The Art Newspaper highlights DACS and the Artist's Resale Right on it's 20th anniversary
This month marks 20 years since the Artist’s Resale Right (ARR) came into force in the UK, granting visual artists the legal right to receive a royalty when their work is resold on the secondary market. Two decades on, DACS has returned more than £144 million to artists and estates - with ARR becoming an important part of conversations around fair pay, creative livelihoods and the value of visual art.
An article recently published by The Art Newspaper reflects on ARR’s journey since its introduction, charting how a once‑contested policy has become widely accepted, while also highlighting the challenges and opportunities that lie ahead.
Highlights from The Art Newspaper
Drawing on reporting from The Art Newspaper, the article traces how attitudes towards ARR have evolved over the past 20 years and what the data reveals about its impact today.
From resistance to acceptance
When ARR was first introduced, it faced strong opposition from parts of the art trade. Auction houses and dealers warned that sales would move offshore to markets such as the US and Hong Kong, where no resale royalty exists, and some artists feared the legislation would reduce resale activity. Two decades on, the article notes that the UK art market has largely accepted ARR, with even long‑standing opponents now complying.
A case for global adoption
The article highlights the growing momentum for ARR internationally. Around 90 countries now recognise some form of resale right, including EU member states, Australia and New Zealand. Canada and South Korea are both working towards introducing resale royalty legislation in 2027. The US and China remain notable gaps, prompting renewed discussion about the need for global adoption to create a more level playing field.
Who benefits from ARR
ARR supports artists at all stages of their careers, not only those at the top of the market. According to figures cited in the article:
Around 60% of individual ARR payments are under £500, typically paid on works sold for between £1,000 and £5,000
8% of royalties go to first‑time recipients, including emerging artists
An estimated 60,000 visual artists in the UK benefit from resale royalties
Artist Peter Doig is quoted describing ARR as “entirely fair”, arguing that artists should share in the long‑term value of their work as it circulates through the market.
Supporting estates and legacies
The article also underlines the importance of ARR for artists’ estates and charitable trusts. Resale royalties apply for 70 years after an artist’s death and are often essential for maintaining archives, funding exhibitions and supporting public access to artists’ work. Several estates are cited as being significantly — or entirely — dependent on ARR income.
The numbers behind ARR
Since ARR was introduced in the UK in 2006:
- Over £144 million has been distributed
- 6,997 artists and heirs have received payments
- £9.2 million was paid out in 2025 alone
Royalties are calculated on a sliding scale, from 4% on works priced up to £50,000, decreasing to 0.25% on works over £500,000, with a maximum payment of £12,500 per work.
Ongoing challenges
The article also points to areas where the legislation could be improved, including the frozen cap on maximum payments, uncertainty around eligibility for applied and design arts, and wider questions about how resale rights fit into debates about creativity, authorship and protection in the age of AI.
The mindset is changing in terms of how we support artists, particularly in the current climate where visual art isn’t being funded and is under threat, including in the US. Anything that can be done to support artists to continue creating is a good thing. In the past it’s been an uphill struggle, but the time is right to open discussions about what creativity means - for the benefit of all involved in the art trade - and that includes artists.
DACS CEO
Looking ahead
DACS were pleased to contribute to The Art Newspaper’s coverage and to see a detailed, balanced assessment of how Artist’s Resale Right has developed over the past 20 years. This kind of reporting plays an important role in widening understanding of the Artist's Resale Right - how it works, who it supports, and why it remains relevant.
As more countries move towards adopting similar schemes and debates around fair pay and creative livelihoods continue to grow, increasing awareness of the Artist's Resale Right is essential. Ensuring that artists can share in the long‑term value of their work helps support sustainable creative careers, strengthens the art world, and recognises the enduring contribution of visual artists to our culture and economy.
