, but IF that thread mentioned above by Splinter does show up anywhere I would really like to get my hands on it so I can save it to disk. Should have done it when I had the chance..........
Wood Hoon
John,
Galleries and their policies vary as widely as human behavior. There are galleries run by very decent individuals who consider their artists to be colleagues and friends and who cherish and protect the artists' turf. Such galleries are great to be associated with.
Then there are galleries who are unscrupulous to the point of withholding money from artists after the sale.
And there's everything in between. It doesen't seem to matter whether the gallery is owned by an individual, a distant corporation or a cooperative composed of the artists who display in the gallery.
Here on Maui, we have more art galleries per capita than probably any place in the world. Not so many furniture galleries. The atmosphere gets a little crazy due to the almost 100% tourism orientation. The reputation of a gallery quickly becomes known. Ask the artists themselves - they know. Some like the cozy feel of a protective gallery owner. Some go with an impersonal atmosphere of a gallery "chain" because the selling prices are higher.
Almost all galleries want some kind of exclusivity. But it's not always absolute within a geographic area.
Rich
I believe that in the long run you can make more money by gifting pieces to the better interior designers that you mentioned contacting in your original post. You literally give them some of your work and ask them for referrals, then sell your work for what a gallery would charge, which is probably what it's worth anyway.
Leaving 30% ++ on the table month in and month out, year after year seems like a lot of lost profit to me in an already difficult profession.
I'm not sure if this is an issue you might be dealing with or not, but I'd take no particular pride in my work being shown in a 'gallery' if they're the ones reaping a large part of the financial reward for your hard work and talent. Exhaust all your effort at establishing yourself without the need for a middle man. You'll be better off in the long run.
I like the analysis. Giving away one higher-end piece-say one that would retail for $6700-would be the same as selling 4 pieces for about $5600 and giving up 33% to the gallery, as one example among many. This assumes that repeat business would follow from the decorator and make up for the loss of possible other business gained through gallery sales. I am guessing that once one had the attention of a good decorator, ther would be better follow through salse, though.
But, there seems so be a case for gallery showings that would enable a decorator to claim that one (the woodworker) exhibits in this or that spiffy gallery. Sounds like decent craft shows, a gallery or two, and working with busy decorators would be a good mix.
Thanks all for the great input.
JK
On the other hand, what would it cost to duplicate the gallery's advertising, reputation, customer list, display space, location, time spent answering silly questions, salesmanship, press contacts, etc, etc? I realize not every gallery is going to be way ahead of the furniture makers in every one of these aspects, but a commission to a gallery may be buying more than is apparent at first thought.
I personally would be happy to pay a hefty commission, to a gallery or a decorator or an in house salesperson, to avoid dealing with customers. I hate customers. They're dirty people and we'd all be better off without them, except for this one small thing ...
My customers are some of the most gracious and nicest people that I know. I cannot say the same of some gallery owners.
That is absolutely a valid point. Having one's referral sources be able to tout your gallery showings cannot be overestimated, especially if you live in an area with really top-shelf galleries.
In the interest of disclosure, I'm not a big fan of galleries for reasons I won't bore you with, but some of the other posts covered a few of them. You need to know where I'm coming from.
I can say without a doubt that gifting pieces to interior designers, or offering to build a piece for the cost of materials will produce referrals. By definition, interior designers work day in and day out with people who have the financial resources to commission furniture or buy an existing piece from your collection. Designers are working with people who are CURRENTLY in the process of spending money, and usually lots of it (forgive me for sounding mercenary).
John,
This is in reply (first) to your original questions and (second) to some of the answers already given.
As far as the financials: I've been told that around here (central Va., excluding major cities and the DC suburbs) 40% is the going commission for gallery sales and 15% for referred business. That's the arrangement at the gallery that represents me (links through my site, below) and it seems to work fine. The four artists who own the place have treated me very well and done more than I ever could have asked in service of my work, and in my opinion they've earned every cent they deduct from the sale. I don't have experience on the show circuit so will leave that to others.
My (several) contacts with decorators, interior designers and architects have been mixed. None of the furniture makers I've talked to have been able to get business on a consistent basis from them; cabinetmakers and upholsterers do. And there seems to be constant pressure for the kind of commission percentages the gallery charges me. Incidentally, and no offense intended here, I'd be hesitant to give a piece away, even to a design pro; in the first place, it seems an awful lot like a kickback, and in the second place there's very little guarantee the tactic will be effective. The people who handle my spec work don't seem to mind if a piece sits there for a year, in which cases I've had regular referral work; I've made more from referrals than from gallery sales by a factor of two or so. Bottom line: it's professional relationships and furniture-educated customers that generate sales for me.
What else? A few other gallery types have told me they tend to sell more furniture when there are more than three pieces on display by a single maker-- customers like to see the family portrait, or something. Maybe this speaks to the effectiveness of the shows...
John Casteen
http://www.fernhillfurniture.com
John,
Thanks very much for the comments. I will likely do a mix of all the approaches. There are some 40 galleries, some of which will likely work. I am putting together several pieces to show out.
JK
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