{"id":3883,"date":"2026-10-07T10:35:56","date_gmt":"2026-10-07T08:35:56","guid":{"rendered":"https:\/\/fournol-associes.com\/non-classe\/consignment-agreement-clauses-galerie-artiste\/"},"modified":"2026-10-07T10:50:08","modified_gmt":"2026-10-07T08:50:08","slug":"consignment-agreement-clauses-gallery-artist","status":"publish","type":"post","link":"https:\/\/fournol-associes.com\/en\/art-market\/consignment-agreement-clauses-gallery-artist\/","title":{"rendered":"Consignment agreement: what the gallery and the artist should stipulate"},"content":{"rendered":"[vc_row type=&#8221;in_container&#8221; full_screen_row_position=&#8221;middle&#8221; column_margin=&#8221;default&#8221; column_direction=&#8221;default&#8221; column_direction_tablet=&#8221;default&#8221; column_direction_phone=&#8221;default&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; row_border_radius=&#8221;none&#8221; row_border_radius_applies=&#8221;bg&#8221; row_position_desktop=&#8221;default&#8221; row_position_tablet=&#8221;inherit&#8221; row_position_phone=&#8221;inherit&#8221; overflow=&#8221;visible&#8221; overlay_strength=&#8221;0.3&#8243; gradient_direction=&#8221;left_to_right&#8221; shape_divider_position=&#8221;bottom&#8221; bg_image_animation=&#8221;none&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_tablet=&#8221;inherit&#8221; column_padding_phone=&#8221;inherit&#8221; column_padding_position=&#8221;all&#8221; flex_gap_desktop=&#8221;10px&#8221; column_element_direction_desktop=&#8221;default&#8221; column_element_spacing=&#8221;default&#8221; desktop_text_alignment=&#8221;default&#8221; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_backdrop_filter=&#8221;none&#8221; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; column_link_target=&#8221;_self&#8221; column_position=&#8221;default&#8221; gradient_direction=&#8221;left_to_right&#8221; overlay_strength=&#8221;0.3&#8243; width=&#8221;1\/1&#8243; tablet_width_inherit=&#8221;default&#8221; animation_type=&#8221;default&#8221; bg_image_animation=&#8221;none&#8221; border_type=&#8221;simple&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text css=&#8221;&#8221; text_direction=&#8221;default&#8221;]\n<h4 dir=\"ltr\"><em>Can a gallery charge to the artist&#8217;s share costs that do not appear in the clauses of the consignment agreement?<\/em><\/h4>\n<p dir=\"ltr\">By a judgment of 22 September 2026[1], the Aix-en-Provence Commercial Court (Tribunal de commerce) settled the dispute between a visual artist and her gallery. The gallery had exhibited and marketed her works. The court orders the gallery to repay the framing costs deducted from the price owed to the artist and to return one work. It dismisses, however, the damages claims of both parties. This decision is a reminder that the consignment agreement precisely defines both the gallery&#8217;s rights and the artist&#8217;s guarantees. It encourages the parties to draft and read its clauses with care.<\/p>\n<h2 dir=\"ltr\">Two successive consignment contracts<\/h2>\n<h3 dir=\"ltr\">The clauses of the first consignment agreement<\/h3>\n<p dir=\"ltr\">In February 2023, a gallery based in Aix-en-Provence offered a visual artist a two-person exhibition. A contract dated 10 April 2023 formalised their relationship. It covered twelve works and ran for three months from 12 May 2023. The contract set the artist&#8217;s share at 50% of the sale price, payable within two months of receipt of payment. It stated that &#8220;<em>the artist has no costs to pay for the deposit<\/em>&#8220;. The gallery sold three works during the summer of 2023.<\/p>\n<h3 dir=\"ltr\">A second contract with territorial exclusivity<\/h3>\n<p dir=\"ltr\">A second contract, entered into on 6 November 2023 for the West Bund Art &amp; Design fair in Shanghai, covered four works. It ran from 1 September 2023 to 1 September 2024. It granted the gallery a three-year exclusivity over the Chinese territory. The gallery made no sales.<\/p>\n<h3 dir=\"ltr\">The breaches alleged by each party<\/h3>\n<p dir=\"ltr\">For lack of payment, the artist gave notice of termination of both contracts on 30 April 2024. The gallery then paid the balance after deducting \u20ac1,301.46 in framing costs. It returned eleven of the twelve works. Each party sought damages, which the court dismissed. The court thus upheld only two breaches by the gallery: the withholding of the framing costs and the failure to return one work.<\/p>\n<h2 dir=\"ltr\">The legal characterisation of the consignment contract<\/h2>\n<p dir=\"ltr\">The parties agreed in characterising their agreements as consignment contracts. This term corresponds to the notion of consignment agreement, more commonly used in the <a href=\"https:\/\/fournol-associes.com\/en\/art-market\/\">art market<\/a>. It does not, however, designate a contract governed by statute. The court thus points out that a consignment contract is in fact a mandate to sell coupled with an obligation of safekeeping.<\/p>\n<p dir=\"ltr\">The court therefore derives the applicable regime:<\/p>\n<ul dir=\"ltr\">\n<li>as depositary, the gallery must keep the works safe and return them in kind[2];<\/li>\n<li>as agent entrusted with the sale, it must account for its management and remit the sale price to the artist, under the conditions set out in the contract[3].<\/li>\n<\/ul>\n<p dir=\"ltr\">The contracts did not depart from this statutory framework of the French Civil Code, but adapted it. The court therefore examines each party&#8217;s complaints in light of these rules and of their contractual adaptation.<\/p>\n<h3 dir=\"ltr\">Proof of delivery of the works<\/h3>\n<p dir=\"ltr\">Delivery of the work is the first stage of the consignment contract. At this stage, the parties must record the delivery of the works and their condition. Such a record will later make it possible to establish any damage occurring during the performance of the consignment agreement.<\/p>\n<p dir=\"ltr\">The gallery denied having received the work that was not returned, in the absence of a signed delivery slip. Its own written communications, however, contradicted it. Its manager had confirmed by message receipt of all the pieces, including the portfolio containing the disputed work. She had then indicated that the delivery note would list twelve pieces, not eleven. The court orders the gallery to return the work within thirty days of service of the judgment. Failing that, it will have to pay its value of \u20ac1,100.<\/p>\n<p dir=\"ltr\">The outcome could, however, have been the reverse. The Paris Judicial Court dismissed an artist&#8217;s claim for the return of her works. She could not establish that they had been delivered to the gallery[4]. A consignment receipt signed by both parties, when the works come in as well as when they go out, therefore remains the safest evidence for each of them.<\/p>\n<h3 dir=\"ltr\">The term of the contract<\/h3>\n<p dir=\"ltr\">The court dismisses the claim for termination on the grounds of the gallery&#8217;s sole fault, for two reasons.<\/p>\n<p dir=\"ltr\">First, it finds the established breaches insufficiently serious in light of the overall performance of the contracts. These had led to two exhibitions, an international fair and sales, most of the proceeds of which the gallery had paid to the artist.<\/p>\n<p dir=\"ltr\">Second, the first contract had already run its course before notice of termination was given. The second had reached its contractual term on 1 September 2024. The gallery nevertheless kept the works for several months after these dates. The parties should therefore stipulate precisely the duration of the deposit and the conditions for its extension. They should also set the time limit for returning unsold works upon expiry of the term.<\/p>\n<h2 dir=\"ltr\">The clauses of the consignment agreement relating to costs<\/h2>\n<p dir=\"ltr\">The allocation of costs between the parties is often a source of dispute. These may be costs of producing the work, costs relating to its safekeeping (packing, crating, storage, transport) or costs relating to its marketing (framing, opening, catalogue). To avoid any difficulty, the clauses of the consignment agreement may allocate these costs between the parties.<\/p>\n<h3 dir=\"ltr\">The &#8220;no costs&#8221; clause, a clear and precise stipulation<\/h3>\n<p dir=\"ltr\">The gallery had deducted \u20ac1,301.46 from the artist&#8217;s share in respect of framing the works sold. The court refuses to interpret a clear and precise clause, failing which it would distort it (d\u00e9naturation). It further notes that the gallery itself had told the artist that the price of the frames was added to the price paid by the buyer, at no cost to her. The court holds the deduction unjustified and orders the gallery to repay the sum.<\/p>\n<p dir=\"ltr\">The same reasoning leads the court to dismiss the gallery&#8217;s claim for its investments, which it valued at \u20ac6,894.66. According to the court, framing, transport, insurance, communication and fair participation costs fall within a gallery&#8217;s normal activity. They constitute the commercial risk that its 50% commission is precisely intended to remunerate.<\/p>\n<h3 dir=\"ltr\">The gallery&#8217;s right of retention<\/h3>\n<p dir=\"ltr\">The judgment does not rule on the retention of works by a gallery that considers itself a creditor. Here, the gallery had made a deduction and then returned the works.<\/p>\n<p dir=\"ltr\">The depositary may retain the deposit until full payment of what is owed to it by reason of the deposit. This retention thus secures claims arising from safekeeping, first and foremost conservation expenses. It does not, in principle, extend to the commission or to promotion costs, which arise from the mandate to sell.<\/p>\n<p dir=\"ltr\">The gallery should nevertheless exercise this right with caution. Retaining works without a certain legal basis exposes it to an order to return them, or even to pay damages. It is therefore preferable to stipulate a retention clause specifying the secured claims.<\/p>\n<h2 dir=\"ltr\">Exclusivity, confined to the stipulated scope<\/h2>\n<p dir=\"ltr\">Exclusivity is often a key issue in the relationship between an artist and a gallery, since it often underpins their relationship of trust. Yet it is not presumed, despite market practice. The artist and the gallery should therefore provide for it in the contract so that it does not cover only the consigned works.<\/p>\n<p dir=\"ltr\">Lastly, the gallery accused the artist of direct sales in breach of a duty of loyalty. The court, however, notes that no provision stipulated a general exclusive representation or prohibited the artist from selling her other works. The only agreed exclusivity concerned the Chinese territory. It dismisses the complaint for lack of evidence, as the gallery&#8217;s annotations could not serve as evidence created by the gallery for itself. It notes that nothing establishes a direct sale of a deposited work. This suggests that the duty of loyalty arising from the consignment contract is limited to the works entrusted.<\/p>\n<h3 dir=\"ltr\">The three-year Chinese exclusivity<\/h3>\n<p dir=\"ltr\">The contract entered into for the Shanghai fair, by contrast, leaves open a question that the court did not have to decide. Its three-year exclusivity exceeded the term of the contract, which was concluded for one year. Nor did it specify whether it covered only the deposited works or any sale of the artist&#8217;s works in China. Moreover, the scope of an exclusivity clause has already led the Paris Judicial Court to terminate an artist-gallery contract on the grounds of the artist&#8217;s fault[5]. The parties should define it by its subject matter, territory and duration, including beyond the term of the contract.<\/p>\n<p dir=\"ltr\"><em>An article by <a href=\"https:\/\/fournol-associes.com\/en\/firm\/our-team\/simon-rolin\/\">Simon Rolin<\/a>, Attorney at the Paris Bar (Avocat \u00e0 la Cour) and Partner of the Firm.<\/em><\/p>\n<p dir=\"ltr\">As part of its art market practice, Fournol &amp; Associ\u00e9s advises in particular on contract law. The Firm assists artists and galleries in drafting and negotiating their consignment agreements, as well as in resolving disputes arising from their performance.<\/p>\n<h3 dir=\"ltr\">Related practice areas &amp; sectors<\/h3>\n<ul dir=\"ltr\">\n<li><a href=\"https:\/\/fournol-associes.com\/en\/art-market\/\">Art market<\/a><\/li>\n<li><a href=\"https:\/\/fournol-associes.com\/expertises\/droit-des-contrats\/\">Contract law<\/a><\/li>\n<\/ul>\n<h3 dir=\"ltr\">Related publications<\/h3>\n<ul dir=\"ltr\">\n<li><a href=\"https:\/\/fournol-associes.com\/en\/art-market\/consignment-receipt-artwork-gallery\/\">Entrusting a work of art to a gallery: the need for a consignment receipt<\/a><\/li>\n<li><a href=\"https:\/\/fournol-associes.com\/marche-de-lart\/preuve-bon-depot-restitution-oeuvre-galerie\/\">Return of works of art: the artist bears the burden of proving the deposit<\/a><\/li>\n<li><a href=\"https:\/\/fournol-associes.com\/marche-de-lart\/contrat-artiste-galerie-exclusivite\/\">Artist-gallery contract: the exclusivity clause<\/a><\/li>\n<li><a href=\"https:\/\/fournol-associes.com\/marche-de-lart\/reddition-comptes-galerie-artiste\/\">Accounting to the artist, a source of legal certainty for the gallery<\/a><\/li>\n<\/ul>\n<p dir=\"ltr\"><strong>Footnotes<\/strong><br \/>\n[1] Aix-en-Provence Commercial Court (T. com. Aix-en-Provence), 22 Sept. 2026, docket no. (RG n\u1d52) 2025007766.<br \/>\n[2] French Civil Code, Arts. 1915 and 1932.<br \/>\n[3] French Civil Code, Art. 1993.<br \/>\n[4] <a href=\"https:\/\/fournol-associes.com\/marche-de-lart\/preuve-bon-depot-restitution-oeuvre-galerie\/\">Return of works of art: the artist bears the burden of proving the deposit<\/a><br \/>\n[5] <a href=\"https:\/\/fournol-associes.com\/marche-de-lart\/contrat-artiste-galerie-exclusivite\/\">Artist-gallery contract: the exclusivity clause<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row type=&#8221;in_container&#8221; full_screen_row_position=&#8221;middle&#8221; column_margin=&#8221;default&#8221; column_direction=&#8221;default&#8221; column_direction_tablet=&#8221;default&#8221; column_direction_phone=&#8221;default&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; row_border_radius=&#8221;none&#8221; row_border_radius_applies=&#8221;bg&#8221; row_position_desktop=&#8221;default&#8221; row_position_tablet=&#8221;inherit&#8221; row_position_phone=&#8221;inherit&#8221; overflow=&#8221;visible&#8221; overlay_strength=&#8221;0.3&#8243; gradient_direction=&#8221;left_to_right&#8221; shape_divider_position=&#8221;bottom&#8221; bg_image_animation=&#8221;none&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_tablet=&#8221;inherit&#8221; column_padding_phone=&#8221;inherit&#8221; column_padding_position=&#8221;all&#8221; flex_gap_desktop=&#8221;10px&#8221; column_element_direction_desktop=&#8221;default&#8221; column_element_spacing=&#8221;default&#8221; desktop_text_alignment=&#8221;default&#8221; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221;&#8230;<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[112,113,125],"tags":[],"type_contenu":[78],"class_list":["post-3883","post","type-post","status-publish","format-standard","category-art-market","category-artists-and-artist-estates","category-contract-law","type_contenu-publications"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Consignment agreement clauses: costs, exclusivity<\/title>\n<meta name=\"description\" content=\"What consignment agreement clauses on costs and exclusivity? 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