Gallery pricing

[Eric Gourieux]

Does anybody have any suggestions on extablishing a price point for selling hollow forms in a gallery? I was recently accepted into a local art gallery and was looking for a range of prices that galleries charge for similar turnings. Well, to my dysmay, it isn't easy finding that info. When I found pricing, it was WAY up there. I realize that prices will vary depending upon quality, location of the gallery, whether the gallery is well-known and if the turner is well-known. What about the unknown turner in a very nice but relatively unknown gallery? Any suggestions?

[Alan Trout]

Eric,

This is always a tough and personal discussion/question. I have small pieces that range from $400 to just under 1K Some of my big pieces go up to 3k. I really depends on the item quality, time, uniqueness etc. There are so many variables it is really hard to say. I still figure my time materials and quality and what I think it is worth and price it from there. It also depends on the region of the country and what similar items sell for.

Good luck this is the toughest to figure for me.

Alan

[Jim Burr]

To add to Alan's response...different areas of the country allow different pricing. What I get for stuff in Monterey is different than here in Fresno or the gallery in Washington. Bernie can tell you all about geographical pricing. A suggestion...if there are any, and I don't know, but check the other galleries in the surrounding area. Educate yourself to the surrounding areas and even two or three counties away. Look at the work being displayed and have a blunt, honest chat with yourself to see if you are in the same catagory as the regional galleries. Hope that helps..always a crap shoot!

[Jamie Donaldson]

And add in the fact that many galleries take a 50% commission for the sale! That's a factor in deciding if you would like to hit the road for juried shows several times a year. Then there is a whole new list of priorities to consider.

[Reid Strand]

This is a Very tricky and personal subject, but one suggestion I've had some luck with is to ask the gallery for some guidance. They tend to know their market, and at least in theory if you're selling on commission, their interests are aligned with yours. But bear in mind that if their commission is low (25% range), they are probably going to suggest a lower price point to get the product moved. If their commission is high (50% range), they are probably going to suggest something higher, since they keep half of every extra dollar they earn. In the end, I guess we just have to decide what its worth to us and whether you are interested in making money by moving lots of product, making money by making a few big sales, or having fun with something and being thrilled if you get a little somethign back for your efforts.

[Jim Burr]

Both Jamie and Reid bring up great points....how much do they get!? The pen shop in Carmel/Monterey is stupid...pens from $50 to $5,000. I'm stupid because I live in the $250 (80/20 split) range and the buyers say they would pay more. I still get a check. Washington is so weird (70/30 split)...those folks have a ton of $$ and are selective on what to part with it on. Maybe ask the gallery what's selling and see if you are in the market. I do better at my hospital locally.

[Michael E. Thompson]

+1 on what's the gallery take. I try to think about how much I would sell it for without the gallery, then tack on their cut. Definately work with the gallery, they should have a handle on what the market in your area is doing. The other thing, if it sits for awhile, raise the price. Don't lower it and short change yourself. I have had people walk up to my pieces and gasp at the price and then the next person to look at it can't get over how good a deal they got. Its all about the right person at the right time. And a little luck too.

Mike

[Eric Gourieux]

Thanks for all of the replies. Good stuff

[Bernie Weishapl]

I have a pretty good relationship with both galleries that have my pieces and the gift/floral store. It is a 70/30 which is great compared to some. What Alan gets for a piece $1K I probably couldn't get more than $300 here. When I started I priced high and when I had no sales for a while I would lower the price until I found where things started to sell. Always go in high because you can always lower but it is difficult to raise them. Along with that make sure you have a agreement and a inventory list (2 copies. one for you and them). An example is I have a maple root burl hollow form. I really didn't want to sell it unless I could get good money for it. I put $950 on it. Lots of comments on it but it is still sitting now for almost 4 yrs.

[Eric Gourieux]

Good point, Bernie. thanks.

[Bill Wyko]

I've found an approach that seems to be working. I have a few clients that I keep in close touch with and they buy almost everything. You need to find out how the gallery finds the clients that collect pieces like yours. Send some nice, color information to them. In the end, it'll be cheaper than the commission you'll pay. I also find that I like to know the buyers personally.

[Joe Meirhaeghe]

I guess I have to go a little against the grain here. First,I believe that a good gallery that permotes you & sells your work deserves their commission. Second I believe that when I price my work I price it at what I feel it's worth, regardless of where the gallery is located. If it's to high priced for a particular region I would find another region or venue to sell it. I also don't sell anything at a lower cost than it would sell for at a gallery. Underselling a gallery only devalues your work to anyone who purchases your work through a gallery will lead to unhappy customers and kill any chance of selling through the gallery.
I believe that a good gallery does us a service & should be paid for that service. If you are unwilling to pay them for there work, Why would you expect someone to pay you for your work?

[John Keeton]

I agree totally with Joe's comments!! In fact, the KY Guild had an all day workshop on marketing through galleries, and these were exactly the same principles outlined by the presenter - the owner of a very successful gallery. Galleries may promote your work, but only in the process of promoting their gallery. They want all future demand for your work to come through them - not to you directly. My intent is to substantially redesign my website to conform to this plan.

I would add this - you may need to choose either the gallery route, or the show circuit - they seem to be mutually exclusive in the wood turning art world. Perhaps with a product with a lower price range, or more functional items, one can successfully do both. But, with higher end art, from what I have seen the gallery situation is preferable. Spending $400-$600 for a show entry, setup, tent rental, etc., and spending 3-4 days that I could otherwise be in the shop doesn't appeal to me - particularly when I hear about folks just clearing their costs.

[Alan Trout]

I also agree with John and Joe. Those are just good practices.

Alan

[Bernie Weishapl]

I have to agree with Joe and John. I don't sell anything for less than the gallery does. That is a no-no as Joe said. I also like the two galleries I am in because they do promote the artists. In both galleries they have a month 2 or 3 times a year to features artists. Like Joe said I love the galleries I am in because they collect the sales tax and they box/wrap the items so they earn their cut. I also agree with John that deciding to go the gallery route or the craft fair/show circuit route is another decision to make. I don't do the craft fairs because the 5 or 6 I did I broke even on 2 and lost money on 3 or 4 by the time you figure expenses and your time. Around here anyway it seems to me at craft fairs everyone is looking for a bargin and then you have those that are selling their wares for less than I can buy the materials for. We have several here at craft fairs that spend $18 and up for pen kits then sell them for $10 to $15. Not my cup of tea.