Art Consignment is Unhealthy for Your Business

You wouldn’t give your wallet to a new friend or stranger . . . would you?

Think about that scenario the next time a retailer asks you to consign your work in their store or gallery. They are asking you to take a huge risk on an arrangement that leaves you out of control, while they take no risk and are in control – plus they have possession of your merchandise.

Consider the risks:

1. Consigned items require no “skin in the game” from the retailer, thereby making them low priority. They often end up in poorly lit, less visible retail space, or worse – in a box in the back room. The products being displayed front and center are the ones that the retailer bought outright from an artist. That artist should be you.

2. You have reduced your inventory by shipping product which you have made nothing on. Meanwhile, you could have sold the items at retail yourself, or shipped to another customer who bought from you wholesale, thus creating a receivable.

3. What if your product is missing, stolen or damaged? Sorry – you lose. Insurance covers the business personal property of the store owner only. That does not include consigned items, which belong to you.

4. Store buyers  seeking  consignment should be looked at as a red flag. Many have cash flow problems, and you don’t want that to become your problem, too.  When they go out of business, the chances you will get paid or receive your items back in perfect condition are slim.

Turn the tables:

The next time you are at a wholesale trade show and a dealer asks you right off the cuff to consign your art or craft work with them, take a step back and AVOID answering them. Instead, engage in conversation to get more information first. This is a negotiating process, and you have the upper hand because they have established that they are interested in your line.

Ask them:

  • Tell me about your store/gallery . . . .   (Stores operating on a 100% consignment basis are rarely successful.)
  • What other artists in this aisle do you carry? (This tells you if they are established, and the names of other artists you will use as a reference before you ship. Also realize that if they have well-known vendors supplying them, chances are high that they are buying wholesale from them, not consigning.)
  • Do you have photos of your store/gallery with you? What is your website address? (If these don’t exist, be very suspicious of this customer.)
  • What items are you interested in? (Are they looking to carry a broad selection or just unique, high-end pieces?)

If you determine that you want to work with the buyer, write up an order, but then present some strategies that will put them in the position of being an “investor” in your success. Here are some possibilities you might suggest:

1. If you purchase _________, I will consign ____________.

2. If you purchase _________, I will split the order and ship half in 30 days and half in 60 days.

3. If you purchase _________, I will split the bill, half net 30 and half net 60.

4. If you purchase _________, I will come to your store for an artist appearance or trunk show.

5. If you purchase _________, I will include the name of your store in my advertising.

Be prepared before attending the trade show by knowing which offers you are comfortable with and can afford to make. Stay in a position of control during the sales process by offering your chosen arrangements, which do not include straight consignment.

After the show, remember to check out each and every new customer who ordered from you. Extend only the amount of credit that you can afford to lose, and don’t be afraid to walk away from an order that doesn’t meet your terms. Understanding the risks, and making smart choices will keep your business sound and growing.

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  1. Tie reality for me is that I belong to nonprofit craft organizations that have very narrow margins so it is necessary for them to do consignment. It is almost impossible to wholesale to them. I would love to wholesale, but the economy and gallery structure makes it very difficult for the managers to buy outright. For profit galleries, I try to wholesale, but with the nonprofit galleries, I have to consign.

    • Do you know the old story about the consultant? His advice is worth nothing in his small home town… but when he travels 300 miles to see a client… he’s worth $200 per hour. That’s the way it is with the value of your work as well. Perception is often more important than your current reality. The “economy” is different where those hedge fund managers take their vacations! If your body of work is broad in price point and has some good strong variation of design styles… you should be able to wholesale. What are the prices in resort areas near you? Have you compared your retail prices to the prices at prominent galleries and fine craft shops? Maybe this should be a Google hang-out where we can have a group discussion about this!

      • One question i have — because i would love to expand to galleries outside of my area — is how do you locate galleries that carry your kind of work? I am a ceramic artist who does quasi-functional and sculptural pottery – no mugs, dishes, vases, etc…

        • Hi Wendy,
 has done wonders to expand my wholesale market and I didn’t have to make one cold call. I do functional ware but there appear to be lots of unique artists selling there. Initially you have to invest in some of their marketing techniques but now I just sit back, or actually bust my butt while the orders roll in. I am selling mostly to galleries way outside my area now that even a wholesale show might not have produced. The world can be your market!

        • One of the best ways to find the “right” gallery or shop is to identify successful artists that compliment your style, price, etc… and google to find where their work is sold. Also NICHE magazine features at least one gallery profile in each issue. You can also look at magazines like AmericanStyle magazine to see which galleries are “good marketers” and advertisers. Read, network, search, read, network, search… and attend the next Arts Business Institute where you can actually meet some gallery owners and get your work critiqued (marketing advice) before you jump into a wholesale show!

          • Dear Wendy ,
            I so much appreciate your advice.
            Could you please tell me what is the best way to get in touch with American buyers, galleries if you’re European designer? Are NICHE or Amercan style magazines of any interest for us?
            Thank you.

  2. Blaine Owens says

    Many retail shops want to keystone artwork which means you must cut your selling price in half for them to accept it for resale. Independently owned Hallmark stores are often this way.

    In my area the most common commission on consigned items is 30% to 40%.

    While I do wholesale my work to selected locations, consignment sales give me more profit per sale.

    I always ask where the work will be displayed so I can approve the placement and lighting before I leave them for consignment.

    My work is unframed photography so I am not so concerned about lost or damaged artwork since these can be replaced at a low cost to me. Original paintings would be another matter and should have a prior agreement in writing concerning lost or damaged artwork.

    Also, it very important to establish a relationship with the reseller prior to leaving any artwork, whether it be wholesale or consignment. I never make cold calls on businesses with artwork in hand. I first become a customer of their store.

    I also offer to exchange slow selling images for new ones with different scenes. It does neither the shop or me any good having work displayed that does not sell. Shop owners really appreciate this offer and often is the deal maker.

    • While some small shops and gift stores rely on a keystone, few well established craft galleries located in resort or high traffic areas can sustain their businesses that way. We surveyed retailers and discovered that most mark-up 2.3. This added amount covers just the packing and shipping for most orders. I don’t know where you are located, but so often artists feel that they must cut their prices to wholesale… when in actuality they may need to find better places to sell so that they can raise their retail prices! More than half of the new artists I mentor are in this position…. they are selling only locally at stores that don’t understand “hand-selling” art work with a back story. These stores rarely have the lighting, display and the right customer base for your work. Consignment is only unhealthy for your business if you don’t use it to create a stronger and better relationship for YOU. When I visited Tamarack a few years ago, all of the woodwork was retailing at a wholesale value! If the work traveled 3 hours east… it would be sold at double the Tamarack retail price. Hope this helps clarify the situation for you! –Wendy Rosen

  3. OMG. Thank-you Wendy! I have been preaching the importance of having a solid wholesale price that can take an easy 2.0 to 2.5 mark-up for years as well. I also deeply value what a good, reputable and sincerely caring retailer can bring into an artisans/artist life. When both parties are in agreement and have mutual respect, AMAZING things can and do happen. My 19 years with my line and many dozens of partnerships with retailers is a testimony to what you are preaching.

    That said, I am a bit more open to consignment then perhaps you would be in accord with, as I find it a very needed venue (carefully chosen!) for test marketing for my somewhat unconventional jewelry ( I need – REQUIRE – those consignments to take whatever I throw at them in order to be assured of a successful line for my wholesale clients. I truly feel dependent on that stage of marketing research, but am fortunate to have very good long term relationships and I price my work at the high end for maximum price point exposure to take full advantage of those relationships. I really want my wholesale line to be proven and can think of no solution other than consignment.

    There can be a false economy if one is selling at percentages that do not reflect true wholesale to retail exchange and that should be avoided. If one’s work cannot take a full mark-up (2.3 is spot on!) in any scenario, be it consignment, on-line at an etsy type venue, or at a craft fair venue, that work needs to be re-examined before entering into wholesale consideration. Don’t blame the retailers! Retail shop/gallery owners have expenses that many in our industry who are often at a kitchen table after dinner, simply cannot fathom. The rents alone would make most of us faint. We must begin to understand and respect the retailers point of view. They are just trying to make ends meet just like us, but the path is way more expensive! Some of my retailers are at a full 3.0 mark-up and all I can say is: Hooray! I am glad to contribute to ANY successful business and please re-order asap!


    • Your work is well established in it’s “style”… retailers often consign local work… but when they go to a trade show, it’s another story. Walking into a large trade show with 800 other artist vendors the gallery thinks, believe that all the work is “proven and professional” and has a track record of sales… so they are willing to buy outright. I’ve had glass artists from California tell me that they had to come to Philly to get an order from a shop two blocks from their studio! It’s all in the perception… stores should reorder jewelry 3-4 times a year… if you are to be a successful supplier for them. When a store owner represents 200+ artists… the ones that only turn over 1 or 2x per year …don’t get reordered– they get replaced with a new artist. Sometimes that requires the artist to make follow-up phone calls to get that reorder… it’s jut the way business is in this new marketplace. Newsletters can also help you keep your work and face in front of your retail store buyers.

  4. Love your suggestions, Wendy. Brilliant!

    While retailers exclaim that this is the only way they remain profitable during hard economic times, I have to agree on the principle of consignment as being a red-flag. I did it locally so that I could keep an eye on my merchandise but that certainly didn’t prevent some 16 year filling one of my leather bags with other goodies and walking out unpaid! Unfortunately, this happened several times and then my partnership was severed without reimbursement.

    Later I learned that it’s customary for retailers to pay the artist for stolen work, regardless, but this certainly wasn’t part of the modus operandi for my situation. I’ll just chalk this up as an object lesson for me.


  5. We at Facere Jewelry Art Gallery would like artists to consider the following:

    1. No risk for retailers?
    Maybe it’s not a risk, but it sure is a huge amount of money and all of my life:
    -$45 – $70 thousand a year in advertising for my artists
    – a staff of five who are knowledgeable and represent the jewelry in a fresh, positive way
    – a buying base who knows we are there every day of the year (minus four holidays)
    – shows and publications that most artists could not afford
    – a shopping base that now serves the children of our original customers
    – a lease that has me committed to ten more years of my life

    2. Low priority? The artists who consign with Facere are our highest priority.

    3. Less visible? Displays that change and charm constantly, all consigned.

    4. Sell at retail yourself? Most artists we represent would rather be making than selling.

    5. Missing, stolen, damaged? We are responsible. We pay for missing, stolen or damaged pieces.

    6. Insurance coverage? Our insurance covers all of our consigned merchandise.

    7. Cash flow problems? Of course, we all have cash flow problems, but after 40 years I’m smart enough to know that cash-flow is always part of being in retail. That’s why retailers can get Lines of Credit for $120,000.00 and artists can’t.

    Your questions for the artists are right on. That’s why we have a web site. That’s why we have a signed agreement. That’s why we sadly have to turn down an average of ten jewelry artists every month.

    I’ve always thought we (the craft shows, the galleries, the universities, the museums, the on-line selling places, etc. etc.) were all in this together. That we all need to support each other and that we all need to be fair, transparent, and professional.

    Karen Lorene
    Facere Jewelry Art Gallery
    Seattle, WA

    • Craft artists may be in a different situation, but it is valuable to me for the gallery to deal with the customers so I can’t alienate potential buyers. I’m better off in a consignment situation than doing shows on any kind. If they don’t make any money until they sell our work, they have some kind of “skin in the game.” I don’t begrudge galleries what they earn for having a showroom with overhead. In my media, the framers and the materials suppliers are the ones making the (small) profit. I also believe we are mostly all in this together.

    • Karen, I agree with you… if an artist knows what questions to ask… and if a gallery is prepared to provide “credentials” and a marketing plan… anything is possible. The point of this article was just to give artists something to think about when starting the negotiation… so many say “YES” without thinking, or “NO” from ignorance about how to “vet credentials”. So many small retail businesses no longer have a credit line… It does seem to be getting better, especially for stores carrying high end merchandise. Of course, those successful galleries with high end works generally have pretty sophisticated marketing plans and extensive client lists… and are less vulnerable to the economic swings.

    • Susanne Pampalona says


      THANK YOU. I own The Paisley Peacock Boutique & Studio. I have a majority of artists working with me on consignment ( 60 % artist : 40 % Boutique ).
      In our defense, I would also like to add a few points:

      -I am an artist who left a successful business career in Operations, Sales, and Customer Service at the GM/Systems Director level. Additionally, I possess approximately 10 yrs in retail and 7yrs marketing and promotions duties in various positions. Therefore, one of the benefits to consignment sales with me, is my business experience. Let’s face it, not all artists are business savvy, nor do they care to be. If artists were typically left-right brain

      • Susanne Pampalona says

        …As i was say before accidently hitting “post”…if creatives were typically left and right brain dominant then there probably wouldn’t be a need for the Institute, correct?

        I am an artist who understands the hours, and materials that go into their creations and frequently coach artists on the value of their work. Oftentimes, the artist underestimates the years it took them to master their craft, how many misses before they perfected that signature technique that sets their work above the rest and I will suggest more appropriate pricing.

        If managing a storefront to showcase your artwork/craft were that simple, I suspect more artists would do it. It requires, management skills, time management and organiztional skills, accounting , marketing, display building, interior design, negotiation skills, and more. In your first year, you are the bookkeeper, cleaning lady, sales associate, develop new accounts, social media manager…the one thing I no longer had time for was my creative work.
        – If my artist’s work isn’t selling, move it, redisplay, create interest, and repost pics on social media. I don’t stuff someone’s work in a corner and I am offended by that stereotype. My artists and I can opt out of our agreement if their work has not sold in 90 days. I don’t hold artist’s work hostage.

        – In addition to all of Karen’s points, please remember that the store owner is loaning you a physical location where customers can come in to see, hold, smell, measure your craft. Etsy is a wonderful forum however many consumers are looking for that tactical element before make a purchase. There is a trust level consumers feel with storefront purchases as opposed to virtual transactions. We put the artist’s work in the hands of customers. The customer knows where to find that artist’s work and doesn’t have to wait or pay for shipping or wait for your next show. I sell my artist’s work as if it were my own. I upsell, explain the artist’s technique, and more. Can an online venue upsell for you?
        -My consignment pieces are covered to an extent due to damage. Theft is not. I take every precaution to ensure smaller items are strategically positioned near the register. If I knocked over your $250 hand blown glass vase ,I wouldn’t submit an insurance claim but I would pay you.
        -Have a checks and balance system that i created which makes it impossible to miss paying commissions. I will not cut a check until the artist has $20 or more commission payment. It is too time consuming and a waste of checks and stamps.
        So I encourage you to spend time talking to the store owner, definitely ask questions. Ask them what a typical day for them looks like. My work day begins at 7am, I open my store at 11am, usually home by 7pm, eat, and work on profit / loss analysis, social media posts, follow up emails, schedule meetings, to do list, sales reports, etc, etc until at least 11pm. Does my 40% cut still seem unreasonable?
        Please remain open minded. We are not as awful as they make us out to be.

  6. I consigned in Seagrove NC when I didn’t have other work to produce and had some interesting results. I worked with 2 galleries, neither of which kept an inventory of my work in house. That made it difficult to keep up with on my end as the stock # didn’t always match on the sales receipts. They wanted lots of work so I just kept taking them more and would get a check every month, but when one was not producing a check and I went to pick up the remainder, I found that I had TONS of work to retrieve and most of it I had grown past and was not marketable in my eyes at full price. The other store had a trash barrel of broken work when I went for a delivery and I saw a piece of mine in the barrel along with friend’s work. When I asked if I was getting paid for that… “No, That’s the way it is with pottery.” was their answer. So glad my wholesale business is good now. Consignment to me is: create it, give it away to maybe not such a good home and hope you get a return. The % difference between the return on consignment and wholesale can be very deceptive. Artist Beware for sure!

  7. It is very difficult (esp in an economy like this one) for emerging artists or artists with a very small niche to get picked up by galleries that are wholesale only. Why should a well established gallery take a chance on your work? Consignment helps these artists get established and to get their work out there. Yes it isn’t the most ideal situation and yes a lot of new galleries and galleries with financial or other business issues use this method, but not all consignment galleries operate like that.

    One way to help alleviate some of the issues you mentioned is to have a CONTRACT with the consignment gallery. What, they don’t have one? Bring your own. If they don’t want to sign it, then they probably aren’t on the up & up. Be open to changing some of your conditions to better reflect their company culture, but stick to your guns on the contract points most important to you. For a sample consignment contract you can use, visit the SNAG professional guidelines site:

  8. Wow I sure agree with the article and have had pieces never paid for with a closing shop, have had a large framed painting come back to me having obviously been dragged across the floor; but only once in my experience has a gallery bought paintings outright to keep for sale. Perhaps with fine art, which tends to be costly, expecting an outright sale is too much. I would love to find a gallery does so. It is very difficult for us to create, frame, insure, ship, and return ship from “prestigious” shows also. I am selective on what to choose because the cost and risk is great vs the return on investment. Having said that, I relaize how much expense a gallerist invests in store and staff and client base. It really is a partnership. Look for someone you want to partner with, someone you could sit down and share a meal with and actually have a pleasant experience. Relationships that do not meet that criteria are never long-lasting.

  9. It’s only a good arrangement if you test it for a period of time (3-6 months) and are very specific about the terms. It may be possible to gain exposure in a market you may not otherwise have access to. Once it’s been successful you can go ahead and negotiate wholesale terms. Has worked well for me. Night & Day Studio. Canada

  10. Ill check out the article – but as a retailer, I have always stayed away from consignment. I always felt that if I thought I could sell something, that I should fork over the money and buy it.. that it seemed wrong for the artist to “hold” inventory for my store. At times, when I was not sure if something was right for my store, artists would offer to consign and my response was always that if I was certain it would sell – I would buy it outright.

  11. I’m so glad to hear the idea that consignment is the way for artists being questioned. I’ve always thought it a mad way of doing business. Take all the risk and have all your stock out of your control and unpaid? No thanks. I had this reinforced many years ago when I was a lot less confident in my own opinions on business and I was making clothes and selling on consignment (now I make paintings). I had a retailer close without notice or leaving contact details. They took ALL my stock, never made contact, never paid a cent and there was no way I knew of to trace them. Nightmare. It doesn’t always go bad, but it can!
    Also thanks for the ideas on negotiating ideas to make a purchase more attractive than consignment. Very handy to have more options than a flat, I don’t do consignment.

  12. While Consignment is not a good business model, very often it is the only option that artists may have to find new audiences for their work.

    As artists establish new relationships with galleries/store, they can convert their proven best selling consingnment items to a wholesale/retail relationship.

    In the meantime, protect all your work on Consignment with a CONSIGNMENT CONTRACT in the Professional Guidelines. Used nationwide, this contract provides both the artist and gallery with a clarification of business issues AND PROTECTS THE ARTISTS WORK from loss or damage.
    Everyone can find the PG Consignment Contract at:

    FIND all 19 documents in the PROFESSIONAL GUIDELINES at:

    Additional discussion about Consignment Contracts and multiple issues involved can be found on ASK Harriete.

  13. There are some helpful points made here, however, it’s really a biased article full of doom and gloom. What’s really important is to find a reputable shop with reputable consignment practices and that’s all. If your choices are; 1) leave the stuff at home in a box or 2) hang/put it out there somewhere/anywhere … what are ya’ going to do? The markets only work for a very few. Many shop owners just can’t afford to buy at wholesale prices period. The times dictate what artists are going to do and how they’re going to make out.

  14. Diane Townsley says

    I’m still a small potatoes jewelry designer working toward expanding in the next few years, but I have had both both successful and terrible experiences with consignment. At this point I don’t think I would consign out of my area again, I think you really need to have a face to face personal relationship with a gallery or shop owner and the ability to check up on your inventory.

    That said, even the gallery (local) that has done the most business for me over the years gave 50% (vs. 60-70% in other venues I’ve worked with) , didn’t keep the jewelry cleaned up, and a few things went missing, some of which I was eventually paid for, but I had to do my own inventory to prove it, and then fight to get the owner to go through her records and eventually cut me a check. The relatively steady monthly checks were nice, particularly since I still have a day job and not a lot of time for retailing and marketing myself, but In the end, it’s a hassle I’m not sure I want to deal with anymore.

    However, I would try it for a gallery like Facere who chimed in above, that’s the kind of customer and artist service that makes a good partnership, and as McKenna mentioned, consignment could be a possible outlet for market research on new products. If your stuff moves, maybe that store will buy wholesale from you in the future once your product has proven itself?

    What do you guys think about offering some sort of relatively liberal return policy in lieu of consignment? Something that would make it a lower risk investment for the gallery, maybe an agreement that a certain percentage of the work can be returned within a set time period for exchange with new designs, etc.? Obviously that’s more realistic for smaller items like jewelry that can be shipped inexpensively.

  15. I feel that the article above was a bit harsh. I have owned and operated a small consignment gallery in a tourist area for 20 years. We carry the work of over 20 artists as well as my husbands and my work. I pride myself on how I conduct our business and the consideration I give our consignees and customers. I enjoy arranging everyones work and placing work together that compliment one another. Because many businesses have that one spot or area that isn’t ideal including ours , all work is rotated regularly to give everyone a good spot.
    I work the gallery 7 days a week, I accept the risk of stolen or damaged goods, (my insurance agent specifically said consignees work is covered under my policy) I encourage the artist to carry their own as well, in case there is ever a debate over the value between the business and insurance co. should something happen) I create all the advertising, website maintenance, facebook page, which requires photographing and content. Building maintenance, insurance, taxes and a host of other expenses are absorbed by the 35% commission I take for my time and energy. I encourage new consignees to look at my website and research the area and the unknown. Because of the economy, I do not guarantee
    sales, but I accept the opportunity to sell and also the possibility I will be paid nothing, in case an artist does not sell well.
    I realize there are unscrupulous people operating consignment galleries, but I operate mine the way I would like to be treated. I ask that the artist sign a contract that states the what the artist/owner responsibilities are and what they can expect, eg, insurance, delivery, payment, etc.
    I know as an artist that having your work purchased outright would be ideal, but a retailer often wants you to sell it to them at half the price so they can mark it up. It is a risk to both the gallery owner and artist to consign. Please do not assume all consignment galleries are a bad idea. Just do your homework before deciding where to place your artwork on consignment.

    • I agree with your point. This blog post was specifically written for artists just starting out, who don’t know what to ask. A few years ago the successful consignment business model was rare, but there were a few really good galleries… you are obviously one of them. The problem over the years is that this business model often has difficulty getting a line of credit at the bank, and as the economy dipped, many found themselves in a bad place. This goes for net 30 buyers as well. It’s a time when artists need to be more careful, and depending on the price point of the work… consignment may be the best move. I try to get artists to negotiate a combination of buy/consign with stores like yours… especially today when everyone needs cash flow. Artists as a whole have extended themselves too far.

    • Thank you very much for your response PLT. I got my start into the crafting world at a consignment shop. At one time I had products on consignment at ten stores and galleries. I made good money (I didn’t get rich but I did earn enough to support my financial needs).

      I recently opened a sewing and crafting school with a consignment gift shop. I, of course, want this to be a very fruitful endeavor for the consignors as well as myself. any advice you can give me toward that end will be most appreciated.

      Thank you,

      Andrea Fields

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  17. Adding just one other aspect to this discussion: I only consign where the entire biz is consignment and with a contract and references. In my nearly 20 years, I have seen that my consigned goods have a much greater turn rate. Generally about 4x’s higher sales on average over wholesale. This is because they get a very full display with a very good cross-section and (important) some back-up stock to tide them over for the more popular pieces. AND I ship within 48 hrs of reports – NO exceptions. THAT is MY money sitting there and I need to make sure the display is as full as possible at all times. Also important: I always mentor others who are just starting out, to make sure they are putting the very best examples of their line into shops – consignment even more so! I cannot test the market for my wholesale line without putting the best work forward.

    So when a wholesale buyer from a store places an opening order at my min. $300 and really worked hard to keep it within a few dollars of my opening order and clearly purchased a poor grouping of just earrings and one pendant, for example, I know this will not fly. But… WHAT pray tell is one to do? I can almost guarantee they won’t re-order. And frankly, if they don’t re-order, to me that is lost inventory. It is not going to create another order. My time and energy could have gone into another gallery where it would have created a long term relationship and countless re-orders. Re-orders are all that matters in the long run to me. My older wholesale relationships – a handful in excess of 15 years – are my foundation and the consistent money is what lets me sleep well. And plan, expand, and create.

    I turn away or wait list a least one gallery each week – 3 or 4 a week in the 4th quarter. So seeing a timid or poorly executed opening order really saddens me every time. We have little to no control over what a buyer ultimately orders. Yes I offer a “start-up package, but rarely see anyone take advantage. Being a buyer is a skill set like any other and the buyer hat is not always worn with grace. But even the ones who put together a nice big order to start can sometimes fail to re-order in a proper manner. My follow-up calls often discover that half the initial order is sold, but they say things like… we order once each quarter or, I will place an order in a few weeks in time for the annual street festival in 4 weeks. HUH? I get the cash flow issues, but…?

    Remember – just as we don’t know all the tricks of the trade and have weaknesses in our skill sets as artisans, so do gallery owners. No one wears all the hats well. Partnerships should mean trusting each other’s business knowledge, but it is easier said than done.


  1. […] Even though consignment can be difficult for a lot of people, the area I live in has some wonderful regional galleries that I consign a lot […]

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