Artist Consignment Agreement Template

15. Security Interest. This is a legal clause that protects the artist and states that the artist owns the delivered work until it is fully paid. Few states have laws that protect an artist`s work on air from the gallery`s creditors. This is an important reason why artists must use contracts with a security interest rate clause. The rights of the creditor are also cut off when a sign is written on the gallery indicating that the work sold is on the air, but such signage is rarely used. Option 1. For discount sales, the discount is deducted from the gallery`s commission. The artist receives the entire share of the artist in the sale price, as agreed. 10. Shipping Notice.

By a clear and clear sign in the open public, the gallery must inform with notification that certain works of art are sold under a shipping contract. The definition could include not only works sold directly by the gallery from its stock, but also workshop sales and/or commissions made by the artist during the gallery`s representation period. (See also #11, Commissions) Keeping good recordings for unique works of art can be very important to the artist. Curators or museums working on exhibitions or retrospectives may lend works to a gallery or to works by collectors. Such exhibitions are part of the references of the work and can increase the value of the work of art. Therefore, artists should keep accurate records of the location of their work. Some collectors arrange to pay for the gallery in instalments. Even if a gallery agrees to this agreement, the artist should try to negotiate to be paid in full before the gallery keeps the money, instead of having to wait until the instalments are complete to receive a cheque. 5. Payment. Each gallery seems to have its own payment plan, which provides that the artist is paid within a set period of time after the sale.

Full payment within thirty days of the sale is standard. Be sure to include in the contract a payment structure that is acceptable to both parties. Even in the best relationships based on trust and a good working relationship, there is no substitute for a contract. In order to minimize and hopefully avoid possible conflicts, the rights and obligations of the artist and the gallery should be clearly enshrined in a contract. Don`t rely on assumptions and memories of verbal conversations. A good contract, like the consignment contract developed by the Professional Guidelines Committee, is fair to both parties. It is up to both parties to discuss all the issues presented here. .

 

 

 

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