Bowl Pricing

[Jon Lanier]

I know this is a common question and can have some variants. But I'm really without a clue as to what to price the bowls I've been doing? I know how I rate my pen pricing, but for me that was pretty easy. I don't have a clue on the bowl market.

I'll probably have about 12 various sized Spalted Maple before my next show. Along with some Cherry and Walnut.

Any ideas would help greatly.

-Jon

[Dennis Peacock]

Some turners charge $10 per inch of finished bowl diameter for a rule of thumb for pricing. A lot of it has to do with "location" and what the market for this type of stuff is around your location.

I've sold bowls for $25 / $35 / $45 but never really more than that.

[Bernie Weishapl]

Jon I have the same problem. Like Dennis I couldn't sell a bowl for much more than $60. If I am any higher out here in Ag country I couldn't sell anything. I average I would say $40 for most of my bowls. Anything above that sales are scarce.

[Bill Wyko]

On Segmented pieces I start around $2.50 per segment. I think 10.00 per inch of Diameter + 10.00 per inch of height would be a good starting place. Then vary, depending on the wood species.

[David Wilhelm]

I use a simple formula that has been shared on here as well. W x H x product factor. This last number is placed in the formula by the turner. Many variables go into choosing this number such as but not limited to: shape/style, type of wood ( exotics ), skill/difficulty, beauty, flaws, ect. and lets not forget common sence. So a 8"x4" NE cherry burl with a PF of 5 = $160.00. Getting a 5 to me the bowl has to jump up and say buy me. Each buyer has different taste. I sold one blister core bowl for 200. I dont' think i'll ever sell another bowl that small for 200 again.

[Matt Hutchinson]

Well, as usual, there will always be exceptions to every turner's pricing system. Rare woods, highly figured woods, and extra large bowls should always have a considerably higher price than the run of the mill bowl. The larger you go, the price should increase exponentially.

Case in point: A guy was selling absolutely stunning 12" bowls that had no figure for a normal price - $100++. But he had a 27" walnut bowl that he undersold for $1800. He should have asked at least $2800 for it....and he would have easily gotten that money if it weren't that he was trying to sell it 2 years ago when the market was poor.

Personally, I would just look at each bowl's attributes and wouldn't use any particular system. Some pieces just draw you in more than others, and these should be priced accordingly.

Hutch

[Steve Trauthwein]

I agree with what Bill said for a starting place. If the piece of wood has outragous grain I will add some. I read early on that when you do shows with craft items what you really sell is yourself. Engage people and don't discount anything. If someone asks for a discount I tell them the item is one third to one quarter of what it would be in a gift shop.

Here are my tips for pricing. Have a range of prices. Take your nicest piece and double what you think it is worth. If you have pieces priced to low people won't see the value. This may sound funny but I don't price higher priced items evenly, no 100, 200 or 300, I will put a 25 or 75 on the end but never a 95 or 99.

In case this sounds like I know a lot, I will tell you I didn't sell any bowls at the first four shows I took them to. My wife told me I had them price to low, so out of frustration I let her price the three nicest pieces I was taking to my next show. I thought her prices were gauged to ensure the works stayed in the house. Needless to say I sold all three of those pieces at that show, it taught me a real lesson.

This info all hinges on location. You must be in an area were items are appreciated for their visual and tactile stimulus, or they are just bowls.

Regards, Steve

[Curt Fuller]

You must be in an area were items are appreciated for their visual and tactile stimulus, or they are just bowls.

Regards, Steve

I think Steve might have nailed it with his last comment. I know I don't have any bowls sitting around my house that I paid $400, $300, $200, or even $100 for. But I don't shop the galleries in the artsy areas either. Local markets and art fairs usually attrack more folks out for a stroll and greasy cheeseburger than serious art buyers.

[Reed Gray]

I sell 6 to 8 inch personal sized bowls for $20 to $40. Small salad bowls in the 10 to 12 inch range for $60 to $100 plus. 14 and above bowls for up to $300. I can't imagine some one paying $1 per inch. $60 for a 6 inch bowl??? I do charge more for figured pieces, pieces that I really like, and rare woods. You never know what will sell, and figuring what your market will want and buy is guess work at best. You do need a lot of inventory. I have a guy next to me at a show this weekend who does etchings. He has about 10 different prints in his booth, and has sold none. They are nice, but no variety. This is his first show. For the show this weekend, I will sell more family sized bowls, and for the show next weekend, I will sell more personal sized bowls. I also have some hollow forms, and boxes, and some natural edge pieces. A little bit of everything. I don't do pens or bottle stoppers though.
robo hippy

[Jack Savona]

The first suggestion I would make is to line up your turnings in the order of lowest price to highest price. That's at least a beginning.

Next decide upon the price market you think your bowls belong in (eg. low, medium, high). In other words how good is your work compared to what's out there in the market? Do you have sanding marks or tearout that are noticeable? How's your form, your finish, the uniqueness of your wood? With that information decide upon what you think your best bowl could sell for and the lowest price you'll accept for the lower priced bowls.

Then, with the help of others, decide on a maximum and minimum selling price for your turnings. You'll be surprised how relatively easy it can be.

The price will also depend on the venue. Before I started selling my work, I visited gift shops in and out of my area, looked at their products, and got an idea of the market prices. After a while I could easily size up a shop and decide whether the quality of my work fit there and, if so, what the pricing range would be.

I had an experience where friends and family admired my work (like friends and family do) and suggested I sell it to a certain quality shop in my tourist town. I kept saying, "No, I'm not ready for that shop." Then after a year analyzing, evaluating, and bettering my work, I came to the point where I said, "I'm ready." I made an appointment with the owner and brought in about 30 bowls which she asked me to lay out on her counter tops. As we chatted for about 20 minutes and she told me about her shop and the kinds of items that sell, she held one of my bowls and kept stroking the inside.

I realized she was my customer. At the end she bought 9 bowls (cash in hand) and displayed them in groups of 3, based upon wood or style. She taught me a lot about selling.

The key is matching your work with the venue. If you sell directly to a shop (50% of retail) the shopkeeper has to like your work and it's pricing. He or she will tell you if your work belongs in their shop and if your pricing will sell. If the shop doesn't have items that sell for more than your work, don't even bother. Your work won't sell well there.

The same for craft fairs. If you are in a fair where your prices will be higher than most, I suggest you don't go there. But, if you do, be sure to have plenty of lower-priced items like pens, stoppers, and bud vases to sell.

If the other vendors have the same or more expensive items in their booths, you'll do much better if you have a good quality item.

I've worked hard to get to the point of having a gallery in town carry my work (my only consignment location). His gallery paintings sell for up to $7,000.

That's the best venue for my work. Anyone going into that gallery knows its price range. To them, my work is "cheap". (The owner actually asked me to raise my prices. Apparently no one has tried to negotiate my prices like they do with the prices of his paintings.)

Long answer to your question about pricing, Jon, but I think the principles are the same.

As far as fairs go, decide upon on the quality of your work compared to that of the other vendors. The better your work and the better your venue, the better the price. If you'll be in a fair with potholders, and crafty nick-nacks, you'll never be able to price things like you could in a fair with true craftspeople who command prices more than $10 or $15.

Bottom line: People, ...no..... BUYERS, have an idea of a price range when they enter a shop or go to a craft fair. Just make sure that your prices are in the middle or lower end of that range.

I urge you to take the plunge. At least TRY SOMETHING!!!! You'll definitely learn from the experience. To walk that mile, you need to take a first step.

Do let us know how it turns out.

Jack

[Andy Hoyt]

It also depends (sadly) on who you are.

There's Andy Hoyt at the low end and guys like Al Stirt at the other. He and I could create identical pieces (Hah! As if it were possible) and his would be priced higher than mine by a factor of at least five or six, just because it's his name on it.

One can only dream, or spin more.

[Jon Lanier]

Wow! What great input you all have given for this topic. This thread had definitely helped me know what to do with bowls. Pen pricing for me is easy, but the bowls are not. But now I have a good idea on where to start and what kind of 'formula' to use.

THANKS! :)

[Scott Lux]

I was told (by the best businessman I ever worked for) that proper pricing is an art. He always tried to find the "ouch" price. That's the price that the customer hears and says, "Ouch, that much? Well... ok." If you don't get the ouch, you're too low. If you don't get the ok, you're too high.

I recently sold a 4"-5" spalted maple bowl for $15. Didn't get the ouch. I should have asked more. But I saw everything wrong with the bowl: primitive shape, poor finish, rough bottom. The customer saw only a beautiful piece of wood her husband would love. The happy ending is that when I saw her again a couple weeks later, she said he loves the bowl and completely re-arranged his desk to show it off.

Lux

[Lee DeRaud]

It also depends (sadly) on who you are.

There's Andy Hoyt at the low end and guys like Al Stirt at the other. He and I could create identical pieces (Hah! As if it were possible) and his would be priced higher than mine by a factor of at least five or six, just because it's his name on it.Have you considered, um, changing your name? :D:cool:

[Frank Kobilsek]

Jon

Jack hit on something that I'd like to add a story to. I've been a guest featured artist at a high end wine shop that features 4 or 5 artists at a time. In the past during my 3 month terms I'd sell a piece or two, I would take a variety of my best pieces all different looks. This past cycle I took only dyed maple bowls and platters. The 7 pieces I took all sold within the first three weeks. I did not have more maple cured and ready so I re-stocked with the ussual variety and sales died. That lesson told me I needed to represent myself with a 'Consistent body of work'. I appear to be an expert at that style. Buyers respond to that. I now use this technique in my jury pictures and improved my percentage of aceptance letters this year. I now try to show at the few shows I do each year groups of work. In other words one table is fluted, one table is dyed maple, one table is inlaid to try to reduce customer confussion as to what I do. I hope that makes sense.

Frank