You have presented a schedule of 20 to 300 originals, the client has approved it, and now someone has to paint all of it by the handover date

This page is for an art consultant, art advisor or curator at an advisory practice who builds an art programme for a client and then has to get it made. Your work starts with the feel the client wants for each space and moves through rounds of options and feedback before a package is agreed ²; on a branded hotel that can mean around three rounds of proposals per area, with sketches, renderings and samples in the approval loop ³. You then commission piece by piece, per zone, from artists and studios, with a markup, and you deliver to the client with the documentation that goes into the handover file.

What makes you different from the other buyers we supply is what you ask us. An FF&E agent sends a finished spec to price; a designer owns the scheme and wants art that fits it. You ask whether a brief can be commissioned rather than picked, who the painters are and what you can say about them, whether progress imagery will be good enough to put in front of the client, and whether the studio will stay behind you rather than beside you. This page answers those questions with what is actually true of the studio, and nothing else.

Some consultants source single pieces through marketplace trade desks that offer inventory and custom commissions ⁴; this page is about the other case, where one studio has to produce the whole schedule.

Not you? If you are pricing a specification someone else wrote, see FF&E procurement agents. If you run a hospitality art company with your own framing and installation, see hospitality art companies. If the job is one or two oversized public-area pieces, lobby statement art covers sizing to an elevation.

Yes. The catalogue is there for consultants who want a starting point, not a menu you have to pick from. Nothing is held in stock and nothing is printed, so every piece is painted for its order, and changing it is the normal case. Four routes cover most of a programme:

• Commission. An original painted from your reference, mood board, site photograph or concept-deck page. The painter sends a sketch for approval before painting starts, then progress photos or video at each stage, then a final photograph before shipping.
• Vary. One concept executed as a series across a corridor, a floor or a whole building, so the rooms read as related without repeating. You approve the variation rule (palette shifts, crop, scale) up front.
• Resize and recolour. Any catalogue work re-proportioned by the painter to the wall you have, in the palette of the scheme: send paint, fabric or stone references and the painter matches to them.
• Master works. Pieces by the hub's senior partnered artists are kept exactly as painted. In place of changes they carry provenance, exhibition history, a photograph of the artist with the work and invitations to their shows. See custom & commission.

One honest limit on the commission route: the catalogue holds only three works that combine Figurative & Human subjects with Hyperrealism, so figurative realism is a commission, not a variation, and is quoted individually with its own lead time.

The usual failure on a large programme is not taste, it is capacity. Consultancies commission from artists across the world project by project ¹, and a single artist who can paint twelve pieces in a month cannot paint eighty in the same month, so the schedule either slips or fills up with prints. We are a studio, not one hand: our painters work out of Siji Art Hub in Foshan inside a live exhibition programme, and the programme is scheduled across them rather than queued behind one person.

What that means for your dates:

• A single piece takes about a week to paint and 3–7 days to ship: 10–13 days door to door.
• A programme of 40 or 200 pieces is not 40 or 200 times that. It is quoted as a project with delivery dates by zone, and those dates are confirmed in writing at quotation. The single-piece figure is per piece, not per project.
• Series consistency is handled by the Vary route: one concept, one approved sample, a stated variation rule, and each piece checked against the sample as it is painted.
• Nothing is dispatched until you have approved the final photograph, so a batch of forty does not arrive different from the sample you signed off.

If your client's opening moves, tell us; because zones are ordered as they are approved (see below), the painting schedule moves with the programme rather than against it.

You presented originals and the client approved originals. Then the cost plan comes back and the number per position is what a framed print costs from a hospitality art company. The temptation is to quietly swap in giclée for the corridors and keep the originals for the lobby, and hope nobody reads the handover file closely.

Our answer is not a discount on a list price, because there is no public price list. It is the way the work is made. Every piece is painted to order in Foshan by studio painters, which is a different cost base from a named gallery artist, and a programme is quoted as one project with volume pricing tiered from ten pieces. A catalogue work varied in palette and size is a shorter brief than a commission from scratch and is quoted accordingly, so the practical move is to put the catalogue-derived series on the corridors and guest floors and spend the commission budget on the two or three walls the client will photograph.

What you get for that price is stated on every quote: painting to the agreed size and colourway, the painter's signature, a certificate of authenticity for each piece, and free insured shipping worldwide. Not included: stretching and framing on site if you specify rolled canvas, and any local framing you prefer to control yourself. Send the schedule with quantities per zone and you have a quote within one business day; your markup is your business and does not appear anywhere in our paperwork.

This is the passage to forward. Everything in it is verifiable and nothing in it is a biography we cannot back.

Who paints the work. iHomeArt is the trade channel of Siji Art Hub (四季艺术汇), an art complex in Foshan, Guangdong, whose collection exceeds 11,000 works. The studio painters who produce the catalogue and your commissions train inside the hub's exhibition programme: more than 50 exhibitions to date, with professors of the Guangzhou Academy of Fine Arts among the exhibitors. The painters are not those professors, and we do not say they are. Every piece is signed by the painter who made it and ships with a certificate of authenticity.

Process imagery for the deck. For a commission, the sketch; for every piece, progress photos or video at each stage and a full photograph of the finished, signed canvas. These are yours to place in the client presentation and the handover file. On a large schedule, nominate one approver so the stages do not stall.

How you are credited. You are credited as the curator of the programme; the painter is credited as the artist of each piece. We do not offer unsigned or unattributed work, so the credit line on the wall is honest in both directions.

Master works, where a story is wanted. For a lobby or boardroom wall that needs provenance, the senior partnered artists' master works come with exhibition history, a photograph of the artist with the work and show invitations, and are supplied exactly as painted.

Yes, and it is how most consultant programmes reach us. A client rarely approves the whole building in one meeting: the lobby is signed off in March, the guest floors in May, the spa after the operator changes the colour of the tiles. A supplier with a minimum order per batch forces you to either over-order early or hold approved zones back until enough is agreed to place an order.

Our minimum order is one piece, so each zone is ordered the day it is approved, on its own quote, with its own confirmed delivery date. Volume pricing is tiered from ten pieces per order, so a twelve-piece corridor zone qualifies on its own and a two-piece boardroom zone is simply quoted as two pieces. Each quote states the work, the agreed size, the colourway and the finish, so the schedule in your programme document and our order confirmation say the same thing.

Consistency across zones ordered months apart is handled the same way as consistency within a series: the approved sample and the stated variation rule are the reference for every later piece, and you see the progress photos before anything ships. If the client changes the palette between zones, send the new reference and the next zone is painted to it; nothing painted earlier has to be reworked, because nothing was painted in advance.

For a client who opens a second property, the same schedule can be re-ordered with the same or shifted colourways, quoted as a new project.

Consultants ask this before they ask about price, and it deserves a plain answer rather than a promise dressed up as a contract term.

What is true of how we work: you are the buyer. The quote is issued to your practice, the proforma invoice is issued to your practice, and payment comes from your practice. Terms are available on repeat accounts. The client's name appears only where you put it, as the delivery address, and delivery to a third-party consignee is standard: the batch ships free and insured to the site, to the fit-out contractor or to your own framer, whichever you specify at order stage. Our paperwork carries our price to you and nothing about your fee.

What is also true: every piece is signed by its painter and ships with a certificate of authenticity, because that is what makes it an original rather than a product. We do not supply unsigned work and we do not describe anything we make as white-label. The credit on the wall is you as curator and the painter as artist, which is the same credit a gallery artist would carry.

What we do not offer, because we cannot point to a fact behind it: exclusivity by territory, a non-circumvention clause or a non-disclosure agreement as a standard term. If your practice requires one, send it with the brief and we will read it; we would rather say that here than imply it on a web page.

The sequence below is the one we run on every programme, from a single sample to a 200-piece schedule.

1. Brief (day 0). Per zone: the concept-deck page or mood board, the position list with wall sizes, the catalogue codes you want varied, palette references, finish and the date the zone must land. The checklist is in the next section.
2. Quote (within 1 business day). Work by work: code or commission description, size, colourway, finish, price, and a delivery date confirmed in writing. Commissions and large formats carry their own lead time on the quote.
3. Sample (10–13 days). One piece from the largest series, painted and delivered at the real size and finish. It becomes the reference for the series and goes into the client's mock-up room if there is one.
4. Sketch approval (commissions). The painter sends a layout sketch against your reference. It is a hold point: nothing is painted until you sign it off.
5. Painting (about 1 week per piece, batches scheduled by zone). Progress photos or video at each stage; the painter carries on only once you approve the stage.
6. Final approval. Full photograph of the finished, signed canvas with its certificate before it is rolled, stretched or framed.
7. Dispatch (3–7 days in transit). Free, insured, by DHL, FedEx or USPS, tracked, to the consignee you named. Rolled canvas in a tube for your framer; stretched or framed (gold, silver, black, white, wood) where the piece must be ready to hang at handover.

Damage in transit is covered by the insurance on every consignment; because every piece is painted to order, a replacement is repainted to the same code, size and colourway rather than substituted from stock.

Consultancies already ask artists for a tight package: a handful of images, a price list and the terms ¹. We need the equivalent from you, per zone. Send what you have; we will ask for the rest rather than guess.

• The concept page or mood board for the zone, as a PDF or images, with a note on what is fixed (subject, palette) and what is open.
• The position list. Position reference, wall or frame size in cm or inches, orientation, and whether the piece is seen close (guest room) or at distance (lobby, atrium).
• Catalogue codes for anything to be varied or recoloured (for example IA#1183, TA#034), with the variation rule you want: four colourways, three crops, one palette across the floor.
• Palette references. Paint codes, fabric or stone samples, or the scheme board photographed in daylight.
• Finish per zone. Rolled (your framer stretches locally), frameless stretched, or framed in gold, silver, black, white or wood.
• Quantities and dates. Pieces per zone and the date each zone must be on site, plus the consignee (site, contractor or framer) and country.
• Documentation you need. Progress imagery format for the deck, certificate per piece, and any register fields the client's handover file requires.

Select Art consultant as your role on the quote form and attach the schedule; a spreadsheet with one row per position is ideal. If you would rather start with a sample before showing us the programme, order one piece; there is no minimum.

The catalogue is organised on the axes a programme is written in: 14 room tags, 8 styles, 10 themes, 9 moods and 4 orientations, with 16 colour families. Every code is a starting point that can be re-proportioned, recoloured and varied, so treat the tiles below as pools to draw a series from rather than fixed objects. Counts are live.

For public areas, the 557 works tagged Lobby & Reception include 95 panoramics listed to 50 × 100 in (127 × 254 cm) and 108 Abstract works tagged Bold. Corridors and circulation (447 works, 97 per cent vertical) are where the Vary route earns its keep: 91 Impressionist verticals and 137 Landscape works give two or three source works per floor. Spa and wellness is the one room where Textured & Plaster leads (112 works), almost all tagged Peaceful or Calming. Meeting rooms and boardrooms draw on 66 Abstract and 79 Geometric works. Where a client wants a regional or narrative story, 37 Cultural & Folk works are tagged Lobby and 57 Figurative works are tagged Gallery & Retail; and 42 works combine Animal & Wildlife with Hyperrealism for a resort or a private client.

Most vertical and horizontal works list 14 sizes up to 80 × 60 in (203 × 153 cm), panoramic works 11 sizes up to 50 × 100 in, square works up to 72 × 72 in (183 × 183 cm); any other size is painted to order.