when galleries seem very interested but want to think

[Leslie Ihde]

I am new to approaching galleries, so I'm interested in how often people experience something like this: The gallery owner (seeing my work in person) seems to sincerely love my work, hedges over the price and asks for pictures to share with his or her partners before deciding. Is this a very nice "no", or should I feel optimistic. I witness the gallery owner's reaction to my work and do feel that she does love it. She says she is getting a big shipment of glass very soon, however, and isn't sure this is the time. Wants to get back to me after she sees the shipment (cheap eastern european glass). Please don't spare my feelings, but give me some thoughts.

Leslie

[Brock]

A no is a no, no matter how nicely it's phrased. But get back to them, show that you are interested. Brock

[Dennis Brady]

It might be just what it appears - or it may be the hesitation is more about you personally then your work.

One of the realities you must accept is that gallery owners have learned to be cautious taking on a new artisan. The reality is that the majority of artisans are so non-businesslike, they're flatout unreliable flakey. I'm often asked if I can recommend a "good" artisan in some particular medium. I've learned that their request for "good" doesn't mean one that does outstanding work, but means they're "good" at filling their promises and meeting committments. The going gag with gallery owners is, "When an artist promise delivery next Monday, be sure to specify which month".

It's usual in business to assume a prospective new supplier is reliable - until they fail. Dealing with artisans is the reverse. It's best to assume they're NOT reliable until they've proven they are.

It's not fair, but it is reality. It's ESSENTIAL that you project a businesslike professionalism that will ease the gallery owner's concerns. You being able to produce the most beautiful work is useless to a gallery owner unless you're able to deliver it reliably.

[Cynthia]

...The gallery owner...seems to sincerely love my work, hedges over the price and asks for pictures to share with his or her partners before deciding... She says she is getting a big shipment of glass very soon, however, and isn't sure this is the time. Wants to get back to me after she sees the shipment (cheap eastern european glass). Please don't spare my feelings, but give me some thoughts.

Leslie

I sell to a gallery that wasn't interested in my work because they did all their buying from two ACC shows per year and rarely purchased work differently. Buyers shows were where they did their purchasing and their inventory was huge right after these shows. I was persitent...eventually they purchased (when their inventory was dwindling) and this gig is my best gig to date. They are good sellers...therefore they are good buyers.

Like Brock said. No means no, but it is a good idea to be persistent. If they really like the work, if it's a good fit stylistically and the price point is right for their clientelle...it's worth persuing.

My guess is that she is either dodging you, or she really does want to run it by her partners in crime. You won't know until you follow up.

[Leslie Ihde]

Thank you for your educational replies. Being professional and persistant both sound like good ideas. The saga of this particular gallery is not yet over, so I will be both and see how far I get.

In my brief experience, however, I have noticed that gallery owners can be rude. Some are quite lovely and encouraging once they see your product is nice, but others seem rather self important. Also, although it has been discussed extensively on this board, and wiser more experienced artists than my self have felt at peace with the 50/50 split of gallery owner and artist, I find I still have an issue with it due to material costs. As glass artists we are getting considerably less than 50% due to the high cost of our material. If the 50/50 were established after the materials were deducted, then it would be fine. But imagine the potters whose materials are so inexpensive- they are getting closer to the real 50% and nothing seems to address this inequity.

Leslie

[Marty]

Leslie- you're doing it backwards. Start with the cost of materials, time, etc. Come up with the price for manufacturing your work.
THEN double it for selling (either by you or by a gallery).
It's immaterial (lol) if you're working with cheap dirt or expensive fused sand- it has to go into the formula the same way.
And isn't your time the most expensive part of your work?
Marty

[Leslie Ihde]

Hi Marty- actually I think labor cost and material cost are about equal. If I come up with a wholesale price of $175, say, where labor is valued at $20/hr since I feel I am a beginner, I am getting a lot of interest in my pieces, and have had about a 50% sucess rate at galleries. No gallery has said no to consignment, but I want to sell out right and only one has done that. Two or three have said they are interested in continuing to get pictures of my work, but haven't yet decided to buy. But I have approached fewer than 10 galleries so far. I live in upstate NY, the economy is still very challenging. I know my prices must seem paltry by your standards (I get the guild catalogue) I'm trying to establish a market and believe I have some potentially sucessfule pieces to sell.

Leslie

[Dennis Brady]

Just as not all artisans are professional, neither are all gallery owners. For many it's a hobby more than a business. There are only 3 reasons galleries insist on consignment only.

1. They don't really know what sells so are unwilling to buy outright.

2. They don't have any money to buy stock.

3. They're hesitant to gamble on as yet unproven seller.

If you believe the reasons are either no 1 or 2, your best strategy is to stay as far as possible from that gallery - unless you don't mind donating your work to them. Consignment is VERY dangerous and you'll frequently get screwed. It's better to keep your work unsold than to consign it and not get paid.

The 3rd reason is valid. Owners know that if they buy stock and it doesn't sell they won't stay in business long. Even shops that prefer to buy outright than take consignment, will often want the first order on consignment to try out. A good way for you to satisfy the gallery owner's concerns (and initiate a trusting relationship) is to offer the first order on "30 day trial". Offer to give them enough to make an attractive display on the understanding that at the end of 30 days, they decide whether to pay for the order or return everything that's unsold and pay for what did sell. If your work has been selling in that gallery, you'll now have a consistent account with a gallery owner that trusts you.

[Leslie Ihde]

Yes, consignment seems risky, and I don't intend to do it unless I really know the store. Dennis, those are nice clear points on the topic. Right now I've been just approaching one gallery at a time, seeing how it works out before I go to the next so that I don't run into a merchandise shortage.
Leslie

[janine]

This is probably obvious, but if you do go consignment make sure you review their breakage or theft clause and get it in writing. I have both worked in galleries and sold my work to galleries and surprising as it may sound they don't all offer this. I would walk away if they don't.

Regarding cost of pottery supplies compared to glass. It is true that glass materials are waaaay more costly. However, my experience is that the time involved for a similar piece of pottery is waaaay greater than for glass. SO in the long run I think it averages out equally. I'm talking about "one off" pieces of glass and pottery, not production work.

Janine

[Dennis Brady]

My website has an article on Consignment Selling you might find helpful. It includes a PDF downloadable sample Consignment Agreement you will DEFINITELY find useful.

http://www.debrady.com/technical/articl ... onsignment

[Barbara Muth]

However, my experience is that the time involved for a similar piece of pottery is waaaay greater than for glass. SO in the long run I think it averages out equally. I'm talking about "one off" pieces of glass and pottery, not production work.

Janine

I spend a lot more time on my functional and non-functional glass than I ever did on thrown or handbuilt sculptural clay work. My finished pieces have a minimum of three firings (one has 13 firings to it) involved, coldworking that includes sandblasting, wet belt grinding and hand finishing. Also the set up of the elements in the work is time consuming. So I'd say that my experience is that both time and materials as well as equipment used are way more costly in my glass work than in my clay work.

Barbara

[Cynthia]

...In my brief experience, however, I have noticed that gallery owners can be rude. Some are quite lovely and encouraging once they see your product is nice, but others seem rather self important.

They have ego's just like us and often they are a bit fragile. Usually though, in my experience they simply get tired of people bringing in their humble glass doodles made from a pattern...so they put up a big, cold, front to shut you down right off the bat. It's a little bit of self preservation in my estimation. To get past this, a positive approach is to send print materials, a cd with images (professionally shot images) and a well worded cover letter with some brief information about yourself the work and the pricing. Follow that up with a phone call 10 days - two weeks later (and make sure you tell them you will be following up with a call). Make an appointment to see the buyer... This gives you a foot in the door, on their terms. Cold calling is a good way to get snubbed before they even look at your work. Sending literature in the mail is a courtesy that allows the buyer to preview your work before previewing you. They will appreciate your professional approach.

I find I still have an issue with (50/50 split) due to material costs. As glass artists we are getting considerably less than 50% due to the high cost of our material. If the 50/50 were established after the materials were deducted, then it would be fine. But imagine the potters whose materials are so inexpensive- they are getting closer to the real 50% and nothing seems to address this inequity.

Leslie

Determine what price you need to get out of your work. Forget about your costs compared to another artists costs. It's irrelevant.

In my universe, I haven't seen 50/50 for a long time. 60/40 is standard here and the galleries that can move it, market it, make a big fuss of and sell it... deserve every penny they make off of it regardless of the percentage. Without them, you don't have exposure or a venue. Without you they don't have anything to sell. It's a mutually beneficial (symbiotic) relationship, or at least it should be. First you might want to look for a good match in terms of price point, the style of their inventory as well as the quality and level of the work they represent. Look for people that are professional, genuinely interested in the work, are motivated to sell it and run a successful business. If it's a match, send them your introductory literature...and introduce yourself.

...shops that prefer to buy outright than take consignment, will often want the first order on consignment to try out. A good way for you to satisfy the gallery owner's concerns (and initiate a trusting relationship) is to offer the first order on "30 day trial". Offer to give them enough to make an attractive display on the understanding that at the end of 30 days, they decide whether to pay for the order or return everything that's unsold and pay for what did sell. If your work has been selling in that gallery, you'll now have a consistent account with a gallery owner that trusts you.

Fabulous advice...and another thing you can do is to offer to trade out work of equal value, if it isn't moving. This benefits you both. Now you both know what moves and what doesn't.

[Cynthia]

I spend a lot more time on my...glass than I ever did on thrown or handbuilt sculptural clay work. My finished pieces have a minimum of three firings (one has 13 firings to it) involved, coldworking that includes sandblasting, wet belt grinding and hand finishing. Also the set up of the elements in the work is time consuming. So I'd say that my experience is that both time and materials as well as equipment used are way more costly in my glass work than in my clay work.

Barbara

I agree. The time and costs of materials and tools for glass work are more labor intensive and costly than clay ever was for me. Still, I believe that in terms of determining the value of your work and amount you need to get paid for your work has nothing to do with this kind of comparison.

One caveat would be for production work though...time and materials are a different animal for production work. If I can make 20 in an hour with the cost of time being the same as when I can only produce 1 in and hour...well that speaks for itself, and speaks to what pricing you can attach to your work to a degree.

For the sake of argument though, and assuming we aren't talking production...

My brother-in-law is a doctor. He stated once that he deserved the income he received because of the cost of his education, how many years he spent in school, residency, internships, continuing ed... fellowships. He nets about 5 times the annual income that my husband and I net combined. My husband has spent as many years in school, and in internships and continuing ed as my very nice and lovely Dr. Brother-in-law (they're both really nice guys actually). They both put in as many average hours per month at what they do. So my take, and referencing this comparison as an example, is that it isn't ever going to be equitable and that it's about percieved value and what the market will bear.

[janine]

What!!! You mean I could have skipped the third and fourth firing, the multiple glazes, wax resist, sandblasting, and the handfinishing when making my pottery, not to mention of course digging my own clay ;-)

I was comparing "one off's " not production work. Maybe I was just a really really slow potter.



janine