JG Gives™
The purchase
is the donation.
Every JG Gives™ lot is structured before the first bid is placed. Fifty percent to the artist. Thirty percent to a verified cause. Fifteen percent to the gallery that ran the auction. Five percent to platform maintenance. Nothing hidden. Nothing changed after the fact. The giving is built into the architecture.
The principle
Transparency is the mechanism, not the message.
Most charitable auction programs announce their generosity loudly and document it quietly. The cause receives what remains after fees, commissions, and handling charges that were never fully published before bidding opened.
JG Gives™ works differently. The split is fixed. It is published before the first bid is placed. It cannot be changed. The artist who donated the work knows what they will receive before the auction opens. The cause knows what they will receive. The collector knows exactly where their money goes. And every transaction is documented permanently — provenance, charitable record, tax receipt.
The gallery takes fifteen percent. Five percent covers platform maintenance. Both numbers are public. The gallery is rewarded for doing this — not penalized for giving — and the platform that makes documentation possible is maintained from the lot, not from a separate fee. Which is why the program sustains across years rather than cycling through one-time events.
Where it started
Two artists believed before the program existed.
Radical Optimism · Actionable Hope.
JG Gives™ did not begin with a platform or a policy document. It began with two artists — Lorri Acott and Adam Schultz NSS — who offered their work to a giving structure before the giving structure was fully built. They donated not because the mechanism was proven, but because they believed it should exist.
That act of faith — work on the table, split agreed, cause named, before the documentation existed to formalize any of it — is the reason JG Gives™ is what it is rather than what most charity auction programs become. The artists went first. The architecture followed.
Lorri and Adam are represented by JG Art Gallery on Bainbridge Island and in Park City. Their work is in public collections and installations across the United States. They co-founded Dream Big Sculpture, specializing in large-scale public artwork worldwide. The same scale of commitment — monumental, irreversible, for the public — is in their giving.
The split
Fixed. Published. Before the first bid.
Every JG Gives™ lot carries the same structure. No variation. No negotiation after close.
How this is different
Every auction house runs charity auctions. None of them work like this.
Christie's. Sotheby's. Phillips. Heritage. They take twenty-five percent or more off the top before the cause sees a dollar. The artist who donated receives what remains after buyer's premiums, seller's commissions, and handling charges that were never fully disclosed before bidding opened.
The 2026 program
Three auction cycles. Two cities. All year.
JG Gives™ runs three dedicated auction cycles per year — aligned to the gallery's exhibition calendar and the natural rhythm of giving on Bainbridge Island and in Park City. Each cycle has a named beneficiary, confirmed before bidding opens.
How each lot works
Everything that comes with a JG Gives™ lot.
The long game
One gallery. Then the industry.
JG Gives™ starts at JG Art Gallery because that is where the reduction to practice happens. One gallery, three cycles, two named causes, a documented record. What one gallery proves, the industry can adopt.
Who this is for
JG Gives™ works for every participant.
Participate in the 2026 program.
Whether you are an artist considering a donation, a collector looking for your next Gives lot, a cause interested in the program, or a foundation exploring a collaborative giving structure — write to us directly.