How Bead Stringers can Approach and Work with a Gallery

One of the best ways to earn money and begin to develop a reputation as a jewelry artist is to get your work shown in a local gallery or museum shop. However, many jewelry artists are hesitant about approaching a gallery owner. They shouldn’t be. Here are ten tips to approaching and working with a gallery owner.



First, understand you won’t get rich selling through a gallery. Many beginners have unrealistic expectations about the amount of volume a gallery can handle. At the beginning of the relationship, the gallery might ask you for five or six pieces and then ask for more if the work sells. This will not pay a mortgage.



The advantage of selling through a gallery, however, isn’t just monetary. You add a credential for your resume which in turn you can leverage into other sales venues.



Second, deal with the gallery owner yourself. Sometimes beginners who are timid about dealing with the gallery owner arrange for a husband, significant other or friend to "represent" them. Don’t do this. It’s perfectly understandable that you might be shy, but gallery owners are used to this. Designating a "representative" is unprofessional. It will irritate the gallery owner, reducing your chances of being shown. And, just as important, you’re probably not going to make enough to justify an intermediary.



Third, understand the commission structure. Galleries typically accept work on a commission basis. Although some galleries buy work, most do not, especially from beginners. The split is usually between 50 percent and 40 percent. Some artists, usually beginners see this as an outrage and believe the gallery is somehow ripping them off.



There is a simple way around it. Focus on what you need to take away from the sale, not what the gallery owner will receive. Here’s what I mean. If, for example, you are selling a necklace that you need $150 on a wholesale level to recoup material costs, labor, etc., and to make a profit, price the necklace at $300. If the gallery owner suggests that it’s too high, explain how you arrived at the calculation. Alternatively, provide the gallery owner with wholesale prices only and allow him or her to develop the retail price. The point is not to worry about what the gallery owner makes, but to worry about what you will take away from a sale.



Fourth, visit the gallery before you approach the gallery owner. Look at what he is selling and decide whether your work might fit with the work on display. Don’t overlook fine art galleries. I’ve been in a number of fine art galleries recently where there has been small jewelry displays.



Fifth, understand what you’re selling. You’re selling one of a kind work. This is called "studio" jewelry or art jewelry. The term studio jewelry came after World War II when returning veterans holed up in garages and studios to produce one of a kind or limited production work. This marked the beginning of the craft explosion in the United States.



It’s also important to know and be able to describe materials you use in your work. As a former gallery owner, I was sometimes astonished that jewelry artists couldn’t tell me about the gemstones they were using.



A good example of this is with agates. Agates are varieties of quartz and are inexpensive, plentiful and sometimes very lovely. They come from many parts of the world and their names reflect place of origin and patterns. You’ll see banded agate, crazy lace agate, Chinese agate, Montana agate and others.



However, because agate is so inexpensive, sometimes jewelry artists, including bead stringers, don’t take the time to identify the material. Don’t make this mistake. Learn enough about the material to tell the gallery owner. He or she will have to describe the materials to clients.



Sixth, do not show gallery owners work you don’t intend to sell. Think about it for a minute. Why on earth would you signal to a gallery owner that the only work available is second best? Similarly, don’t wear not-for-sale work to openings. Openings are important sales events for galleries and clients are usually very interested in seeing what a jewelry artist is wearing. You should regard it as an opportunity to model your available jewelry.



Seven, find out how the gallery likes to look at work. Some gallery owners don’t mind a visit, while others have submission requirements. If you are approaching a museum store, find out what their product review system is. Then, follow it.



Eight, if you decide to drop into a gallery, do it early in the week, usually the slowest times for galleries. If the owner is with a client or prospect, wait quietly. Do not visit on weekends or during openings.



Nine, if the gallery owner decides to show your work, find out their notification and payment schedule. Some gallery owners have a sixty to ninety day period before they pay artists; others pay promptly. Also, find out how they will notify you if work sells. Nothing builds more ill will from an artist than not knowing if a piece has sold. Conversely, nothing is more irritating to a gallery owner than frequent calls from an artist demanding to know if a sale has been made.



Ten, understand that the gallery owner wants to sell your work and it’s to your benefit to work with him or her. Most of the very top national and international jewelry artists I showed in my gallery were sensitive to the selling process and extremely helpful with suggestions on how best to support their work.



Here are some of the basics a gallery owner will want from you: a bio, where you studied, career highlights, etc., an artist’s statement, a three or four paragraph statement about your work, inspiration sources, etc. The artist’s statement allows you to tell a prospective client more about your jewelry and is an opportunity you shouldn’t overlook. The gallery will probably also want pictures for a card or for the website.



Be sure to develop a consignment list, a list of the jewelry you’re consigning, with invoice numbers and prices. Indicate whether prices are wholesale or retail. This is an issue over which you definitely don’t want any confusion. Make a duplicate of the consignment statement and ensure that you and the gallery owner sign both. Your copy is for your protection.



After the basics are taken care of, ask what else you can do. Provide any reviews you might already have or copies of any articles you’ve written. Provide a list of friends and acquaintances that the gallery owner can use for opening invitations. If you’re comfortable doing so, volunteer for a gallery talk. In other words, be helpful.



Remember that you and the gallery have the same goal: selling your work. Working with the gallery to effectively market your work is to your benefit. .



Fleury Sommers is a goldsmith, pearl and bead stringer and has studied gemology for more than 25 years. She operated a gallery in Houston, Texas for more than ten years and is the creator of the comprehensive Professional Pearl and Bead Stringing course available on her website and on Amazon.