James F on sat 18 oct 08
What are your practices or thoughts regarding pricing of works when they ar=
e part of an exhibition versus when they are offered for sale through more =
commercial means such as art fairs=2C retail galleries=2C gift shops=2C hol=
iday sales=2C et alia? I have always been told that one should mark up the=
price when the piece is part of an exhibition to cover the extra concomita=
nt expenses=2C the justification being that the piece now has "pedigree". =
I could easily make arguments either way=2C and wondered how those of you i=
n this position have handled the dilemma.
All the best.
When your life is on the go=97take your life with you.
Mayssan Farra on sat 18 oct 08
Hello James:=0A=0AMy exhibition pieces are not my everyday pieces, just lik=
e when you go to a=A0gala you do not wear your everyday clothes, so yes the=
y should be more expensive not just because they are in a special place, bu=
t also because THEY are special, And if they do not sell at the time, the p=
rice stays the same thereafter, out of respect to them and to the exhibitio=
n.=0A=0Amy $400.00 just because it is an exhibition:)=0A=A0=0AMayssan Shora=
=0A=0A=0A----- Original Message ----=0A=A0James F=A0:Subject: Pricing at ex=
hibitions versus ordinary venues: What are your thoughts?=0A=0AClayart folk=
...=0A=0AWhat are your practices or thoughts regarding pricing of works whe=
n they are part of an exhibition versus when they are offered for sale thro=
ugh more commercial means such as art fairs, retail galleries, gift shops, =
holiday sales, et alia?=A0 I have always been told that one should mark up =
the price when the piece is part of an exhibition to cover the extra concom=
itant expenses, the justification being that the piece now has "pedigree".=
=A0 I could easily make arguments either way, and wondered how those of you=
in this position have handled the dilemma.=0A=0AAll the best.=0A=0A...Jame=
s=0A=0A__________________________________________________=0ADo You Yahoo!?=
=0ATired of spam? Yahoo! Mail has the best spam protection around =0Ahttp:=
Snail Scott on sat 18 oct 08
On Oct 18, 2008, at 10:43 AM, James F wrote:
> Clayart folk...
> What are your practices or thoughts regarding pricing of works when
> they are part of an exhibition versus when they are offered for sale
> through more commercial means such as art fairs, retail galleries,
> gift shops, holiday sales, et alia? I have always been told that one
> should mark up the price when the piece is part of an exhibition...
Never undercut your customers, nor gouge them. When you
offer similar work for different prices in different local venues,
you mess up the perceived value of your work. Someone who
bought it for more will feel ripped off when they see it for less
elsewhere. Your customers should be your best fans, and this
is like calling them a sucker to their face. The ones who bought
for less will feel smug to see it for more elsewhere, but you can
bet they will never pay that higher price. They'll wait to shop
the cheap venue again, and tell all their friends the same. This
will piss off the owners of the higher-priced venues, and they
ought to be your biggest fans, too.
You can charge different prices in widely separated markets,
or for very different work, but you've got to be consistent when
any comparison is possible. If one venue offers more extras
but takes a bigger cut (e.g. a snooty gallery), or if another has
cheaper overhead (e.g. selling from your studio), that doesn't
mean you can change your prices. It just means you have to
consider whether a given venue is worth selling through. A
lower profit may be offset if it brings in more customers, and
there is no point to selling too cheaply for the market.
You can raise your prices over time, if demand is greater than
your production at your old prices. Just raise prices until you
can keep up. You can't ever really lower them, though; not
for similar work in the same area. You can give discounts to
individuals for any reason you like, but make sure it's
understood as a special circumstance, NOT lower standard
Your work is worth what it's worth. Don't charge less, and don't
claim more. If you get more profit from one sales venue, well
goodie, but keep those prices level. If another venue doesn't
give you enough profit at those prices, raise all your prices, or
don't do business there. Or see those fancy exhibitions as a
loss leader, and wait for the customers to seek out you and
your bargain ceramics.
If you want to charge higher prices at fancy shows, show your
higher-value work at such venues and keep the cheap stuff
for elsewhere. Never the same stuff. That's what fancy shows
are for, after all: your best stuff, not your bread-and-butter
production work. Keep your prices the same for similar work,
but sell different work in different places.
Never undercut your own customers OR your selling partners.
Snail Scott on sun 19 oct 08
On Oct 19, 2008, at 7:53 PM, Lois Aronow wrote:
> I also disagree on a piece having a "pedigree"...
I'm with Lois on this, too. 'Pedigree' is for work that's been shown
at the Venice Biennale, or the Whitney Museum, maybe... (and still
_only_ maybe), and auctioned later at Sotheby's. The work that
Grayson Perry got the Turner Prize for - that _might_ be worth more.
Shown at the Somewhere County Arts Center, or the Joe Smith
Gallery, forget it. They may boost your reputation and increase
demand for your work, which will allow you to raise all your prices
across the board, but that one piece can't really be priced higher
just for that show, and if it doesn't sell at that show for that price,
how can you expect to get more for it later?
Dave Pike on sun 19 oct 08
James F wrote:
> Clayart folk...
> What are your practices or thoughts regarding pricing of works when the=
y are part of an exhibition versus when they are offered for sale through=
more commercial means such as art fairs, retail galleries, gift shops, h=
oliday sales, et alia? I have always been told that one should mark up t=
he price when the piece is part of an exhibition to cover the extra conco=
mitant expenses, the justification being that the piece now has "pedigree=
". I could easily make arguments either way, and wondered how those of y=
ou in this position have handled the dilemma.
> All the best.
> When your life is on the go=97take your life with you.
I always keep the prices the same for any venue.
Lois Aronow on sun 19 oct 08
I was always told it is bad form to differ your prices from show to show or
venue to venue. In fact, I am in one invitational right now that insisted I
keep my prices the same as my online venues.
The only exception I ever make is at my annual holiday sale, at my studio
(and this year, at my home, too). I will round down multiple purchases, or
give a special price to a loyal customer. Again, this is not the price I
would give to the general public.
It would be a really cheesy move and would penalize over galleries, stores,
and organizations that invite you into a show. The exposure you get negates
increasing your price to cover shipping costs. It's not a dilemma, it's
just good business.
I also disagree on a piece having a "pedigree". That's just weird. The
piece may not even sell.
Just my 2 cents.
Lois Aronow Porcelain
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of James F
> Sent: Saturday, October 18, 2008 11:43 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Pricing at exhibitions versus ordinary venues: What
> are your thoughts?
> Clayart folk...
> What are your practices or thoughts regarding pricing of
> works when they are part of an exhibition versus when they
> are offered for sale through more commercial means such as
> art fairs, retail galleries, gift shops, holiday sales, et
> alia? I have always been told that one should mark up the
> price when the piece is part of an exhibition to cover the
> extra concomitant expenses, the justification being that the
> piece now has "pedigree". I could easily make arguments
> either way, and wondered how those of you in this position
> have handled the dilemma.
> All the best.
> When your life is on the go-take your life with you.
cec on mon 20 oct 08
In dealing with galleries, they may have contracts that spell out expectations, distance between galleries selling your work, not undercutting, etc.
There are usually good marketing reasons for these requirements. If the gallery markets your work or has a good enough reputation you will be able to raise your prices.
I normally work with a trusted gallery owner to help out pricing work that is different. I also talk with them if I find the need to raise a price on a certain item because of increased costs etc.
Where I used to live there was a very talented potter who struggled to make a living, great pots experimentation, etc. his pots were priced within my range for acquisition......
There was a gallery owner who took on this potter's work, great gallery. Potter's prices quadrupled (at the gallery owner's behest) for the first show.....even more thereafter. Can't even touch his work now and his kiln openings....pots gone in a flash. He was on the cover of a national magazine a few years ago.
That is why you deal upfront and equal with your galleries.
Celia in virginia
PS. Our studio is having an open house on Nov. 7th in case anyone is the Martinsville, VA area. Info on the Piedmont arts website.
Do You Yahoo!?
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Des & Jan Howard on mon 20 oct 08
We don't do exhibitions, fairs, etc.
That said, a very small amount of our work goes to two local (28 km & 56
km distant) establishments. One is an art & craft co-op, the other is a
pretty swish, mostly ceramics, gallery. The co-op charges 20% commission
plus one day per month shopsitting. The gallery has an included gallery
especially for our regional ceramics group & charges 25% commission (40%
in the main gallery) & the group levies an additional 5% on members.
The co-op is sent good quality items, the gallery is sent 'racers'. All
venues including our own showroom sold at the same price. After years of
receiving less for the better of our pots we said 'bugger it'.
Now retail prices are adjusted to give us the same return.
Of the people who already bought our pots at either place
& made the trip to the workshop there have been no complaints
or adverse comments on the price differences, even when making
Let's face it there are price differences in our own showroom.
Two mugs of the same shape may have the standard price on one
& a premium on the other. Three bowls of the same shape & glazing
treatment may have three different prices for the same reason.
The price difference may be a dollar or so, or even a 50% increase.
If you want it, pay for it. If you don't, leave it on the shelf.
James F wrote:
> What are your practices or thoughts regarding
> pricing of works when they are part of an exhibition
> versus when they are offered for sale through more
Des & Jan Howard
02 6373 6419