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An artist can flag any record of their own work if something looks wrong: a cast that was never made, a sale that never happened, a number that doesn't match. While a dispute is open, that piece's public verification page withholds its seal and shows the artist's note, and the gallery is notified right away. Only one dispute can be open on a record at a time, and it stays open, with the seal withheld, until the gallery that manages the piece resolves or dismisses it. Either way the dispute and its outcome stay on the record.

When a gallery assigns you, the artist, a specific edition number for a piece that's sold, you can accept it, or offer a different one if that number isn't right, from the production job page, which lists which numbers are actually available. The gallery approves your alternative, the collector is told, and the number you offered is the one that gets minted.

A gallery can record sales, assign and reserve numbers, issue certificates, and update production status for the pieces it manages. What it can't do is rewrite what already happened: every ownership change is written to an append only, hash chained ledger, so a past event can't quietly be edited or deleted later. And an artist's dispute, once raised, is part of the record for good: the gallery can resolve it or dismiss it, but not erase that it was raised.

It means a gallery has recorded that someone bought a piece, but the exact edition number hasn't been settled yet, usually because it's still being cast. Nothing is wrong. Once the number is confirmed, the record updates and shows which one is actually yours.

The gallery that manages the sale sees the collector's full name and email. If the same edition run is shared with another gallery, that gallery sees only that the piece is sold, not who to. The artist and the foundry who made the piece can see the real buyer's name, so they can reach out directly if they need to. Nobody outside that circle sees it.

A hold isn't permanent. If nobody assigns the number before the reservation's expiry, it automatically releases back to available. The collector is warned 48 hours ahead, and the gallery's dashboard counts every reservation expiring in the next three days so it can extend or let go.

From your collection, you can say "this is mine" on any piece that matches what you hold. The gallery that recorded it reviews the claim against their own records. If they confirm it, the piece, its provenance, and your ownership are linked in one step. If they decline, nothing about the existing record changes.

It confirms that a specific number is genuinely registered, shows how many entries its provenance chain holds and that the chain is unbroken since it entered Craftlog, and states plainly whether it's currently in good standing. It does not, and cannot, vouch for anything that happened before a piece was registered. The register only knows what has been put into it.

An edition with no fixed cap. Numbers are minted one at a time as pieces are actually cast, instead of a fixed run being laid out all at once. Craftlog says "open edition" rather than showing a total, because there isn't one yet.

Yes. Every gallery can export its full catalogue, including collectors, provenance, and sale history, at any time. The export is built to be read back in by Craftlog's own importer, so a gallery that leaves and later wants to come back, or move somewhere else entirely, isn't starting from a blank page.