Professional Development Seminar Feed

"Beyond the Shores We Know" - Insights from Casey Sharpe

Casey Sharpe has worked closely with me for more than two months to combine the original audio recordings and lectures from the SNAG Professional Development Seminar for posting on YouTube. Below is a feature interview with Casey.  

Why did you volunteer to do this job for SNAG?
Casey Sharpe: I think it is important to preserve and share information.  The Professional Development Seminars are a really valuable tool for all craftspeople.  I’ve been a member of SNAG for over seven years, and I’ve found it a valuable resource, and a great way to connect with the larger jewelry and metalsmithing community. 

I Lay in the Tidal Pool
wool, silk, glass beads, sterling silver

Where do you find your inspiration?
Casey Sharpe:  As for my subject matter, my childhood was spent traveling between the east and west coasts of the United States.  I’ve spent most of my life living within an hour of the ocean, and have always been fascinated by quiet beaches.  There is something about the smell of the salt air, the cry of gulls, and the sand underfoot that soothes me, and I try to capture that in my work.

Sand and Barnacle Cufflinks
Sand, resin, sterling silver

Where did you learn metalworkS?
Casey Sharpe: I learned metalsmithing under Sharon Church and Rod McCormick at the University of the Arts in Philadelphia, PA.


Beyond the Shores We Know
silk, sea cell, glass beads, sterling silver


What has been the most helpful information or skill you learned in school?
Casey Sharpe: I think the most helpful thing I learned in school was to chase my interests, to pick up techniques and ideas, and to push everything as far as I could.  On the more technical side, I learned chasing and repousse in school, and absolutely fell in love with it.


Sand and Barnacle Pendants
sand, resin, sterling silver


What has been the most helpful skill or information you learned on the job?
Casey Sharpe: My day job taught me how many things I can do for myself, as well as when to hand off things to other people.  You have to know when to look for a professional, and when to ask for advice and do it yourself.  


Years After I Washed Ashore
wool, cotton, sterling silver

Where is your studio?
Casey Sharpe: I make all of my work out of my home studio in Los Angeles, CA

Where do you sell your work?
Casey Sharpe: Several galleries carry my work, including Freehand Gallery (Los Angeles, CA), the Craft and Folk Art Museum (Los Angeles, CA), and the Houston Center for Contemporary Craft (Houston, TX).  I also have an Etsy shop.


Sand and Barnacle Earrings
sand, resin, sterling silver

Again, I want to extend my thanks and appreciation to Casey Sharpe. It was a true delight to work with her and she demonstrates one of the key values of volunteering -- getting to know new people and gaining experience.  Like her title, Casey was willing to go "beyond the shores we know" to venture into new territory. She did not even know how to combine the audio and Powerpoints for video,  but she jumped in and figured out a workable solution. This  trait that will take Casey far in the voyage of life.

Best Regards,

Countless Hours of Advocacy

Photography-In-Flux-Niche-Marketing-VerticalHave you ever thought about the countless hours speakers spend preparing the content of their presentations. That is the finale of a year or years of preparation. Every year, the Professional Development Seminar Committee worked for 12 months prior to the Conference to develop an informative program and group of speakers.

Initially, I wondered  how a wider audience could benefit from this amazing resource beyond the immediate three-hour program at the Conference.  It became obvious that if the presentations were posted online (with the permission of the speakers), they could serve as a recurring resource for years to come.  

Purple-Cow-5-presentations-verticalFor the past five years I have posted presentations from the Professional Development Seminar.  These presentations, given during the annual SNAG Conferences, provide valuable information useful for the entire arts and craft community. 

That was the early premise and hope.  But would it really work?

I am happy to report that after five years of postings, the online presentations recently achieved over 200,000 views! That is a testament in itself.  

This spring the original presentations along with audio moved to YouTube as videos.

ShippingVerticalIt was a lot of work and I desperately needed help to get this job done. 

Casey Sharpe stepped up and volunteered. She was instrumental in converting the original PowerPoints and audio recordings into video which were uploaded to YouTube. This tremendous resource would not have been available if it weren't for Casey's volunteer hours to make this happen.  

I'd like to express my deep appreciation for Casey's efforts. "Thank you, Casey."

After working with Casey Sharpe for the past three months, I thought that it was time to learn more about her work with a few questions. Tomorrow  is a special feature interview with Casey and comments about her work. The titles for her work are very interesting. See what you think? Stay tuned until tomorrow.

P.S. The Professional Development Seminar is looking for a person who is interested in editing the audio recordings of one more seminar; "Collectors, Collections and YOU" from the Minneapolis SNAG Conference. 2014. Would you be interested in helping?

Learn the fundamentals of audio editing, and work with me closely for a month or two to bring seven lectures to the arts and crafts community from the recent Professional Development Seminar. Leard how to edit audio (if you don't know how.) Listen to the valuable information from our speakers. Become informed. Be an advocate for the arts and crafts community.
Collector's CollectionsYou-Blue

What is the Value of Your Work?

Harriete Estel Berman standing in front of her artwork at the Minneapolis Institute of Art
Have you ever wondered ...

What are key considerations when art or craft is accepted into a collection?

What is the value of that particular work to a collector or collection?

Does having artwork in a collection actually affect the value of future work?

These questions delve into the myriad issues of value. Price is not the sole determinant of value. Materials are not the sole determinant of value. The amount of time you put into making a piece has little to do with its perceived value.

In fact, the value of a particular piece may vary depending on different contexts, situations or people.

In the post "Most of all, money is a story", Seth Godin says:

“Five dollars to buy a snack box on an airplane is worth something very different than five dollars to buy a cup of coffee after a fancy meal, which is worth something different than five dollars in the grocery store. That's because we get to pretend that the five dollars in each situation is worth a different amount--because it's been shifted.”


Deganit-Stern Schocken Me Uchim. NYTAs artists and makers trying to sell our work, we often talk about price and value in the same sentence, but they are not the same thing.

The necklace to the left is attributed to Deganit-Stern Schocken Me Uchin.* 

It is made from crushed tin cans without any effort at refined craft skill.  

Below is a necklace by Mary Lee Hu.* It is finely woven from gold.

Both necklaces are made by contemporary art jewelers. Each makes a statement about value of materials, and craftsmanship. Both are in the Newark Museum collection. I can't wait to hear what Ulysses Dietz has to say at the SNAG Professional Development Seminar about this work and other pieces in their collection.

Are there actions that artists can take to increase the value of their work? 


Collector's, Collections and Your Art Work

The upcoming SNAG Professional Development Seminar is focusing on the idea that your work is important.  Your art or craft can be significant to the present and the future of your field. 


I know that sounds like lofty words, but if you don't think your work is important who will? 

Then you might be asking... 

  • What are those steps you need to take as a maker to create a place in history?
  • How do you place your work in a collection?
  • How does a collector look at work? 
  • How does work get donated to a museum collection?
  • What criteria does a museum have in mind when they accept work for their collection?  
  • So many questions to ask.

This is the focus for...
"Collectors, Collections and You"

Friday, April 25, 2013.
1:30 to 5:00 p.m. 

The Professional Development Seminar has lots of ideas to open your eyes to seeing your work in a new way. 

But you don't have to wait! 
You can listen in to a preview of the PDS
 chock full of information in an interview on Jay Whaley Metalsmith Bench Talk with me, Harriete Estel Berman  and Betty Talbott. Betty Talbott is the Director of the Ohio Craft Museum and Artistic Director of the Ohio Designer Craftsmen. They have an extensive collection of member works and are a stellar example of "grassroots" collections.


Your work may have value to your family, the history of your guild, academic program, or a museum. Start with your Maker's Mark, & Inventory Records as a foundation.

Look at the line up of speakers here.

Register for the PDS at the SNAG conference here.


It is also possible to purchase a one day pass for the day of the Professional Development Seminar.

1001 Marquette Avenue South
Minneapolis, MN


This is my maker's mark (above).
Are you wondering why it looks like a domestic iron?




Creative Commons License
Harriete Estel Berman by ASK Harriete is licensed under a Creative Commons Attribution 4.0 International License.
Based on a work at

Identity of the Maker Establishes Value - from $15 to $300,000

Is your maker mark on your work?

The identity of the maker can raise the price from $15. to $267,750.

In this amazing story a "rare piece of jewelry plucked from a flea market" was auctioned at Christie's for an estimated $200,000- $300,000.
Calder Necklace spiralWhat are the issues here?

First, the person who found it at the flea market had to appreciate it's dynamic, perhaps even commanding  appearance in the context of a flea market... the "guy had it in a box on the ground,”

Next: she sees the Calder jewelry exhibition at the Philadelphia Art Museum and becomes informed, a great reason to study and learn about the decorative arts.

But the most significant issue, the one that changes a $15 necklace found at a flea market into a mind blowing value, is that it had to be authenticated by the Calder Foundation in New York. "Part of the mission of the Calder Foundation is to protect the Artist’s legacy. Many existing works are often misattributed to Alexander Calder." (Examples of Calder Jewelry can be found here.)

The foundation discovered that the necklace was indeed an authentic Calder originally exhibited at the Museum of Modern Art in 1943.

More recently, Christies' auctioned the necklace on September 26, 2013.  The price realized for the Calder Necklace = $267,750

Issues to consider:

  • Maker marks or signature for your art or craft
  • Importance of provenance
  • Materials do not equal value
  • Impact of auction house on price

We can learn a lot from this example.
AND I have more to come in future posts.


Slide show of jewelry by Calder on The New York Times Website.

Information about the Calder Jewelry exhibition at the Philadelphia Art Museum. (I saw the show at the Philadelphia Art Museum in 2008. It was small but amazing.)

Fabulous images of Calder's stabiles and mobiles along with other work can be found on ARTSY. There is also an interview with his grand-son.

Here is a link to another maker mark example. In this segment from Antiques Roadshow,  there was a deliberate effort to fake the maker's mark.  You can watch the video segment here.


Craft Commission Contract Information

Until several years ago I thought the Commission Contracts commonly available through published books were adequate. That was until I went to use them myself for a commission of this Seder plate (below).


Right from the start, I realized there were issues not included in the contract that needed to be discussed such as the payment schedule, photography, and taxes (which amounted to a considerable sum.)

PursuitCornerCurl72With this is mind I want to share a resource for readers of ASK Harriete.

Commission information from the SNAG Professional Development Seminar from 2007 (scroll down)

Millennium of Pursuit Seder Plate from recycled tin cans.

SNAG PDS about  Commissions.
In 2007 the SNAG Professional Development Seminar sponsored a program about Commissions. The Speakers included John Medeweff, public sculpture; Cynthia Eid, silver commissions; and Todd Reed, jewelry.  The program was organized by Don Friedlich, Andy Cooperman, and myself, Harriete Estel Berman.

There is a very informative Commission handout which everyone may download for free.  I highly recommend reading this document with hard earned words of advice.

John Medeweff handout is titled "The Do’s & Don’ts of Public Art & Private Commissions". Here is a brief list of his 11 points

  1. Respond only to Call to Artists/RFQ (Request for Qualifications.)
  2. Follow the directions!
  3. Do not take rejections personally.
  4. Most selection committees will choose 3 finalists.
  5. Winning the commission is great but it also means that you will assume a huge responsibility.
  6. Not all public art agencies are created equal.
  7. Never start work on the project until ...
  8. Stand behind your work.
  9. Who is the Patron?
  10. Charge for design work!
  11. Installation.

Cynthia Eid offered practical information about commissions including topics:

  • Getting Commissions
  • Designing Commissions
  • Working with the Client
  • Working with a Committee
  • Pricing
  • Tactics for Making Large Sculpture in a Jewelry Studio
  • Preparing for Installation
  • Documentation and Photography

All of this information is available...but most people aren't aware of this untapped resource. Check it out!  You are welcome to share this information with a link to proper  attribution to the original source.

Millennium of Pursuit        2010 was commissioned by Temple Emanu-El, San Francisco, CA. This seder plate was inspired by the elaborate designs and patterns from the ceiling, walls, and window design of the early 20th century synogogue. View more contemporary Judaica.


Commission Question and Publishing on Facebook

Commission Contract Resources & Recommendations

21 Presentations = 140,726 views of PDS

Purple-Cow-ALL-6-presentations-verticalThree years ago I suggested recording the SNAG Professional Development Seminar at the conference.

The goal?

Share and keep sharing the information with the arts and crafts community beyond the one, live afternoon at the SNAG Conference.

Why share these presentations for free?

Because SNAG is dedicated to education.

Now, after three years and 21 recorded presentations, there have been over 140,000 views.


WOW!  Beyond expectations!

But it wasn't magic that made this happen. Lots of people and organizations made this possible with their hard work.

And special thanks goes to every speaker that allowed us to record their presentation and post it online.

Thank you to SNAG, the NEA, and MJSA for providing funding. Thank you also to Jeweler's Mutual for their sponsored representative  Tina Pint.

Every presentation
can be found online on:

the SNAG website, or
my website
view the presentations directly on Slideshare & YouTube.

Everyone is invited to share this information with their local or national art organizations.


Link to a single presentation or the entire group.


There is also an embed code for your website or blog (with appropriate links and attributions.)   



Please contact me directly through my website, Facebook, Google + if you need help or information.

The Professional Development Seminar was organized
over the past 10 years by Don Friedlich, Andy Cooperman, Brigitte Martin and myself, Harriete Estel Berman.


Contact Brigitte Martin or myself for suggestions of future topics.


Photography-In-Flux-Niche-Marketing-VerticalP.S. Just ask for the link to a specific presentation, an image or the embed code.


10 Tips for Catching & Keeping an Editor's Attention -- by Michelle Bilodeau

This is the last presentation from the 2013 SNAG Professional Development Seminar.

Purple-Cow-ALL-6-presentations-verticalAs part of our purple cow series, we recognized that photography of jewelry, clothing, accessories and wearable work were all increasingly using models.

The isolated object with the graduated background is not the only option. In addition, the type of model and the styling of the photos are morphing with purple options and purple brick roads.

As organizers of the Professional Development Seminar, Brigitte Martin, Andy Cooperman, and I felt very fortunate to find Toronto based fashion editor and stylist Michelle Bilodeau.

An experienced speaker and spokesperson from the fashion and design world, Bilodeau (left in photo below) deftly organized her lecture into
"10 Tips for Catching & Keeping an Editor's Attention."

Michelle Bilodeau Viktor & Rolf
Without a doubt, you will find nuggets of information
that you can adapt for generating purple cow visibility for your work. My favorite tip for finding free to low cost professional quality models came out in the Q & A with the audience, so listen to the entire presentation all the way to the very end. I promise. It is worth listening.

Another suggestion from Michelle Bilodeau is to anticipate trends especially if your work aligns with fashion. An example is shown below in this two page spread from Elle June 2013.


In this ad, Tiffany riffs off the Gatsby movie with jewelry and styling inspired by the 1920's. The pearls, long necklace, hair diadem, and bracelet hand ring accessory all pick up on this summer blockbuster.

Another point is how the diadem worn by this model picks up on the fascinator trend from last winter. Everything old, can be new again. Consider new ways your jewelry or clothing can pick up on fashionable trends.

Tiffany's obviously had to be planing months in advance to have the jewelry, photo shoot and ad appear simultaneously with the movie, but you can do this too.

Michelle Bilodeau points out the blogs have a shorter lead time than magazines, but they still need to hear your pitch and see your images a month or so in advance of the next trend.  

You are welcome to share this lecture on Facebook, or Pin it to Pinterest. The embed code for your blog or website is also available. The easiest option is to share the link to this blog.
Find all 21 presentations from the past SNAG Professional Development Seminars on the SNAG web site and my own website. The information is offered for free to build a stronger craft community. Share the information. Information is power.

Bringing the Purple Cow to the Market: Tapping Into the Experience Economy by Lara Bazant

Mootivational Cow
Artist: Joanne P. Cassaro

Sponsor: Waypoint Bank
From the Cow Parade in Harrisburg, PA

In this lecture from the 2013 SNAG Professional Development Seminar Sacred Cow,
Purple Cow,
Cash Cow
speaker Lara Bazant offers articulate explanations for how her "experience" workshops have provided visibility, increased retail purchases, and augmented revenue.

Her lecture presentation offers a new perspective on the experience economy. Within only 15 minutes plus the Q & A with the audience she was able to answer all our questions and offer a solid approach to finding a new audience.

Below are some the questions we asked her to address:

  • Can you tell us how your experience workshops came to be?
  • What led you in this direction--was there an “aha” moment?
  • Do your experience workshop increase purchase of your jewelry or compete with retail purchase?
  • How do you promote your experience workshops?
  • Do you charge the same price for every event?
  • Do you charge per person?
  • How many people can take an experience workshop at one time?   
  • Do you charge a material fee?
As you listen to this lecture, THINK about how you can participate in the experience economy. 

P.S. The 2013 Professional Development Seminar was organized by Brigitte Martin, Andy Cooperman and myself Harriete Estel Berman to provide nuts and bolts entrepreneurial information. It is sponsored by SNAG and MJSA.  

Here is my question for you?
What information would you like to see covered as a topic in 2014. Any ideas? This is your opportunity to be a force for good. Please leave your suggestion in the comments or contact me privately through my website.
I look forward to hearing your ideas.

Cash Cow, Sacred Cow, Purple Cow - Intro

Purple cow in your faceEach Monday for the next five weeks the original PowerPoint presentations with recorded audio from the 2013 SNAG Professional Development Seminar will be posted on line. The program organized by Andy Cooperman, Brigitte Martin and myself, Harriete Estel Berman, was a great success with insightful and provocative observations.

Here is what Rebecca Rose had  say about the Professional Development Seminar:
"The conference segment that I heard the most pre-game talk and anticipation from attendees was for "Purple Cow, Sacred Cow, Cash Cow.  I imagine from the stage it may have looked like people were playing with their cell phones, but really it was a sea of people sitting to the left, right, and in front of me that were fervently typing notes into their iPhone's "Notes" app. It was easy to notice because I was doing the same."

"The true testimonial was the line of people I saw waiting for their turn at the mic to ask questions. Questions about SEO and responsive design for websites, how and where to find affordable emerging models for photos shoots, I realized, wow, not only were they paying attention, but they want to learn more. And for good reason, because the information presented is the type of info that gives us a running start ahead of the pack. Especially in terms of learning about magazine editors and how to pass through gatekeepers to get your work noticed. Great topics, great presenters, and great real-world info." Rebecca Rose

There will be five presentations with ideas for how everyone can reach new markets for their work. Topics covered will include "Pop-up shops", using video & photography, the "experience economy", optimizing for cell phones and mobile platforms, and reaching fashion editors with images of your work.

The goal when organizing this PDS was to tap into the Toronto scene seeking out innovators in jewelry, design, and the web. We were aiming to find the unique talent that Toronto had to offer with “purple cows” who consistently create truly unique experiences for their customers. We did! Stay tuned each Monday.


White Tents or Remarkable Purple Cows

Cash Cow, Sacred Cow, Purple Cow

The SNAG Professional Development Seminar is coming up soon. 

The topic for 2.5 hours of programming is:
"Cash Cow, Sacred Cow, Purple Cow"


The Professional Development Seminar will have the fabulous volunteer efforts of Lindsey Snell who will blog and tumbler the lecture LIVE!!!! from Toronto, Canada, on Friday, May 17, 2:30-5:30pm EDT.



Here is what Lindsey Snell has to say about our topic:
"I'm really looking forward to the PDS! The topics seem very well timed and I think it will really resonate with people at the conference" [along with the listeners on tumbler & twitter].

"This stems from the kinds of recent conversations that are happening with many of my peers. This is especially relevant to those students who are about to embark on the transition out of academia. There is a definite sense that things are very different from the lives that our professors have known and we need to be working independently to adjust to the way things are now."

"Especially with the rise of general interest in DIY culture, interactive media, social networking, and much more, many of us feel that being talented or a great maker will not prove to be as fruitful as it once was. There is a tension between the expectations of having good craftsmanship and design skills and the ability to develop one's identity as a maker and networker."

"In the last discussion I had with a friend, I think we used the phrase "social as survival" for a way to think about things now. Not only is being unique important as ever, but visibility and accessibility are essential." 

"Also, alternative exhibition spaces are exciting and rarely get discussed in comparison to traditional galleries and museums. I always think of the Clutch Gallery that is still in Chicago- it was a girl's handbag that was transformed into a mini traveling space."

"I'm sure I could go on forever about all of this-but that is precisely why I am excited about this presentation. It really should start good and necessary discussions about contemporary issues."


Attend the PDS 
Anyone may attend the Professional Development Seminar.

Date:          Friday, May 17, 2013
Time:         3:00 – 5:30 pm
Location:  Canadian Hall, Fairmont Royal York Hotel
Address:   100 Front Street West,
                      Toronto, Ontario, Canada M5J 1E3

This year's program was inspired by two TED talks:

Seth Godin: How to get your ideas to spread

Joseph Pine: What consumers want

Our speakers include:

Lara Bazant- “Bringing the Purple Cow to the Market: Tapping Into the Experiential Economy

Michelle Bilodeau“Milking Your Purple Cow in Fashion”

Natasha Granatstein – “The Unexpected Purple Cow: Pop-Up Stores and Alternative Exhibition Spaces

Justin D. Hartzman -  “All You Can Eat” Website – Customizing the Cow: New trends in New Trends in Cross Platform Web Optimization

Rachel Timmins – “Purple Cow: Documentation via video and photography

SHIPPING presentations for artists and makers from the SNAG Professional Development Seminar

All of the PowerPoints from the past three years of the Professional Development Seminar were recorded and made into a SlideShare presentation with audio. Fourteen presentations from the SNAG Professional Development Seminar can be found on the SNAG website. The information is intended for artists and makers in all media.

The Professional Development Seminar is organized by Brigitte Martin, Andy Cooperman and myself, Harriete Estel Berman.

PDS Preview with Andy, Brigitte, Harriete "Cash Cow, Sacred Cow, Purple Cow"

Today is a special treat. The Professional Development Seminar Committee including Andy Cooperman, Brigitte Martin and myself, Harriete Estel Berman will offer insight into our upcoming program titled:
"Cash Cow, Sacred Cow, Purple Cow".

BlogtalkradioJay Whaley Metalsmith Benchtalk will be our host and ask the difficult questions.

Why did we target the PDS program on such an unusual topic? First I was inspired by the Seth Godin lecture "How to get your ideas to spread" and Joseph Pine lecture What consumers want.  Please watch this catch up.

The issue for everyone reading this blog is that we can not continue doing the same thing from the past 20+ years and expect different results. The internet, telephone technology, tablet devices, and distribution has changed everything including the marketing art and craft. As Seth Godin says, Your work needs to be remarkable....that is "worth making a remark about".

There are lots of ways to

go about making

yourself remarkable.

Find out how as we dip into this fabulous topic.

Dimensional Weight As A Shipping Factor

At one time, shipping prices were determined solely by the weight of the box. A heavy box costs more to ship than a light box. Sure that makes sense.

But a few years back all the shipping companies added another factor - the size of the box. There was a realization that a large box uses more space in a truck or plane. Thus, a new factor was added to calculate shipping prices called "dimensional weight."


Now all the shipping companies consider the dimensions of the box in the shipping calculations.
If you go to FedEx or USPS they take out their measuring tapes to find the length, width and depth of the box. This is put into their computer along with the actual weight. The shipping calculation will take the heavier of the two, either the actual weight or the dimensional weight.

To save time, Kim Cridler recommends writing the dimensions of the shipping boxes on the outside of the box.

The dimensional weight is a shipping factor that you can not avoid, but it is something to consider when you double box your artwork for shipping. A one inch to two inch margin between the interior and exterior shipping box is important to protect most artwork.   So unless you have something unusual, any larger sized outer box may be costing you more money for shipping.


Shipping Large Sculpture by Kim Cridler

View additional presentations posted by
Harriete Estel Berman

In$urance Value, Whole$ale Price, Retail Price for $HIPPING

When shipping your art or craft, save money by understanding whether to use the wholesale price or retail price for shipping insurance. It doesn't matter how much shipping insurance you purchased for shipping -- your documentation for the value of the shipped item is the critical issue.

Here is an excerpt for the Q & A from the SNAG Professional Development Seminar. I describe the scenario briefly. (P.S. This is the first time for me to insert an audio file MP3 in a post. If it doesn't work for you let me know.)


When sending work to a store/gallery or exhibition sponsor, insure the art or craft at the wholesale price.
This is all you will receive if the work is sold. This is all the insurance company will pay you (the artist) if the work is lost or damaged during shipping. You must be able to prove that you have received this wholesale price for the same or similar work.

However, if the art or craft has already been sold at the retail price (and you have a receipt to prove it), then insure the art or craft for the retail price during shipping. The invoice for the purchase price will be adequate documentation for the insurance company that you expected to receive this amount.

Insuring for a higher or lower amount than the actual value may be considered fraud. So honesty is the best policy. Insure for the accurate value given each circumstance.

Sometimes when shipping art or craft, the insurance is provided by the exhibition sponsor. In this case, the insurance value is either A) the wholesale price if still owned by the artist, or B) the retail value if owned by a collector.  A collector can show a purchase receipt to prove value.  As an artist, a successful insurance claim depends on being able to prove that you have sold similar work for similar amounts to the insurance value. The insurance company will expect documentation such as:

  • invoices for purchase;
  • copies of past checks for similar or identical work; or
  • appraisals from qualified persons to establish value. 


Posts about Insurance Value, Wholesale Price & Retail Price:

In$urance Value, Whole$ale Price, Retail Price - Under$tand the Money defines the terms.

Insurance Value, Wholesale Price, Retail Price For EXHIBITION CONTRACTS 

The SNAG  Professional Development Seminar presented three hours of shipping information for artists and makers. We covered shipping jewelry from precious metals to large sculpture, making a custom made shipping box to international shipping. And more!

There are nine presentations and handouts with information about shipping.

All of the PowerPoint presentations with audio and handouts from the SNAG 2012 PDS are available on line at two locations:
SNAG Professional Development Seminar
Or the Professional Development Seminar page on my web site.

Additional information about shipping can be found on ASK Harriete

Ask me which presentation is the best for your interest or media.

11 boxes in my living room ready to ship to Alaska.
2 boxes ready to ship to Los Angeles, CA.
Last week was a busy week!



<p>Previous posts about Insurance Value, Wholesale Price &amp; Retail Price:</p>
<h3><a title="Insurance Value, Wholesale Price, Retail Price For EXHIBITION CONTRACTS"
<h3><a title="Insurance Value, Wholesale Price, Retail Price - Understand the Money " href="" target="_blank">In$urance Value, Whole$ale Price, Retail Price - Under$tand the Money</a> defines the terms.</h3>
<h3><a title="Insurance Value, Wholesale Price, Retail Price for Shipping" href="" target="_blank">In$urance Value, Whole$ale Price, Retail Price for $HIPPING</a></h3>

It is surprising how many artists do not know how to pack their work for safety and security


Why does Leila Hamdan, artist and museum registrar say: "It is surprising how many artists do not know how to pack their work for safety and security." At the Museum, "it was always heartbreaking to open a package and see that their work had been damaged."

LISTEN to French Thompson & Harriete Estel Berman as we talk about shipping disasters, recommendations, and solutions on Jay Whaley Blog Talk Radio.

Originally recorded on THURSDAY, August 9th, 2012 the archived recording is online.

ASK Harriete posts about the shipping includes presentations, handouts and more from the SNAG 2012 Professional Development Seminar:


(tip sheet)

Shipping Comparisons: Shipping Cost & Insurance with Common Carriers by Loring Taoka

Compare USPS to Fed Ex; Outrageous Difference

CONDITION Report from the Professional Guidelines for shipping art or craftConditions Report  from the Professional Guidelines

Claims for Damaged Work  from the Professional Guidelines

DAMN! Damaged boxes! Claims for Damaged Work.

Preservation, Conservation - Design for Repair

Additional presentations about shipping for artists and makers are also available on the Professional Development Seminar page on my web site.


Tales of Woe & Blood Curdling Shipping

BlogtalkradioThe archived recording of a conversation about shipping with French Thompson  and Greg Berg can be found on  Jay Whaley Bench talk on BlogTalkRadio.

French will be telling tales of woe about shipping he witnessed when organizing a recent exhibition.

SCREAMINGHarrieteshipping BoxCrushedFRAGILE 


We will be talking about how to prevent common shipping problems.

We  offer shipping recommendations and practical recommendations.