Who is responsible for the damage to work on the air? The insurance deduction deducted by whom? Is it ethically defensible for a gallery to store shipping items? 9. Insurance. The gallery insures the artwork for its full wholesale price. When a right to insurance is claimed, the gallery pays all deductibles. If the restoration is proposed or continued by the gallery, the artist has a veto over the choice of the restorer. The artist is responsible for all repairs to works of art necessary by the artist`s defective treatment. 13. Reproduction. Artists should provide professional-quality photographic images. Galleries and publications should do everything in their power to ensure that the artist and photographer are de-haired in all advertisements and advertisements. The artist must fill the form in three copies.
Keep a copy for the artist`s recordings. Send two copies with the artwork to the gallery. (Fax or additional copy email, so the gallery or exhibition sponsor expects the box if the work is valuable or unique.) The gallery should sign a copy and return it to the artist and keep a copy for its recordings. If you are going into business with a gallery, make sure you have a conversation above expectations and bring it down in your consignment contract. When you leave a gallery for the first time, clarifying expectations shows that you are a professional. Galleries will be more likely to approach you in the future. Accounting details: Essentially, when are you paid? Is it right after the sale of a work? Once a month? Your art shipping contract should be extremely clear on these terms, as it is not scandalous that galleries fall off the radar in difficult times. 12th promotion. The gallery will do its best to promote, exhibit and sell works of art. The gallery must clearly identify the artist`s name with all works of art and indicate the artist`s name on the invoice for the sale of all works of art sold by the gallery. While consignment agreements are generally broader than a mailing report and contain cross-cutting trade agreements, there are still cases where you want to be aware of representation restrictions or expectations in a consignment report for a given job. 8.
Loss or damage. The Gallery is strictly responsible for the damage caused to thought or damage to available works of art from the date of delivery to the gallery until the return of the artwork to the artist or delivery to a buyer. In case of loss or damage that cannot be recovered, the artist receives the same amount as if the artwork had been sold at the sale price. Especially if you work with multiple galleries or retailers, it can be difficult to keep an overview of the location of all your artworks. You`ll be surprised how many times we talk to artists who have lost or forgotten art sent without proper documentation. Money owed to the artist for the works sold should not be classified as a scholarship and paid over a longer period of time. If the parties agree with a scholarship plan, it should only be included as a non-refundable advance on future sales. Suppose there is a 50/50 agreement and a coin sold for $5,000 to be paid in increments of $1,000 over five months.
The artist owes $2,500. According to the best arrangement, the artist receives the first $2500 paid by the collector (which would happen in the first three months).