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What do you do when a piece is damaged at a gallery??

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So I'm relatively new to galleries--I've only been selling in them for a little over a year. I've had good luck so far with things, pretty good sales, some owners are picky, but all in all they seem to like and appreciate my work. I had a call the other day from one gallery owner telling me that a piece had been damaged. I brought them a large bark edged burl bowl, roughly 15x10". I havent seen it yet, but apparently someone tried to pick it up by the bark. I used a liberal amount of CA glue, and it was all quite solid----I checked very carefully before dropping it off. The owner said it was a very clean break, and thinks it can be fixed, but expressed concern about her staff watching customers, etc.

I really like the gallery--it gets a lot of traffic in a tourist heavy area. They haven't sold a lot of bowls, but have a bit more upscale clientele than some other places. I told her I would come in and fix the piece, and then bring it back. I'm a very good natured person, and told her when I brought the piece in that it was very fragile, but didn't want to sound too pushy about putting up a sign or not letting anyone touch it, but that appears to be a mistake I won't make again. I knew that the owner couldn't have done anything about it after the fact, but I wonder, what do other people do in this situation?? I didn't ask for any compensation, and don't really feel like it was totally their fault--I should've said DON'T LET CUSTOMERS PICK IT UP!!!! I wasn't angry when I talked with the gallery owner, but I'm a little peeved that someone would break something and walk off without saying anything!!!

I'm planning on asking to put a "please do not pick up" sign next to it, with a price tag. Is it tacky to put a tag next to a piece in a mixed arts gallery--local crafts, oil paintings, quilts, other woodwork, fine jewelry, etc. Oil paintings have price tags displayed on them; is this appropriate? I don't want people to casually pick this up unless they're purchasing it.


I need to know what is appropriate here. I'm worried that the piece won't sell with a repaired edge. I'm planning on using black CA for the fix, but I don't know if that's enough.... HELP!!!!
 
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While a sign is a good idea, I would say make it as "friendly" as possible. Maybe something like "Please ask a sales associate for assistance so you can carefully examine my artwork." As for price displaying, it is the gallery's call, but next to it, rather than on it is a far better idea.
 
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Joined
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Sorry to hear of the damage. I suspect you'll be pleasantly surprised how invisibly a clean bark break will glue back into place. I've used clear CA for just that purpose, and can't find the fixes now. A carefully placed fine-tip woodburning pen can also do great touch-up to freshly exposed surfaces or glue lines.
 
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...something like "Please ask a sales associate for assistance so you can carefully examine my artwork."
Sorry to hear about your incident.
I was in a very high end gallery in Santa Fe earlier this week, and there were plenty of signs politely asking customers to ask for assistance. It was obvious the signs were provided by that gallery and it sounds like your gallery needs to step up to the plate and provide support and protection re: delicate work.
 

john lucas

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That's why I'm very leary of selling natural edge and pierced edge pieces. People will pick them up by this area and break them. Signs won't help. At the AAW instant gallery several years ago there were some really fragile pierced pieces that looked more like lace. They had signs up saying do no touch. I watched several people pick them up.
I don't know what to do about a gallery problem other than having some sort of understanding up front. If nothing is written down then it becomes a problem that you either have to ignore or cause problems and ill feelings by persuing the matter. If you've talked over potential problems with the gallery in advance then it solves these issues.
I've always wondered how long a bark edge will actually stay on. I have several pieces at home that are about 5 years old but I haven't seen any of my pieces that are sold and gone. Does anyone have any really long term pieces.
 
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You might want to ask the gallery people what they will do for you if the situation arises again - something like:
"I know we didn't talk about this in the beginning, but... (fill in the appropriate amount of conversation) so how can we handle this in the future so it doesn't happen again and if it DOES happen again, what is YOUR liability?"
If you can ask them in a nice way, they may already have a policy, and or they might be inclined to develop one.
Have some alternatives in mind for what you would find acceptable, so that you are not just throwing it at their feet to take care of (although, they SHOULD IMO).
Understand, their solution might be not to show delicate things.
 
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It is necessary to establish the responsibility for damaged or stolen work before entering into a contract with any gallery. Obviously you didn’t do that, but maybe they have a policy in place that they have been using with other artists? Some galleries will tell you right up front that they will not insure your work or at least above a certain $ value. Others will only cover a percentage of the value even on lower priced items. If they do not insure the work, their commissions and/or fees on the sale of your work should be substantially lower than a gallery that does! Some galleries will negotiate this as you can purchase personal insurance on your own to cover your work while in their position.

I have had work damaged and have receive compensation from the gallery as per their previously agreed policy. I have also had damaged work returned without compensation from galleries (or shows) where I knew upfront that there would be no insurance.

I have sold work that I’ve repaired but I make it clear to the purchaser that the work has been repaired! I have also offered repaired work at reduced prices. I don’t really like to do this as there is an argument that this devalues all you work. But on the other hand, I don’t need marred pieces stacking up around me. I have donated some of these to local charity auctions or fund raising events. But again I make it clear that the pieces are not pristine.

- Scott
 

hockenbery

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All Galleries are different.

I have always had a contract with my galleries. The gallery's contract.

Many years ago I got phone call from a gallery owner to report two of my pieces had been shop lifted. She explained that our contract stated that the gallery was not responsible for theft. She then graciously paid me 1/2 the of what I would have received from a sale.

I have seen ignorant folks "test" the bark to see if it will snap of and sometimes it does.

If you show and sell work, in any venue, you take a risk. I just figure I'm going to lose a piece every now and then it is part of the cost of doing business.

Happy turning,
Al
 

odie

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All Galleries are different.

I have always had a contract with my galleries. The gallery's contract.

Many years ago I got phone call from a gallery owner to report two of my pieces had been shop lifted. She explained that our contract stated that the gallery was not responsible for theft. She then graciously paid me 1/2 the of what I would have received from a sale.

I have seen ignorant folks "test" the bark to see if it will snap of and sometimes it does.

If you show and sell work, in any venue, you take a risk. I just figure I'm going to lose a piece every now and then it is part of the cost of doing business.

Happy turning,
Al

Good post, Al......

What would I do?

Nothing.

I would follow the policy of the Gallery.

If I'm not satisfied with that policy, my ONLY option is to remove my bowls.

ooc
 
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Easy repair

Reattaching a piece of bark that hasn't been buggared up is one of the easiest repairs that you will ever do. Use clear CA glue and forget about who is at fault.

When problems occur I simply ask for the parts back and figure what can be salvaged and what needs to be thrown away. Things happen. I make ornaments with sea urchin shells and delicate finials. I expect problems and they do occur. By being easy to deal with I think that galleries will try to look out for you and push your work. One such gallery was asked why my prices were higher than someone else's work. She asked the person to pick up the other work and run their fingers over it. Then she told them to pick up my work and do the same thing. The light bulb went on as she explained that I spend more time getting the finish right so I have more time invested in a piece. They bought something of mine and I will always make sure that her gallery is well-stocked. :)
 
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Thanks for the replies, folks. I do have a contract with the gallery, but I was trying to get others' experiences. I really think the repair shouldn't be too much of an issue. I'm worried that this was one of those ignorant people that thinks to themself: man, this is going to break as soon as I do this.......
 
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my 10cents

my attitude is the gallery is responsible, its on their premises and under thier control. Whether staff or customer its still under thier control.

They should stress to the potential customer that what they brea/damage they pay for.


If they are so tight and stingy, not to mention down right mean. Then remove all your exhibits and go somewhere else. I would probably suggest to them that you might mention this problem to a few friends online.
 
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I had one piece broken and one piece stolen in a gallery. I was paid for the stolen piece but not for the broken one (which was dropped by the owner). She said it was turned too thin! Then she wanted to put my pieces in a locked display case because their size made them attractive to thieves. I refused because turnings are a very tactile art form. Prospective buyers need to hold them and feel the life in them and they are much less likely to do that if they have to go find a sales person to get a key and unlock the case. Do you have a written contract? I would suggest very clear written terms in the case of damage or theft. I do not like prices on the piece but use small stand-up cards (typed in an attractive but not gaudy font) that state the title, if any, the type of wood and the price.
 
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If I can't fix it well enough to deserve further gallery consideration, I use it as a sample (some galleries offer "sample" tables where prospective buyers can handle items without risking careless handling of items that are displayed for sale) or just fix it the best I can, give it to someone who will appreciate it, and go on with my life.
 
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I come down on the side of not getting too excited about something breaking, or getting shop worn. Our association with the gallery is a two-way street. A good gallery is too hard to find to let a little damage ruin a good thing. If it isn't a good gallery, then I may throw a tantrum or just pick up my stuff and go home.

Sometimes the problem is ours. A gallery can be a harsh environment, and we have to be willing to promptly repair or replace the item because of cracking, warping, or bad finishes.

Theft is different, and they should be insured against that. That's part of why they get 50% of the sale.
 
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Well, today I fixed the piece. It wasn't terrible damage, but I'm inclined to believe it was a "test" of the brittle nature of the bark. Guess what? It breaks when you try and break it!!!!!!!! Oh well; there are idiots everywhere. I don't know whether this one is going to go back into the gallery or not. I honestly feel like its going to be a future issue as well, at least with this particular bowl. The entire bowl is about 1/4" thick, and quite light, despite the size.
The gallery sold one of the other pieces that I brought in just two weeks ago, so they're a place that I definitely don't want to burn bridges with, and I understand that sometimes things happen. I may bring back a couple smaller barkless natural edge pieces to replace the one large one. In any case, it needs some touch up varnish now, as it was impossible to not sand through all the finish along the bark to even up the edge; otherwise there was a noticeable lip if you ran your fingernail up the rim of the bowl. I'm leaving this one to the cost of having things displayed, but it may change in the future.
 
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I come down on the side of not getting too excited about something breaking, or getting shop worn.

Russ, you are right on as usual. The fascination of bark on the edge of a bowl is great if it is by the buyer but if you turn bowls that beg to be picked up, assume the bark will fall off.
 
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Russ, you are right on as usual. The fascination of bark on the edge of a bowl is great if it is by the buyer but if you turn bowls that beg to be picked up, assume the bark will fall off.

MinWax makes a wood Hardener to handle rotting wood. Do you think coating the bowl in that would harden the bark and improve its attachment to the bowl.
 
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No, this was definitely an issue of someone testing the wood. I very carefully tested every part of the bark before delivering it to the gallery. CA glue has always worked well for me, and is likely much cheaper than the minwax product. This wood was plenty hard, and didn't actually require the CA until after turning. I'd be worried about changing the character of the bark, or making it even more brittle.
 
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] is Australian. Different set of rules there, and some better than here.


Yep here its pretty well the case you break it, you own it.

But the main issue is that gallery has complete control of it and should observe due diligence and this is based upon the premise that "possession is 9/10ths of the law"

I would image every gallery has insurance for such events. I could not see any gallery telling the likes of William Hunter to go take a hike if they dropped one of his.
 
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In the galleries I use I have a sign posted that reads "Wood is a very tactile medium. Feel free to touch the pieces." So far I have had only two pieces damaged and one of those happened when I handed a piece to a prospective buyer and we dropped it. If I have an especially delicate piece the gallery has a locked display cabinet. I have watched people examining the pieces; maybe one in ten actually picks up a piece, and the ones that do handle them very tenderly. I can't prove it but I believe that allowing touching increases sales considerably.:)
 

Bill Boehme

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Q: What would I do if I had a turning at a gallery and it was damaged by a customer handling it?

A: Celebrate, because it means that someone was interested enough in my stuff to pick it up and examine it.
 
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Something I have experienced with some of the men who wear huge college rings. I call them the "Ring Knockers". They pick up something and bang their ring against it several times. I have no idea why they do it, but it is sure Hell on a finish.

Many women do the same thing with their fingernails, with the same result. The only difference is the dings aren't as deep.
 
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In the galleries I use I have a sign posted that reads "Wood is a very tactile medium. Feel free to touch the pieces." So far I have had only two pieces damaged and one of those happened when I handed a piece to a prospective buyer and we dropped it. If I have an especially delicate piece the gallery has a locked display cabinet. I have watched people examining the pieces; maybe one in ten actually picks up a piece, and the ones that do handle them very tenderly. I can't prove it but I believe that allowing touching increases sales considerably.:)

I can't prove it either, and I can't find a link now (of course), but I've seen the sentiment expressed recently; something like "No touching, very little sales." I suspect most sculpture works that way, except for extremely delicate, or those with sharp points that could harm the handler. A free-form bundle of razor ribbon or barbed wire comes to mind.
 
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Why not print up a nice looking card that you can fold and stand inside the fragile bowls? Big enough to be hard to ignore, says something like "Fragile, please ask for staff assistance before touching." It's simple, and that way they can still touch the other bowls without cards in them.
 
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