A working gallery has three databases the industry pretends is one: the artists, the inventory, and the collectors. Aurelian keeps them distinct and lets them talk. Consignments track back to the artist. Sales track forward to the collector. Exhibition history follows the work through every hand.
Where it hurts today
Which pieces are on loan, which are for sale, which are with the artist, which are at the framer — the answer lives in the director's head and evaporates when they leave.
The artist asks for a quarterly report. The gallery scrambles for two days to compile sales, loans, and press mentions from three inboxes and a spreadsheet.
You sold Sarah Cohen a Klimt-referenced work in 2018. You cannot remember whether she bought anything since, or what she asked about at the last opening.
What Aurelian gives you
Every artist's inventory, consignment status, sales history, and outstanding payments in one place. Quarterly reports generate themselves.
Editions, artist proofs, current location, condition reports, prior exhibitions — captured for every work and travelling with it through every loan.
Aesthetic preferences, past acquisitions, price bands, interest in specific artists. The right invitation goes to the right collector for the next exhibition.
Every show, every loan, every publication logged. The catalogue raisonné builds itself as the gallery operates.
How it flows
Artist agreement, works consigned, agreed pricing, term. Every piece enters inventory with its consignment context intact.
Assign works to exhibitions or art fairs. Track visitor interest, holds, and offers against each piece.
Buyer, price, commission split. Artist payment scheduled automatically. Collector record updated.
Loan requests, resale royalties, exhibition invitations — logged against the work and the collector for the rest of the piece's life.
Questions
Yes. Each artist agreement carries its own split terms, and every sale calculates the artist's share and the gallery's share automatically. Payments to artists are tracked separately with a full audit trail.
Yes. Each fair is a project with assigned works, staff, booth expenses, visitor logs, and post-fair reporting. Sales attribute back to the fair automatically.
Editions are first-class records. Each edition number has its own provenance, condition history, and current owner — the parent edition rolls up the state of every impression.
Optionally. Each artist can be granted a read-only view of their inventory, sales, and press coverage — reducing the volume of reporting requests.
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