I recently received a question from an artist who was in a delicate stage of negotiation. They had a potential buyer interested in a large, expensive artwork, but the buyer was hesitating. The client wasn’t sure if the piece would work in their home. The artist asked: “Is it advisable to suggest shipping the artwork to them so they can see it in their space? Or is the risk and expense too high?”
This brings us to a concept that many of you are likely familiar with: “Art on Approval.”
For those who haven’t used this term before, it simply means allowing a client to take possession of the artwork for a short, defined period (usually a few days to a week) to live with it before finalizing the purchase. It is a powerful tool in an art seller’s arsenal, but it must be used with caution and clear boundaries.
When done correctly, however, the results are undeniable. In my own experience as a gallery owner, we have placed and shipped hundreds of works on approval over the years. Of those hundreds, only a mere handful have ever returned to the gallery.
Here is how to navigate the logistics and psychology of shipping work on approval to ensure those high success rates.
The Power of the Empty Wall
The psychology behind the success of this strategy is simple: Art sells itself when it is on the wall.
When a client is looking at a JPEG on a phone or even viewing a piece in a gallery, they have to use their imagination. They have to guess how the light will hit it or if it will clash with the sofa. But once that piece is physically hanging in their living room, it transforms the space.
If you can get the art onto their wall, the conversion rate for the sale skyrockets. The “pain” of taking it down, packing it back up, and shipping it away often outweighs the cost of keeping it. They bond with the piece, and it becomes theirs.
When to Use It (And When Not To)
While effective, this shouldn’t be your first line of defense. Shipping art—especially large work—is expensive and risky. You need to pre-qualify the buyer.
-
The Wrong Scenario: If you feel like you are twisting the client’s arm, do not ship the work. If they are saying, “I don’t know, I’d rather just wait,” and you are pushing them to take it on approval, the likelihood of a return (and wasted shipping costs) is high.
-
The Right Scenario: If the client loves the piece but genuinely struggles with visualization—saying things like, “I love it, I just wish I knew if it was too big for that wall”—that is your green light. In this case, you are solving a problem for them, not forcing a sale.
The Logistics: Who Pays for Shipping?
To make this work financially and psychologically, you need to balance generosity with “skin in the game.”
The Recommended Model:
-
Outbound Shipping: You (the artist or gallery) pay the expense to ship the art to the client. This removes the barrier to entry. You are making it easy for them to say “yes.”
-
Return Shipping: The client agrees that if they decide not to keep the piece, they are responsible for the cost of packing and shipping it back.
This structure is crucial. If the client knows they have to pay to return it, they are financially motivated to make it work. It filters out people who are just “kicking the tires.”
Security and Deposits
Never ship a piece of art into the void without security.
-
The Deposit: Ideally, take a 50% refundable deposit. This confirms they have the funds and the intent to buy.
-
Credit Card on File: If you have a long-standing relationship with the collector, you might skip the deposit, but always get a credit card number on file.
-
Insurance: From a legal and insurance standpoint, having a financial transaction recorded (even just a hold on a card) often helps establish the value and chain of custody should the piece get damaged in transit.
The Low-Cost Alternative: Digital Placement
If the artwork is massive and shipping will cost hundreds of dollars, or if the client is too hesitant to put down a deposit, try a digital solution first.
Ask the client to email you a photo of their wall. Use Photoshop (or similar apps) to superimpose your artwork into their space at the correct scale. While not as powerful as the physical object, it is a great intermediate step that costs you nothing but time.
Summary
Sending work on approval is a gamble, but it is a calculated one. By covering the outbound shipping while making the client responsible for the return, you create a partnership where both parties are invested in a successful outcome. And as our history shows, once that crate is opened and the art is on the wall, it rarely comes back.
What do you think? Have you ever shipped a piece to a client just so they could “try it out”? Did they keep it? Share your experience in the comments.