Release log
Every change we have shipped, with the day it landed. Most issues our customers report are fixed the same day — often within the hour. This is the record, not a summary of it.
Tuesday, 2 June 2026 — Tuesday, 6 October 2026
When a work is offered to a client, each client on the offer now shows who there last opened or clicked one of your MailChimp mailings, and when — so you can see who is warm before you call. An unsubscribe shows in red. Their full history is on their contact.
Help now has an Email Marketing chapter: connecting MailChimp or HubSpot, who goes on your mailing list, and what Lists, Mailings and Fairs show. On the Email Marketing page, the Help menu offers a short tour. The Contacts guide explains what the Marketing opt-in tick does.
On an iPhone or iPad, every date and time box now stays inside its frame and reads from the left, instead of sitting centred or spilling over the field beside it. The task form also shows one field per row with matching heights, and a full-width Create Task button.
Email Marketing has a Write tab. Start from one of your MailChimp templates or a simple letter, choose an audience or tag, and send yourself a test. Anyone on the team can write one and send it for review; your admins are emailed, and an admin approves it to send now or at a set time. No need to open MailChimp.
Where your browser tints its own bar to match the page — Safari's tab bar, Chrome on Android, Collection Pilot added to your Mac's Dock — it now uses your theme colour, custom colours included. The Default theme keeps the Collection Pilot blue.
On a fair's page, Check the fair's website reads the official exhibitor list, matches each gallery to yours by name or website, and offers to add the ones you don't have, with your contacts at those addresses listed with them. It also points out galleries that are only on your MailChimp list. Where a site can't be read, paste its list instead.
If your firm uses HubSpot, connect it in App Settings › Integrations: click Connect with HubSpot and sign in. Sync now keeps a HubSpot list, Collection Pilot Contacts, holding everyone marked Marketing opt-in. People HubSpot doesn't have yet are added; nothing already in HubSpot is changed. Admins only.
No more hunting for an API key: in App Settings › Integrations, click Connect with MailChimp, sign in, and approve. Outreach then appears in your menu straight away — no separate switch to find. Connections you already have keep working. Admins only.
On a fair's page and its dialogs, every list now says where it comes from: Collection Pilot (your galleries and contacts), MailChimp (your lists), the fair's website, or a list you uploaded. When one of your galleries might be a match, it is linked with its website so you can check before choosing. A MailChimp tag now names the audience it sits in, which is where MailChimp keeps it.
When you check a fair's website or add exhibitors, every gallery's website is now a link that opens in a new tab. The green badge now says how many of your contacts in Collection Pilot work there; hover over it to see who they are and open their records. On Who to write to, each person is marked as a contact in Collection Pilot or only in MailChimp.
Link a MailChimp list to a fair and the galleries its people work at become the fair's exhibitors straight away; new people on the list bring theirs every night. The fair page says where each exhibitor came from and keeps a short Needs a look list. A gallery you take off stays off.
The page with your MailChimp lists, mailings and fairs has a clearer name in the menu: Email Marketing. Everything on it is where it was, and saved links still open it. As with other modules, an admin can rename it under App Settings › General › Module Names.
User Settings → Theme has a new Custom tile. Drag across the colour spectrum, or type a hex value, and the sidebar and buttons change as you go. Pale colours switch to dark text so everything stays readable. Each company still keeps its own colour. The company's chart colour in App Settings uses the same picker.
Logging time or adding an expense on an iPhone now shows one field per row, with every box the same size. The date and time boxes no longer spill into their neighbours, hints sit under the field they explain, and Cancel and Save are full-size buttons.
On a fair's page, Who to write to lists everyone you know at each exhibiting gallery: your contacts there and every MailChimp address at its website, with who is already on the fair's MailChimp tag. Tick who to add and one button puts them on that tag, in whichever audience holds it. Unsubscribed and bounced addresses can't be ticked. No list linked yet? Start a tag right there.
A collection's Billing settings now has Add everyone under Team, and App Settings → Invoices has Teams on collections, which adds every active teammate to every active collection you invoice. People go in highest billing rate first; anyone already on a team keeps their place, and nobody is removed. App Settings → Invoices also opens with each section collapsed.
A collection's Billing settings now open with an Invoice switch, on for every collection. Turn it off for your firm's own collection or one you manage without fees: its purchases, time and expenses stay off Billing → To invoice, and the rest of the billing settings are hidden since they would not be used.
App Settings → Billing now shows your plan, its price and the next renewal date, and warns you if a payment didn't go through. Manage billing opens your past invoices and receipts, your card, and the switch between monthly and annual. Firms on complimentary access can choose a paid plan there whenever they're ready, with no break in access. Admins only.
A collection's Billing settings now open with every group collapsed: Invoice to, Terms, Commission, Sales tax, Retainer, Team, Rates and Fee caps. Each heading shows a one-line summary of what is set, so you can see the whole picture at a glance and open only the part you need. Expand all and Collapse all sit above the list.
A collection's Billing settings now has a Never invoiced switch. Turned on, it keeps every work in the collection off Billing → To invoice, including ones added later — useful for your firm's own collection or one you manage without fees. You can still make an invoice for it by hand.
In a collection's Billing settings, Team on this collection now has up and down arrows beside each name. The order you set there is the order of the rate columns under Billable work and hourly rates, so the lead on the account can come first, for this collection only.
Under a commission schedule, the Check line now takes a price you type, such as $100,000 or $115,000, and shows the commission on that work, how it splits across the bands, the rate it works out to overall, and the auction figure when there is an auction schedule. Nothing you type there is saved.
Typing a decimal point in a commission rate used to lose it, so 6.5 came out as 65. Rates now take fractions such as 6.5% or 2.25%, in a collection's Billing settings and anywhere else you set a commission schedule, and the summary line shows them exactly.
On a contact, Marketing and Activity are now one card. Each mailing takes a single row showing when it was sent, first opened and first clicked, with the time. A search box finds any mailing, email or conversation, and the MailChimp lists sit at the bottom of the same card. Opening a contact page with an unusual phone entry no longer stops the page.
When a contact's email address is at one of your galleries' own website — anne@harlowgallery.com and Harlow Gallery, say — they now appear among that gallery's people, wherever the contact came from. Everyone already in your contacts has been sorted the same way. Personal addresses like Gmail never count, and taking someone off a gallery sticks.
When a MailChimp list is linked to a fair, the fair's page offers “Add exhibitors from this list”. Each person on it is placed at their gallery: the one they're listed with, the one at their address's website, or the one MailChimp's Company field names. Those galleries become exhibitors, with that person to write to. People at a gallery you don't have yet go to the exhibitor import by company name.
Grouping documents (by type, collection and so on) showed every group closed, even when you had last chosen Expand all. Time records did the same after you changed the period, a filter or the search while grouped. Groups now open as they are meant to, and Collapse all is still remembered.
In Outreach › Lists, the ticket button on a list or tag links it to a fair year, so “AB Paris 2026” becomes Art Basel Paris 2026. “Link lists to fairs” suggests matches from the names, all at once; you tick what's right. A year missing from your calendar can be added as you link. Each fair's page then shows its MailChimp lists, this year's and earlier.
A new switch under App Settings → Integrations → MailChimp, on to start with, keeps people MailChimp has no first or last name for — mostly addresses like info@ and office@ — out of the contacts Outreach's Only in MailChimp review offers to add. When an address plainly spells a name, such as barbara.ruben@, it's offered with that name. The review shows how many were left out.
Refresh in Outreach, and the nightly read, now ask MailChimp only for the people changed since the last read, instead of every member of every list. A list nobody touched is skipped, so most reads finish in seconds — and when nothing changed, it simply says so. Each list is still read in full now and then, to catch anyone removed in MailChimp.
When MailChimp is briefly busy, Refresh now waits a moment and asks again. If one list still can't be read, Refresh finishes all the others, says which one it set aside, and reads that one next time — instead of stopping with an error.
Click a blue “Only in MailChimp” number and the people open right under that list — no scrolling. A number is only blue when there is someone to act on. Names now come from any of your MailChimp lists, and each new contact is offered with their gallery, from MailChimp’s Company field or their address, so Add as contact lists them there too.
The numbers above Outreach › Lists, and each group's subtotal, now count a person once, however many of your MailChimp lists they're on. Before, someone on ten lists counted ten times, so “Your contacts” could read several times the real number. Each list's own row is unchanged.
Outreach's Lists tab now gathers your MailChimp lists into groups read from their names — every year's list for the same fair sits under one heading, with its totals. Open a group to see its lists. To move a list to another group, or start a new one, hover over it and click the folder button; Back to automatic undoes it.
Tidy up list names where you can see them side by side: hover a list or tag in Outreach › Lists and click the pencil. The new name is saved in MailChimp too, so both stay the same. Names changed directly in MailChimp now show here on the next Refresh. Admins only.
Click any Unsubscribed number in Outreach › Lists to see, in the side panel, who left every one of your MailChimp lists — first anyone still marked opt-in here, to untick one by one or all at once. People still subscribed on another list aren't listed: they count as opted in. Click a name to open the contact.
On your phone, tap the version at the bottom of the More menu to see the same build card as on the computer: the version, how many updates have shipped and how often, and when your build was deployed. In the iPhone app it also shows the App Store version. Tap the version again to close it.
Clicking the version number at the bottom of the menu now opens a small card instead of copying it: the version, how many updates have shipped and how often, and when the build you are using was deployed. Press Escape or click away to close it.
Batch Update used to save records one at a time, so changing thousands of contacts could take many minutes while you waited. It now saves them together. The window closes right away, and a message tells you when it is done, usually within a few seconds. Artists, collections, documents and content calendar posts are faster too.
When a saved filter was loaded, the list could stay narrowed with no way back. Now the saved filter's name carries an × that clears it, a Clear filters link sits beside it, and the Filters menu offers Clear filters too — on every list, however the filter got there.
Some confirmations showed a red button for something harmless — sending a statement, creating invoices, setting or updating a bill rate, or setting service lines aside. They now use your normal button colour, so red always means something will be deleted, removed or disconnected.
Invoices and statements now find the client's email when it's kept in the contact's list of email addresses, so far fewer arrive with no one to send to. Contact cards show that email too, and the contact picker in tasks shows the address instead of the word "work".
Clicking an offer on the Dashboard now opens it in the side panel without leaving the page. Offers that need attention — a hold or auction coming up, a work gone quiet — sit in the Action Center with everything else. The Offers section shows each work as a card, like Recent Acquisitions, and your weighted fees join the KPIs at the top.
The What's New section on the dashboard now scrolls through every update instead of showing only the latest three. Pick a period — today, this week, this month or all — and narrow it to new features, improvements or fixes. Each update shows the day it arrived, and your choices are remembered.
Under the Upcoming Events title you can now see when events were last checked and when the next automatic check will run, so you know whether AI Scan is worth pressing. Hover for the details. The automatic weekly check had stopped running for some firms; it now runs again.
A QuickBooks invoice line for a frame — "Framing for Keith Haring", "Frame for Firelei Baez" — now goes on the work as Framing instead of as your firm's fee, so fee totals no longer include frames. A framing line only takes the place of framing someone typed, never a fee. Lines already linked have been corrected.
Works brought in from a spreadsheet, Collector Systems or Artlogic now arrive with your firm's Acquisition box ticked, the usual case and the one that reaches To invoice. Works imported before today have been ticked too. If some came into a collection without you, select them and untick the box with Update Details.
When several works by the same artist carried the same fee, a QuickBooks invoice could land on the wrong one, leaving a billed work under To invoice and another missing its fee. Invoice lines now go to the work they spell out, and each fee belongs to one invoice only. Records affected earlier have been corrected.
Older invoices written on one line ("Commission Yoshitomo Nara Tobiu, 2017 …") are now read for the artist and title too, so such a line can no longer take another work's fee. "Duplicate of another record" joins the reasons a work is already invoiced. Lines that had landed on the wrong work have been moved to the one they name.
An invoice line for several works ("2 works on paper") now splits across them; two works with the same title are told apart by year and purchase date; and an untitled line goes to the artist's one unbilled work. A client billed for someone else's works can also match that collection — set it in Billing settings → Clients. A line that bills the artwork's own price is never filed as a fee.
After updating hundreds of records at once, a list could keep showing the old values for a minute or more, and a record you reopened looked unsaved. Your changes were saved all along. Lists now refresh within a few seconds of a batch update. This applies to Contacts, Artists, Collections, Galleries, Documents, Tasks and the Content Calendar.
Anyone you add from Outreach's Only in MailChimp review is now marked Marketing opt-in, since they already get your mailings, and is listed with their gallery when their address is at one. The people added earlier have been updated too. One click now adds everyone with the same name as exactly one of your contacts, and the review covers the whole list, not just its first thousand people.
After you connect MailChimp you now pick which of your audiences Collection Pilot syncs to, with a search when you have many, and you can change it any time from the card. You can also create a new audience right there; the address and sender details MailChimp requires are filled in for you. Changing audience never removes anyone from the old one.
The MailChimp card now shows three numbers side by side: your contacts in Collection Pilot, how many are marked Marketing opt-in, and how many are in the chosen MailChimp audience. If an opted-in contact has no email address, the card says so, since they can't be sent. The counts refresh after every Sync now.
App Settings → Integrations can now connect to MailChimp with your API key. Click Sync now and every contact marked "Marketing opt-in" is added to your MailChimp audience, tagged with their contact groups, so your newsletter list stays current without re-typing it. It's a one-way push — nothing in MailChimp is read back or changed on its own.
Only in MailChimp now shows first the people who look like contacts you already have: same name, or an address that starts the same way. Add their address to that contact with one click instead of making a duplicate, or add the strong matches all at once. A contact's Marketing card offers MailChimp addresses that look like them, and the counts update straight away.
Sync now looks first. If it would add more than 50 people to MailChimp or unsubscribe more than 10, it shows you who and waits for your OK. It also reaches every contact with an email: addresses kept in a contact's list of emails were being skipped. Syncs are faster too, because only the people who changed are updated.
Sync now keeps MailChimp in step both ways round: untick a contact's Marketing opt-in, delete them, or change their email, and the next sync unsubscribes the old entry in MailChimp. Tick them again and they are re-subscribed. Only people Collection Pilot sent, tagged "Collection Pilot" in MailChimp, are ever touched; anyone who joined your audience another way is left alone.
The Marketing Opt-In filter now has All, Yes and No, so you can list the contacts who are not opted in. In Batch Update, a ticked yes-or-no field such as Marketing Opt-In or Favorite now shows two clear choices, for example Opted in and Not opted in. That makes it easy to take a group back out.
Outreach now has a Fairs tab. Open a fair from your calendar, paste or upload its exhibitor list, and Collection Pilot matches each name to your galleries, asks about the ones it isn't sure of, and remembers the spellings you confirm for next year. Each gallery's page lists the fairs it has shown at, and your gallery and contact lists can be filtered by “Exhibiting at”.
The Lists and Mailings tabs in Outreach now have a search box, and you can click any column heading to sort by it, then click again to reverse. Searching lists finds tags too and opens the audiences they sit in. Each table remembers how you last sorted it.
The new Outreach page shows every MailChimp list with counts on both sides, and each mailing's results, read back every night. On a contact, Marketing shows every list they're on and Activity shows what they did with each mailing, beside their saved emails and conversations. Someone who unsubscribes in MailChimp is unticked here. Switch it on under App Settings → General → Modules.
The dashboard on your phone now shows your offers too: weighted fees, best case and how many are active in the KPIs, offers needing attention in the Action Center, and the works themselves in a strip you can swipe. Tap any of them to open the work right there, and Back takes you to the dashboard.
On iPhone, the What's New section of the dashboard now has the same period and type filters as the computer, and scrolls through every update right there instead of stopping at the latest three.
Reach out can now send each gallery a personal email from your firm's connected mailbox, written once with their first name, booth and more filled in. Preview it for everyone and send yourself a test first; a few go each minute and you can stop the rest. Replies forwarded into Collection Pilot or saved with the Outlook add-in mark the gallery replied — or preview received — on the fair's page.
On a fair's page, Reach out picks one person at each gallery — whoever answered last time, or the main contact — and puts them on a MailChimp tag in your audience or a list here, showing who first. The page then tracks each gallery from asked to preview received, makes chase tasks for replies without a preview, and the Dashboard shows the next fair's outreach.
In Sale planning, the Buyers approached table no longer needs scrolling sideways to reach the Updated date and the edit and remove buttons. The window is wider, with more room for each buyer's sale and notes.
In Sale planning, click a column heading in Buyers approached to sort by buyer, estimate, status, sale or date updated; click again to reverse it. Highest estimates and newest updates come first on the first click, and rows with nothing in that column stay at the bottom.
Sale planning now keeps the column you last sorted Buyers approached by. Close it, open another work, or come back tomorrow on the same browser, and the buyers are already in that order.
Contacts, Artists and Galleries now have a labelled Select all at the top of the list, lined up with the row checkboxes, and beside the title in card view. It ticks everything your search and filters are showing; click again to clear it.
Billing → To invoice now tells apart works that were invoiced some other way — before Collection Pilot, outside QuickBooks, or at the artwork's own price — from works that will never be invoiced. A client card with several works has Settle all, so an old collection can be reconciled in one step. Every choice can be put back.
A QuickBooks invoice line for shipping, delivery, crating, installation or duties now goes on the work as Shipping & Installation instead of as your firm's fee, the same way framing does. Your own services — curatorial work, framing coordination, a fee worked out on a cost — stay fees. Lines already linked have been corrected.
In the List view of Time & Expenses, click a column heading — date, person, collection, activity, hours, value, billable or status — to sort by it, and click again to reverse. The sort covers every record that matches your filters, not just the ones on screen.
The column you last sorted by in the List view of Time & Expenses is still in place when you come back or reload the page. The Time and Expenses tabs each keep their own sort.
The To invoice tab could show a number while the list below said nothing was waiting, because non-billable expenses were counted. It now counts exactly what it lists. Fee notes on invoice numbers with a space in them, such as "1044 (I2G)", no longer repeat the suffix after each sync.
Billing → To invoice was listing works the collector got on their own and leaving out the ones your firm placed. It now lists only works with your firm's Acquisition box ticked, and the All time view is no longer cut short. A work won from an offer starts ticked. To bill an imported work, tick the box on it, or select several and use Update Details.
When you mark a work Sold, Donated or Lost, the question about its location now has a third choice. Change location takes you straight to its location, so you can record that it moved into storage, is in transit, or is still where it was. Keep It and Clear Location work as before.
The works, purchase value and current value shown for each collection and gallery could fall behind, and some imported collections showed $0. Every total has been recounted, and from now on it updates the moment a work is added, edited, sold, moved or deleted. Deleting a work from its own page no longer shows a “Failed to update” message.
Every figure across the top of a collection, the count included, now covers only the works in it today. Works that were sold, donated, or lost or destroyed appear in Realized Performance below, and lost works now have a band there too. Clients viewing their collection on a computer had been seeing sold and donated works counted in their totals. That is fixed.
While Customize Dashboard is open, the dashboard behind it now changes with every switch you flip and every section you move, so you can see the result before you save. Save keeps it; Cancel or closing the window puts everything back the way it was. Works on a phone too.
Purchase, sale, valuation, due and document dates now show the day that was entered: in Smart Search, on artwork cards and details, in Tasks, Documents and the Content Calendar, on iPhone, and in the Insurance, Inventory and Portfolio reports. Before, many of these read one day early in US time zones, so a task due today could show as overdue.
Invoices in Trash → Billing now have a Delete button beside Restore. It removes the invoice from Collection Pilot for good, and it won’t reappear with the next QuickBooks sync. QuickBooks itself is never changed. The Trash also now says when an invoice was deleted in QuickBooks too, instead of always saying it is still there.
A dropdown list now opens as wide as its longest choice, so options like "With an auction house" in Sale planning are never cut short. The Consignment field there is wider too.
After about 8pm, some parts of the app treated tomorrow as today: invoices, statements and payments could be dated the next day, “Today” filters and downloaded file names moved ahead, the Time page highlighted tomorrow, and files uploaded in the evening got tomorrow’s date. They now use your own day, and documents Collection Pilot prepares for you use US Eastern time.
Time logged by someone who no longer works at the firm used to show as "Teammate". It now carries their name everywhere hours are listed — Time & Expenses, a collection's Time tab, the invoice composer and invoices. They are never offered when you choose a person.
Invoices you move to the Trash now show up in the Trash on your phone too, alongside everything else. Swipe one left to Restore it or Delete it for good, or use Select to handle several at once. Pick Billing in the type filter to see only invoices.
On a sold work, Selling Costs can now point at the document that backs it, such as an auction settlement statement or a consignment invoice. Pick it from the work's own documents under Costs & Valuation. Documents already on a capitalized expense are listed separately, so the same invoice isn't counted on both sides of the gain.
If an invoice is already filed on a work, you no longer need to upload it again to back an expense. Under Costs & Valuation, each capitalized expense now has a Link an existing document picker beside Upload. Remove Link on a document chosen this way only unlinks it, and the document stays on the work.
With a record open for editing, saving one field could make a long one, such as Commentary or the list of capitalized expenses, look empty until you reopened the record. Typing into it then could replace what was really there. Those fields now stay as they are while you keep editing.
Editing a work that was already Sold, Donated or Lost used to ask "Clear location data?" the moment it opened, even though nothing had changed. The question now appears only when you change the status yourself.
On a phone, the number on the Filter button and the Clear link now count every filter you set. That includes sale planning, sub-collections, kinds, tags and custom fields. Before, filtering by just one of these showed no count, no Clear link, and "No acquisitions yet" when nothing matched.
The Recent acquisitions card on the Dashboard now lists works by purchase date, newest first. Before, it went by when a record was entered, so a batch of older items added in one go, like a wine cellar or a watch collection bought years ago, could push your newest purchases off the card. Works with no purchase date fall back to the date they were added.
When you remove someone from your team, the time, expenses and rates they logged now keep showing their name, instead of "Teammate". They lose access as before and are never offered when you choose a person.
Represented by now shows the artist's own galleries, and adding one links it to the artist. The new Consigned with field takes a gallery, an auction house or an individual. Consigning a work sets its status to On Consignment. When it comes back, you're asked what the status is now. New buyers and galleries can be added right from the sheet.
The filters on Acquisitions and on a collection's works can now find works by sale plan, consignment, who has a work, the artist's galleries, buyers approached and their status, and flags. Follow-up lists find works sent with no word in 30 days, works to sell with no buyer yet, and works out on consignment for six months or more.
Every work now prints with its image, laid out like the Portfolio Report, with its plan, who holds it on consignment and the buyers approached. When you download it, pick the rest: medium, dimensions, edition, location and more, plus purchase price, cost basis and estimated value, which stay off until you tick them.
App Settings → Time now has a single Activities list. Add, rename, drag to re-order or remove an activity in the same row as its Billable switch and bill rate. Renaming an activity keeps its rate and billable setting.
New time is no longer billable unless you turn it on. Make an activity billable in App Settings → Time, or make one client different in their billing settings: bill one client for valuations and not another. Admins can give each person a cost rate. Every hour then shows what it cost the firm, on each client's Time tab and on the Time page.
Two dropdowns at the top of Time & Expenses now set what you see: whose time (it opens on yours, and anyone else in the firm is a click away) and which dates — this week, last month, last quarter, all time or your own range. The tiles and the list follow both and show the dates they cover. Work in progress still shows everything owed today.
Tick time records or expenses in the List view and a Tools menu appears, like everywhere else in the app. Use Update details to change the date, collection, activity, billable setting or notes on all of them in one go. The same menu can set a bill rate, write off or restore the selection, export it as a spreadsheet, or delete it.
On Billing → To invoice, each client's unbilled time now names the teammate behind it — one name when a single person did the work, or each person's hours when several did. Open the hours and every record lists who logged it. The unbilled summary on the Time page shows the same.
Clicking the Work in progress tile now lists only client work that can go on an invoice, so it adds up to the tile. Open a client to see each record behind its total, and click one to change it right there. Hours with no rate are flagged with a Set rates button, and a client with nothing to charge no longer offers to invoice $0.
When you send a work out to be sold, the sheet no longer has to say whose it is. In Download Report, tick Catalog Sheet and then “Omit the collection name” — the name is left off every page and out of the file name. It is off each time you open the dialog, so your usual sheets are unchanged. If you would rather it stayed on, tick “Save as my default”.
A work under offer can now hold its own documents — a gallery's fact sheet, a research PDF, a condition report — right on its record, next to its images. Open the offer and use the new Documents section to add one. If the offer is later marked Won, its documents move with it onto the new record automatically.
When you send an invoice from Collection Pilot you can now add more files. Pick a document already here, such as the gallery's invoice for your client's records, or an image of the work, or upload one from your computer (it's saved to the collection's Documents too). Anything too large for email goes as a download link.
Open any invoice that's owed and choose Record payment when a check arrives. If you use QuickBooks, it goes straight into QuickBooks, so you don't have to open it. Add note keeps a log of each conversation, like "check is in the mail". Set a follow-up date and the Dashboard shows the invoice in amber until that day.
Picking a colour under Settings → Theme used to reload the page and close Settings, so comparing two colours meant reopening it each time. The colour now changes in front of you and the screen stays where it is — click through as many as you like until one looks right.
The Contact list on a capitalized expense now works like the other lists in the app. Type to find someone, or choose Add New to create a contact on the spot, for a framer or shipper you haven't worked with before. They're chosen on the expense and added to your contacts.
The Tasks, Content Calendar and Wishlist Items boxes in the Action Center now have a + button. It opens a blank form in the side panel, so you can add a task, a post or a wishlist item without leaving the Dashboard. Once it's saved, the panel shows the new record.
Wherever you choose a contact, you can now add someone new without leaving what you're doing: a document's related contact, a valuation's linked record, Link Contact on a contact, a collection's primary contact, sale buyers in Settings, and on your phone a collection's, gallery's or document's contacts. Choose Add New, or type a name and pick Add New with it.
A fee on an artwork now keeps up with its invoice. When the invoice gets its number, is dated today or is emailed from Collection Pilot, the fee shows the same number and date, and View Invoice opens the copy your client received, not QuickBooks' own version. If a sent invoice changes later, its copy is redrawn in your layout. Fees that come from an invoice no longer offer Remove Link, which used to send the invoice itself to the Trash.
Clicking an overdue invoice in the Action Center used to take you away to the client's Billing tab. It now opens the invoice in a panel beside the Dashboard, like every other Action Center item, so you can record a payment or resend it and carry on. Customers waiting to be matched open the same way.
The green banner inviting you to add images after an import kept coming back after you signed out or switched company, because the dismissal was remembered only by that browser. It is now remembered on your account, per company. It also no longer appears at all once most of your artworks already have images.
A line's amount on a new invoice now reads $5,400.00 rather than 5400.00, and clicking it selects the whole figure so you can type straight over it. The Message on the invoice now starts with the message you set in App Settings → Invoices, instead of a blank box. Change it there for one invoice if you need to.
On an iPhone running iOS 27 the Collection Pilot app showed a black screen and closed straight away. The next App Store update fixes it. Until it reaches you, open Collection Pilot in Safari, which is unaffected.
A collection bought within the past year could show a CAGR like -99.9%, because a few days' change was stretched into a yearly rate. Until works have been held a year on average, the card now shows Total Return since purchase instead. In the client portal, gains, multiple and return are all measured against the same cost as the figures above them, unless you have chosen to share after-cost figures.
The Dashboard's Action Center on your phone now has a Billing group listing overdue invoices. Tap one to record a payment the moment a check arrives, or to note a call with the client and pick a follow-up date. It works with or without QuickBooks.
When you grant Collection Pilot support access from Help, it lasts 7 days or until you revoke it — and now nothing can quietly outlast that. Support can no longer reach your workspace through any other door: a support address cannot be added to your team as an ordinary member, and reaching your firm always needs a grant that is still live. Every grant, revoke and support sign-in stays visible to you under Help → Support access.
Money fields on a task, such as Amount and Appraised Value, turned your first digit into cents straight away. Typing $5,400 was impossible, and the arrows moved one cent at a time. Now you can type the full figure, and it shows as $5,400.00 when you move on.
Open any task and expand Status & notifications to see each status change, who made it and when, and who got the email and whether it was delivered. The Done / Blocked email now goes only to the people under Notify on Done / Blocked, not to the person who made the change. It also now goes out from the quick view and the phone Dashboard, which used to skip it.
Under each teammate in Settings → Team Members, the date was labelled "Joined" but showed when they last signed in — so someone who joined a year ago and worked this morning read as having joined 8 hours ago. It now says Last active, and Invited for anyone who has not signed in yet.
If you work in more than one company, the colour you pick under Settings → Theme now belongs to the company you are in, and it comes back every time you open that company — whether you pick it at sign-in, switch with Change Company, or just reload. Colours chosen before today were already being stored per company and start working straight away; the sidebar tells you whose file you are in at a glance.
Under App Settings → Invoices, add up to five people to blind-copy on every invoice you send from Collection Pilot, such as a partner or your accountant. Clients never see them. The send screen lists them, and warns you if you also type one of them into To or Cc.
Invoices and statements now show the client's name and address the way you would address an envelope: street, then city, state and ZIP on the next line, even when the city was typed into the street field. The client's email address no longer prints on the invoice or statement.
Your default message, How to pay and the message you write when sending can now carry bold and italic. Select words and press B or I, and a preview shows how it will print. The emphasis appears on the invoice PDF, statements and the email. A long How to pay now continues onto the next page instead of leaving a gap.
An invoice written a few days ago no longer has to arrive looking late. When you send an unpaid invoice dated before today, a note says how many days past due it would read, and Date it today moves the invoice date to today, with the due date moving by the same number of days. With QuickBooks connected, the invoice changes there too.
A short invoice now spreads down the page instead of crowding the top, with room between the charges, the totals and your closing. Under App Settings → Invoices you can choose Logo centred, which sets your logo as a letterhead with INVOICE below it, and Compact spacing if you prefer the old look. An address line that repeated the city now prints once.
In a client's Billing settings, Also send to adds more people to their invoices and statements, each on To or Cc, and both fill in when you send. Name on invoice sets how Billed to reads, such as a couple or a family trust. Left blank, two people who share a surname read as one household, such as Jim & Lisa Schlager.
The message you write when sending an invoice now appears in Preview exactly as it will be sent, and stays in the box if you close the invoice and come back. The box starts with the message you wrote in New invoice, else your default from App Settings, and the PDF prints one message instead of both.
If you belong to more than one company, switching between them could briefly show the previous company's records under the new company's name until the page was refreshed. The records list now always matches the company you switched to. Nobody could ever see a company they do not belong to — this only affected people who are members of several companies.
An invoice you download now has the same QuickBooks Pay online button Preview shows. And an unpaid invoice is never emailed without that button by accident: if QuickBooks has no payment link for it, Collection Pilot stops and asks before sending, and the confirmation after sending says whether the button went with it.
A new invoice now always starts with the client's QuickBooks customer and service item filled in, and it no longer offers to create a customer who is already there. If you close the panel before creating it, your lines and message are waiting when you come back. When QuickBooks leaves invoice numbers to you, each invoice takes the next number from App Settings → Invoices.
The mark introduced this week has been redrawn: three shapes in blue, yellow and red, joined by a fine line. You will see it beside the app's name in the sidebar, in your browser tab, on the sign-in screen, in the Help Center's pictures, and as the app's icon on your iPhone home screen once the next update is installed. Nothing has moved and nothing works differently.
When adding a cover image to a Collection from the "No cover image" prompt, a failed upload used to fail silently, leaving no sign anything had gone wrong. It now shows an error message so you know to try again instead of wondering why nothing happened.
In the offer report builder, each museum, gallery, award and press item under Standing in the market now has its own “Edit the entries” list, so you can untick just the ones you don't want to print instead of dropping a whole source. Public collections is also now labelled “Selected public and institutional collections,” since public listings are rarely a complete record.
The list view in Pipeline now has a stage filter, so you can narrow it down to just Considering, Presented, Won, Passed, and so on — each option shows how many rows match. A work whose only offer was passed or lost now shows that stage in the list instead of a blank row.
An offer's price can now note it was actually done in Euros, Pounds or another currency, with the exchange rate you got. Turn on "Different currency" in the offer, enter the amount and rate, and the USD equivalent is what the fee and every report keep using.
A work on offer can now record its edition, like "AP 2/5", right alongside its medium and dimensions. It shows on the offer report you send a client, and simply stays blank on works where you haven't entered one.
The price being discussed on an offer can now be entered as a percentage off the asking price instead of always typing a dollar amount — Collection Pilot works out the price for you. Toggle between "$ Amount" and "% off asking" in the Offer dialog. Available for gallery, dealer and private-sale offers; auction lots are unchanged.
The old black diamond has been replaced by a new mark: a blue tile carrying the Collection Pilot initials. You will see it beside the app's name in the sidebar, in your browser tab, on the sign-in screen, and as the app's icon on your iPhone home screen. Nothing has moved and nothing works differently — only the mark has changed.
The Beta tag on these three is now a New tag, and it retires itself in a month. Beta was meant to say "still being shaped", but it read as "wait a while" — and waiting is the opposite of what we want. Nothing about them changed today. Tell us what you find under Bugs & Requests; most of what is reported there is fixed the same day.
Sub-collections used to be switched on firm by firm, by us. A company admin can now do it under App Settings → General → Modules, beside Billing and Time. It lets one client's collection hold a cellar, a garage or a watch box as its own part, each with a record form suited to what is in it. There is no charge for it. Switching it off again deletes nothing.
Needs attention flagged works as having had no activity for weeks even when you had just logged a call or an email about them, because it only looked at when the record was last edited. It now counts your conversations too, on the Revenue view and on the dashboard card.
A work you deleted from Offers disappeared with no way back. It now goes to the Trash like everything else, with who deleted it and when, and Restore puts it back with its offers and history intact. Emptying it for good also removes the offer reports it produced, instead of leaving them behind.
When an offer was split with an advisor at another firm, marking it won dropped the split: the client was invoiced the whole fee, correctly, and what you owed the other advisor was recorded nowhere. The agreed share now follows the work, and Billing shows it beside the fee — their percentage, roughly what it comes to, and how much you keep. A split with a teammate still keeps the whole fee in the firm and is not shown as owed.
Mark won now offers to create the task for getting the work to the client, already linked to it and to the seller it came from. It uses your own shipping task type and only appears if your firm has one. Leave it ticked or clear it — the work is created either way.
Offers used to hand a phone the desktop board — columns that scrolled sideways and buttons that misbehave on iOS. It now has its own screen: every work you are offering, soonest deadline first, with the stage, price and client. Tap one for the work, the seller and each client's price and fee. It is read-only for now — adding and changing still happen on a computer.
On a phone you can now change where an offer stands and the price being discussed, and set the asking price or the date a work is held until. Your fee updates as you type, and every change is written to the work's history exactly as it is on a computer. Offering a work to another client, the fee calculator, offer reports and Mark won are still on a computer.
The word prospect is gone: the button is New offer, on the page and on each client. Renaming the module to Offers yesterday had left it behind. You can now add one from a phone too — artist, title, who is offering it, the asking price and how long it is held. Type the artist's name; linking it to their record, the images and the seller are still on a computer.
Say who is offering a work and the artist list now opens with the artists that gallery represents, under its name, with everyone else below — on a phone and on a computer alike. The phone form also gained the two things it was still missing: the person you deal with at that gallery, and the work's images.
The phone's New offer form asked you to type the artist's name into a box, which made a work linked to no artist record. It now uses the same pickers as the form on a computer, in the same order: who is offering it, then the gallery or seller, then the artist — each a real list with Add New. Choosing an auction swaps in the sale date, lot and estimate. Buttons and figures follow your firm's colour again.
Researching an artist sometimes reported that public records could not be reached, leaving the museums and institutions holding them off the offer. That lookup is now twenty to fifty times faster and no longer times out. Where an artist genuinely has no catalogued museum works, the builder says so plainly instead of leaving you to guess whether the lookup failed.
When researching an artist only half worked, the section could come back empty with nothing to say why — so a search that had failed looked like an artist with no exhibitions. Each half now reports separately and keeps saying so until you research again. Galleries already on your artist record also link to that gallery's page for the artist, instead of being the one entry a client could not click.
If you invited someone who already had a Collection Pilot login, they were quietly signed out of every other workspace they belonged to. They now simply gain access to yours and keep the rest, and an already-active person is pointed at the sign-in page instead of being asked to set a password again. Removing someone from your team likewise now removes them from your workspace only.
In Standing in the market, each exhibition, gallery, award and press item now prints the site it came from and links straight to it — the exhibition's page at the museum, the gallery's own page for that artist, the article itself. Your client can click through and check any of it. The builder lists the sources used, and unticking one removes the entries resting on it. Extra images now fill the artist page instead of starting a new one.
Prepare offer… on any offer builds that client's own PDF, laid out like your Catalog Sheet: a cover with the work, then their price and who the artist is, then any other images and the works by that artist they already own. Tick what goes in and watch the page redraw. Your fee is left out unless you ask for it. Send it, or download it to send yourself — either way the copy is kept against the offer.
Same page, same works, plainer word. It is Offers in the sidebar, on each client's record and in the help. Nothing you have entered changes, and links you saved still work. If you would rather call it something else, App Settings → General → Module Names still has the last word.
Preparing an offer now has a Standing in the market section. Press Research this artist and Collection Pilot gathers, from public records, the museums and institutions that hold their work, where they have shown, who represents them, what they have won and who has written about them — then prints it as its own page with every source listed. Tick what goes in, as with everything else. No prices: those need a licensed database.
The colour you pick in Settings now runs through the whole app, not just the sidebar. The tab you have open, the filter you have chosen and the figure a page leads with all show it, and the one button that matters most on each screen is filled with it. Everything that used to be a heavy black block is quieter, so the thing worth looking at actually stands out.
Ticking a field while preparing an offer used to throw the preview back to the top of page one, so checking a change on page three meant scrolling there again every time. The preview now holds its place while it redraws, and when a change adds or removes a page it keeps you on the page you were reading.
When an in-app note comes with a screenshot, you can now click it to see it full-screen, and pinch or scroll to get closer. At the width of the note a shot of a table or a form read only in outline; now the detail it was showing you is actually readable. Closing the enlarged picture leaves the note where it was.
A new Offers page, below Acquisitions, holds the works you are considering, from gallery works on hold to auction lots. Offer each to several collections and track stage, price and fee for each offer. Adjust the deal terms for one deal, or split a fee with another advisor; the fee, the collector's total and your totals update as prices move. Mark an offer won and the work is added with the agreed fee.
A Revenue view on the Offers page charts fees by expected close month, with best case, weighted and won, and shows each advisor's share. A Needs attention list flags holds and auctions due soon, fees that need a quote and deals gone quiet. Admins can set how likely each stage is to close. New prospects start with who is offering the work, then pick or add the gallery, dealer, seller, auction house or artist.
Pick the person you deal with at the gallery or auction house. Their contacts are listed first, the primary one is filled in, and anyone new you add is filed under that gallery. Email, call or text them in one click, then log the call, email, text or meeting with a note. It appears in the work's history. When offering a work, active clients are listed first, with inactive ones below.
Any offer can be emailed to the client from Collection Pilot. Pick their contacts, write your own message, and send. It goes from your firm's connected mailbox, so it sits in your Sent folder and replies come back to you, and it is logged in the work's history.
A new Offers tab on each client shows every work you are offering them, grouped Open, Won and Passed. Each work shows its stage, price, fee, deadline and the latest conversation. Open a work without leaving the page, or start a new prospect for them. Summary shows their open offers and deadlines, and Wishlist links artists with works on offer. Contacts list the calls, emails and texts logged with them.
The Client Activity card on a collection now names things: which wishlist item a client edited and what they wrote, which works and wishlist items they opened, which documents they opened or downloaded, and which reports they downloaded — each with its date and time. Click a name to open it.
The summary above your invoices, on the Billing page and on each collection's Billing tab, is back to three columns with larger text, so every figure shows without scrolling. If you invoice artwork as well as your fee, Owed to galleries now also shows how much artwork money has passed through you this year, in the same period last year, and all time.
Every collection now has a Client Activity card showing when a client last signed in to their portal, and any changes they've made to their wishlist — a status change, a note, a priority. Advisors see it right on the collection; clients never see that they're being tracked.
The From and To consignment dates on a work's sale plan, added on September 14, showed a "Could not save" message instead of saving. They save now. If you tried to enter one this week, please enter it again.
An admin can now delete an invoice that was already emailed — after a clear warning that the client still has it — and its hours and expenses go back to unbilled to be fixed and invoiced again. A QuickBooks invoice moved to the Trash says to void it in QuickBooks too. And an invoiced expense’s receipt can be replaced or removed without undoing the invoice.
App Settings has a new Expenses page. Set a default markup and a markup for each expense type, for example framing at cost and shipping at 15%. When expenses go on an invoice the client sees only the billed amount, never the cost or the markup. You can change the markup on any invoice before creating it. Your expense types are managed on the same page.
If you bill clients for shipping, crating, framing or storage and pay the vendor, turn on "The cost is passed on to the vendor" in App Settings → Expenses. Those costs stay on what the client owes but no longer count as your revenue. The Billing summary now shows what passed through you, artwork and expenses, and the total invoiced to clients.
Open an invoice and a new Billed on this invoice section gives the time and expense totals. Open them to see the hours by person and the expenses by type, then each record, with its receipt one click away. Open any record right there, without leaving Billing. A long invoice gets a search box.
For firms that collect the whole amount and pay the gallery themselves: an invoice can now carry the artwork's price as well as your fee. The client owes the full amount, but only your fee counts as revenue. Record the day you paid the gallery on the invoice, and see Owed to galleries on the Billing page. Set it in App Settings → Invoices; any invoice can still be fee only.
On the phone, a document's Type list now ends with New type. Name it and it joins your firm's list, so any document can use it. Also fixed: after saving a change on a phone document or artist, the screen could keep showing the old value until you left it.
In an offer, typing a price below asking could close the window and reload the page before you finished. Amounts with cents shown in whole dollars caused it. Sale planning estimates and the APAA report could hit the same problem. All of them now round to whole dollars and keep working.
On panels that scroll, such as a work you are offering or an invoice, the drag strip for changing a panel's width was mostly hidden, leaving only a sliver to grab. It is now fully inside the panel's left edge and wider, with the whole grip showing. Drag it to make the panel wider or narrower; double-click it to go back to the usual width.
Expense receipts no longer always ride along on invoice emails. Set the default in App Settings → Invoices, override it per collection in Billing settings, and tick or untick it each time you send. And every invoice now has Download: the PDF, or a zip with its receipts, to print or email yourself.
A scanned invoice is a picture, so Add images and documents used to find nothing in it. It is now read as a picture, in your browser, so a scan can find its work from the artists it names and get its type and date like any other PDF. The row says read from a scan. A scan too faint to read with confidence is left for you rather than guessed.
Every panel that slides in from the right — an invoice, a form, a record — can now be resized: drag its left edge. Each kind of panel remembers the width you chose; double-click the edge to go back. The figures across the top of an invoice also line up now, however their labels wrap.
Lists you can add to, like a document's Type, now open with a blue + Add New row at the top, the same one the gallery and artist pickers have. Click it and type the name, or just start typing and choose Add "your name". Before, the only clue was the words in the search box.
Every dropdown you can add to now starts with the same row: + Add New, in the colour of your menu, at the top of the list. It no longer changes wording from list to list, and it stays that colour when you point at it. Type a name that isn't there yet and the row reads Add New with your name, ready to add.
For firms that invoice in Collection Pilot rather than QuickBooks, Analytics → Billing now counts the payments you record in Collected and in Revenue over time, and a collection's Billing tab shows when it was last paid. A fee typed as Advisory Fee on a work is now picked up by its invoice instead of being added twice.
When you upload an invoice to match, lines you set in bold, such as the total or an artist's name, now come out bold on invoices drawn with it. Uploading an invoice also works again: it had stopped with a "fake worker" error.
A cover photo no longer has to be cropped around its middle. In the edit panel, click or drag on the photo to mark what matters, such as a client's faces, and the card preview shows the result as you go. The card, the Dashboard thumbnails, the phone view and the report cover all keep that part in view. Uploading a new photo starts it centred again.
A client who works with more than one advisory firm now sees each collection with that firm's name at the top and on printed reports, and with that firm's own portal settings. The collection menu shows which firm holds each one, and opening one from another firm takes a second to switch over.
A client whose Estimated value switch is off could not include financials in a Portfolio or Inventory report at all, even though they can see purchase prices in the portal. Their reports now print purchase prices and cost basis, and a sold work's sale price, and leave out only the estimated value and the gains measured against it. Reports you schedule to them work the same way.
The Financial Report's cost breakdown subtracted capitalized costs from the purchase price, so Base Purchase Price came out low (sometimes below zero) and Total Cost left those costs out. Base Purchase Price is now the price paid and Total Cost adds framing, shipping and fees on top. The All-In Basis figure above your works now shows exactly that too.
The small documents icon at the bottom of a card, which lists a work's files when you hover over it, sometimes went missing. Inside a collection it never appeared, and on the main list it vanished if you had opened another page first. It now appears whenever a work has documents attached.
A document attached to artworks — an invoice, a condition report, anything brought in by an import — now also appears on the Documents tab of the collection those works belong to. Documents already filed this way have been added to their collections.
Time logged as plain hours sits above the calendar week with no start time. Now you can drag it down onto the day and time it happened, and it stretches to the hours already logged. Moving a teammate's block in the Everyone view keeps it theirs.
In App Settings → Invoices, tick what each of your uploaded templates includes: artworks, hours, expenses or retainers. The Collection Pilot Template takes whatever is left. When a client owes several kinds, Billing shows the split before you create anything, for example two acquisition letters and one Collection Pilot invoice, with a preview of each. Fonts you upload can now be chosen in the Collection Pilot Template's Type menu too.
On Billing → To invoice, open a client's unbilled hours or expenses to see every record behind them and fix dates, hours, amounts or notes on the spot. Hold keeps a record for a later invoice until a date you choose; it stays counted as earned, sits unticked in the invoice composer, and comes back by itself.
A new Estimated value switch under Financials hides current values from a client, along with the appreciation, return and growth figures built on them and the Analytics tab. They still see what was paid. Set it for everyone under Admin Settings → Client Portal, or for one person from their Portal access panel, including before you invite them.
In Add images and documents, paperwork about a client rather than one work — a retainer invoice, a lecture fee — can now be filed under the collection. When a file names a collection and no work, its row offers File under, a button files all of them at once, and the search on a document's row finds collections too. The document shows on the collection's Documents tab.
In Add images and documents, a file name no longer has to be exact. A word from the collection's name, a word from the artist's and, when that collection holds several works by the artist, a word from the title are enough, in any order. Invoice numbers and dates in the name are ignored. If a name still fits more than one work, you choose from a short list. The upload screen now shows these naming steps.
While writing an invoice, each hour and expense now has a Hold button beside Write off. Choose a date and it comes off this invoice, stays marked as held, and returns to To invoice on that date. Release puts it straight back on.
Your How to pay text in App Settings → Invoices now appears word for word on every invoice, with its own heading and blank lines, whichever template draws it. Templates no longer add their own payment heading or a second copy of your address, and a line that runs onto a new page keeps its own type.
Documents added through Add images and documents were all dated the day they were imported. An invoice now takes the date printed on it, shown on its row before you upload. When a date could be read two ways, or the file is a scan, the document is left undated rather than given the wrong day.
Opening an invoice, time, expense and retainer lines each said “Not a billable line” — which read as if they weren’t billed. It only meant there was no artwork to link them to. Those lines now show nothing there; lines that can be tied to an artwork still offer the link.
Open an invoice that passes money through — an artwork's price to the gallery, expenses at cost to vendors — and it now shows three figures under the total: what the client pays you, what you pay on, and your revenue. The same numbers the Billing figures count.
Every firm now has two more document types: Gallery Invoice, and one named for the firm's own invoices. PDFs added through Add images and documents are read and filed as one or the other instead of Other. A new type created from a document's Type box now joins your firm's list, so it can be picked again.
Time & Expenses on a phone has the Me / Everyone switch, and with Everyone each record shows whose it is. Editing a teammate's time or expense — on the phone or the desktop — now leaves it theirs; before, saving it quietly made it yours.
A date like 11/7/2024 can mean November 7 or 7 July. When you add documents, Collection Pilot now decides from the invoice itself: its other dates, a US address or dollar amounts, or a foreign currency or address. Dates read this way are marked on the row and in the file report so they can be checked. With no clear sign, the date is still left blank.
Some firms write a separate invoice for every acquisition. App Settings → Invoices → How you invoice now has a switch for it. When it is on, the invoice composer keeps each invoice to a single artwork and says why if you try to add a second, and the sample invoice shows one work. Leave it off to keep putting several works and other charges on one invoice.
Open any invoice and a Preview button now sits beside Send to the client. It opens the PDF your client will get — your logo, the lines, the Pay online button — without starting a send.
Preview a sample invoice under App Settings → Invoices is now addressed to a made-up client with a full mailing name and street address, so you can judge how your invoice reads when it goes to a real collector. Firms with a layout matched to their own invoice see it listed under Your templates on the same page.
Send to the client now starts with the right address already in To: the collection’s billing email, else the billing contact’s email, else the primary contact’s. Before, an invoice made in Collection Pilot opened with To empty. New invoices use the same rule.
Your templates under App Settings → Invoices now has Upload an invoice, for a PDF of an invoice you already send. Each template can be renamed, described, set to the kind of invoice it is for, copied to make an alternate, or removed. A template's letterhead uses the logo from App Settings → General, so a new logo reaches your invoices without redoing the template.
The Type card under App Settings → Invoices now offers three sans serif fonts, Helvetica, Inter and Montserrat, and three serif fonts, Times, EB Garamond and Libre Baskerville. Each name in the menu is drawn in its own face, so you can see what you are choosing. Every font comes in regular, bold, italic and bold italic, and accented names print correctly.
Time is now Time & Expenses, with two equal tabs. Expenses has its own figures — to pass on, this week, this month, receipts still missing — and a list of every expense. A paperclip marks each receipt; click it to view. Both lists edit in place: click a date, collection, amount or note to change it, tick rows to delete several at once. Invoiced records stay locked.
On a phone, Time & Expenses now has the same two tabs. Expenses lists every expense, newest first, with what is left to pass on and this month's total, and a paperclip to open each receipt. The Log time and Add expense buttons also sit above the bottom menu now, where they can be tapped.
On Billing → To invoice, a client with both unbilled hours and expenses showed the hours' value on the expenses line too. The line now shows what the expenses add up to. The client's total was always right, and invoices were never affected.
Under App Settings → Invoices → Your templates, upload a PDF of an invoice you already send and Collection Pilot copies its layout, type and wording, then shows how closely it matches line by line. Your logo, business address and website come from App Settings → General, where the address and website now live, so a new logo or a move reaches every template.
When your invoice uses a font we cannot supply, your template draws the closest free font. Under App Settings → Invoices → Your fonts you can now upload the font files your firm is licensed to embed, and your templates use the real font from then on. A font whose own licence forbids embedding is refused.
After pressing Upload in Add images and documents you can close Settings and keep working. A pill in the bottom-right corner shows how many files are in and how long is left, then a short summary when it finishes. Large folders also upload faster. Keep the browser tab open; if it closes, dropping the folder in again picks up where it stopped. Signing out or changing company mid-upload asks first.
Adding a contact or an artist from inside an open edit panel opened the small form behind that panel, where it was cut off and its fields could not be clicked or typed into. The form now opens centred on top of everything else, and closing it returns you to the panel you were working in.
On an auction purchase, saving used to replace the Purchase Price with hammer plus premium, even when those were blank. Now Purchase Price fills in from the two only when both are entered and you have not typed your own figure. If the two differ, a note shows the sum with a button to use it, so totals that include other auction charges stay intact.
In Add images and documents, the search for an unmatched file now finds a record by artist as well as by number or title, and ignores accents. A file that fits more than one work, such as a client with two works by the same artist, now offers those works as buttons instead of an empty search.
Since last week, closing the panel that slides in from the right when you click a record briefly showed "Reloading…" and refreshed the whole page, losing your scroll position and anything you had open. Closing it now simply closes it.
The Incomplete tiles in the Action Center start hidden, so switching a field on in Record Completeness could look as if nothing happened. Now switching a field on, or turning Valuation reminders back on, also shows that tile on your dashboard straight away.
In App Settings → Record Completeness, each switch now saves the moment you change it, and so does the reset button. There is no Save button to remember any more; a small Saved note confirms each change.
The Created and Last Modified card — the date, the time and the person — used to appear on only some records. It now sits at the bottom of every details view and side panel, including galleries, tasks, documents, content calendar posts and wishlist items, so you can always tell where a record came from.
Editing a collection that had no primary contact yet — or an acquisition with no gallery or collection set — quietly discarded the change. Images, report headers and every other field looked accepted, then reverted with no error. Those edits now save straight away, and the only field that can still hold up a save, the name or title, says so on screen instead of failing silently.
A commission schedule can now be a percentage of the price, a fixed amount per work, or no purchase fee at all, and a collection's arrangement can be changed for a single work from its Billing block, with a note. The invoice composer and Billing → To invoice say where each fee came from: this work, the collection, or the firm default.
In Add images and documents, a file named after the client and the artist, with no inventory number, now finds its record when that pair points at exactly one work. The title can stand in for either. A client with two works by the same artist still gets a choice rather than a guess.
The Add images and documents step now matches a file whose name ends with the inventory number, such as an invoice filed as client, artist, then number. Before, only a file named exactly the number matched. Words before the number are ignored; the review screen still shows what each file matched and why.
In Add images and documents, hovering any work on a file's row — a suggested match, a search result or one already linked — shows its full title, artist, year, medium, size, client, purchase date, purchase price and retail price, so an invoice can be checked against the record before linking. Prices stay hidden when Financials is off.
Three new parts under App Settings → Invoices. Letterhead sets your name large with the date and the client's address, as a letter. Purchase summary shows each work with its gallery price, then the discount, the net price, your fee, the client's total cost and the amount due to you. Bank details closes with your payment instructions and your firm's address.
App Settings → Invoices has a new Type card. Pick the font, the weight and the size for seven parts of the invoice PDF — the title, your firm’s name, the small labels, the body text, the amounts, the balance due and the closing. Changes save as you make them; Preview a sample invoice shows the result.
In Add images and documents, a PDF the file name cannot place is now read, and the artists named inside it choose its works — a shipping invoice that lists five artists lands on all five. Those rows say "matched on names inside the file", and the emailed summary PDF now ends with every file, where it went and why, with the read-inside ones first for review.
The Type list on a capitalized expense now ends with New type…, so a type you need can be created and chosen right there instead of in App Settings. Every firm also now starts with a standard list: Advisory Fee, Sales Tax, Shipping & Installation, Framing, Restoration and Other Capitalized Expense.
In Add images and documents, a document can now be attached to more than one work: pick each work on the file's row, and pick again to remove one. A file named with "x 2" is attached to both works when the client owns exactly two by that artist. The document then shows under every work it belongs to.
In Add images and documents, Preview beside any file opens it on the spot, so an invoice can be read without leaving to find it on disk. Dropping a folder again now lists only the files still needing a choice; the ones an earlier run already attached sit behind Show them.
If you belong to more than one company, switching could occasionally leave the previous company's records on screen, and clicking one showed a confusing error. Pages now only ever show records from the company you're signed into. If a record can't be opened, the side panel says so plainly and offers a reload.
Removing a teammate from Admin Settings → Team Members could stop with a “Database error deleting user” message when that person had granted support access or was named on a notification, an assignment or a scheduled report. The removal now completes, and if anything does block it the account is left untouched rather than half-removed.
The spreadsheet import now has a Retail Price column, so a list or asking price lands on each record instead of being left behind. A column headed Retail Price, List Price or Asking Price maps on its own. The downloadable template and the written guide include it.
App Settings → Record Completeness now lists Valuation date and Valued by, so a firm that tracks valuations can flag works missing them. A new Valuation reminders switch on the same page hides the Dashboard's Valuations tile for firms that do not commission independent valuations.
Clicking an acquisition from the Dashboard could sometimes land you back on the full, unfiltered list instead of opening that record's details, if the page's data hadn't quite caught up yet. It now waits for an up-to-date check before giving up, so the details panel opens reliably.
A few spots only offered a Download button for attached files, which always saved a copy to your computer just to look at it. Those now have a View button too, opening the file in a new browser tab instead — matching how the main Documents page already works.
Help now explains sub-collections on screen, in your firm's own words: what a part is, choosing a kind of object, shaping its record form, how makers with a role work, and what reports and the client portal do with parts. It is searchable, so a question about a wine cellar or a carat weight finds it. The printable guide is still on the downloads shelf.
Notes you type on a record used to only be visible while editing it. Now, if a record has notes, a small icon appears on its card that you can hover to preview them, and the full notes also show on the record's detail page.
Opening a collection and then backing out used to drop the page's card layout from the address bar, so a refresh right after backing out could land you on a different view than the one you left. Backing out now keeps you on the card grid, matching how Acquisitions already behaves.
Sale planning now tracks when a work went out on consignment. Set Consignment to gallery or auction and a From/To date pair appears — leave To blank while it's still out, fill it in once it comes back. We also renamed Current dealer to Represented by, since that field isn't only for galleries.
The Current dealer field in Sale planning now says plainly what it's for: one dealer, whoever has the work right now. Considering several dealers or auction houses at once? Add each one to the Buyers approached list right below it, where you can track its own estimate and status.
A record's Year Created showed on its card, but opening the record didn't list it anywhere. It's now shown as its own field alongside Edition and Country of Origin when you click into a record.
Every Help menu now has a System status row that opens status.collectionpilot.app, a public page watched from outside Collection Pilot. It shows whether the app and its server are reachable right now and keeps a history of past incidents, so if something ever looks slow you can tell in one click whether it is us.
Opening a client and going to its Billing tab quietly put the app into a spin: the page kept redrawing itself hundreds of times a second, the browser got slower and slower, and after a few minutes the tab could run out of memory and close itself with an error page. Anything unsaved in that tab went with it. The tab now sits still, and memory stays flat however long you leave a client open.
Opening Documents a second time could show the error screen instead of your files. The page remembers which records each document belongs to, and that memory was being saved in a form it could not read back. It is fixed, and if the memory is ever missing the page now simply says nothing rather than claiming every document has lost its record.
Billing has a Retainers tab. Until now a retainer could only be seen inside one client's billing settings, so a paused one, or one with nothing currently due, was invisible. The list shows every retainer across every client: what it bills and how often, the hours it includes, what it has invoiced so far, and any period that has come due without an invoice. Group it by status or by client, and click a row to open that client's billing settings.
The records list now scrolls inside its own frame. The column headings stay at the top however far down you go, and a totals row stays at the bottom with the hours and the value under their own columns. A Top button appears in that row once you are a few screens down, so you can get back without scrolling all the way. Your filters and tiles no longer scroll away either.
Typing a name without its accents found the artist but not their invoices, hours or expenses — searching "tomas" turned up 3 invoices when 13 mentioned Tomás. Smart Search treated accented letters as different letters in those groups and matched only the exact spelling. It now ignores accents there the way it always has for artists and artworks, so either spelling finds everything.
Two more groups in Smart Search. An expense turns up by what it was for, its category, the client or whoever paid it. A retainer turns up by its name, its notes or the client it is for, and shows what it bills and how often. Both open in the panel to read. View All on expenses lands on the Time page's Expenses tab; a retainer links straight to that client's billing settings, the only place it can be changed.
Smart Search now has a Billing group and a Time group alongside the others. An invoice turns up by its number, the customer, the client, a word on one of its lines or in its message; a time record by its activity, its notes, the client or whoever logged it. Click one to read it in the panel without leaving the page. The Billing page's own search box now looks at the message and the client name too, so it finds the same things.
The row of dropdowns above your time records has become a single Filters button opening the same side panel the rest of the app uses — pin it open if you want it there all the time. You can now pick several clients, teammates or activities at once instead of one, and save a set of filters by name to come back to, grouping included.
The big summary numbers across the app — the bars on the Dashboard, a client's value and appreciation, what is billed and owed, the analytics cards — are now rounded to the nearest dollar, the way they have always read on a phone. Two cents on a seven-figure total was only ever noise, and the shorter numbers stop crowding each other. Invoices, line items and hourly rates still show cents to the penny.
The Year by year table in Analytics → Billing now has a Chart view. Three bands share one row of years: what you billed, with the share that came from record-linked invoices shaded in; how many invoices it took; and what the average invoice was worth. Hover a year and all three light up, collected included. The year still running is drawn hatched, so a part year never reads as a drop. The table is one click away.
Hours you never charged for used to show nothing at all. Every hour now carries a value — at the rate that would have applied — so a new Not charged for tile shows what the firm gave away, and Analytics gains a Time and yield table: hours put into each client against the fees earned, with what the work returned per hour. Team only; clients never see it.
The records list stopped at the newest 2,000 with no way to reach the rest, and quietly totalled only the part it had — so an all-time view could understate your hours and their value. Records now load as you scroll, with a Load more button, and the summary says "Showing 500 of 5,982 … so far" until everything is in. Once it is, the hours and value are the real ones.
The records list gains an Activity filter, grouping by week, month or year with a subtotal on each band, and tick boxes: filter down to the hours you mean, select them and set a bill rate on all of them at once — either each record's own standard rate or one rate for the lot. Invoiced records are never touched, so what a client was charged cannot change.
Looking at everyone's time, you can now pick one person and see only their records — the list offers just the teammates who actually have hours in the view. Grouped records now fold: click any week, month or year to collapse it, with Expand all and Collapse all above the list. A folded band still shows its records, hours and value.
Time that belongs to the firm rather than a client now reads as your own initials from App Settings — VBAA instead of "Firm / general" — on the timecard, the records list, the pickers and the tile. In the records list, each week, month or year band has its own tick box, so you can select everything in one period without working down the rows.
The collection and artist dropdowns on Time and Billing used to list every client, so most choices came back empty. Now each one offers only the clients that have something in the view you are looking at, with a count beside the name, and it narrows further as you change the dates or the status. Status buttons with nothing behind them step aside too.
Firms that track makers by role — Artist, Culture / People, Workshop, and so on — can now jump straight to one of those groups from a row of buttons above the list, instead of building it as a saved filter first. Any other filter still narrows further within the group you picked.
Every dropdown on a Mac or iPad now opens the app's own panel instead of the browser's grey one — sub-collections, sale planning, record status, Filed under, import mapping, task and dashboard controls, settings. Long lists get a search box. Adding a sub-collection, type a kind nobody has yet (Coins, Stamps, Currency…) and an administrator can create it right there, then shape its fields under App Settings → Record layouts; Coins and Stamps also join the ready-made starters. On an iPhone the same fields open Apple's picker wheel.
Help now has a shelf of finished guides as PDFs: sub-collections, getting our emails out of a client's Junk folder, and three documents written for a client's IT team or outside counsel when a security review lands. Tick as many as you like and they arrive together in one ZIP. Individual chapters still print one at a time.
Tick several reports and they now arrive independently: if one cannot be built, the rest still download and a message names the one that failed. The download screen also checks ahead of time — a Sale Planning Report when nothing you ticked has a sale plan, or an Insurance Report when nothing is marked insured, is flagged as not needed and quietly left out, so you are never handed a blank document or, worse, nothing at all.
When a client opens a work in their portal, the details now include the year it was made and the record's Acquisition Notes, alongside medium, dimensions, edition, condition, location and gallery. Internal Notes stay with the team.
A new Sale planning switch in the Client Portal settings, firm-wide and per person, lets a client see a work's plan, consignment, current dealer and the buyers approached with their status, season and estimates, read-only on the record in their portal. Internal flags and notes stay with the team. Off for everyone until you turn it on.
Keep the auction houses, dealers and museums you work with in one list (App Settings → Sale planning), then plan the sale of any work from its new Sale planning button: the plan, consignment, current dealer, and one row per buyer approached with their estimate, status and season. Cards show where each work stands, the filter drawer finds works by plan, buyer or status, a collection's Summary tab totals the estimates, and an internal Sale Planning Report prints it all. Never shown to clients.
With a sub-collection chosen on a collection page, Add opens the record already filed there, in that kind's layout, so a car gets the car fields without any picking. The Filed under chooser now sits at the top of the form, above everything else, and switching it redraws the fields below.
Every PDF now reads your record layouts: a hidden field stays off the page, a renamed label prints as renamed, and custom fields ticked Reports appear with each record. For a collection with sub-collections, the download dialog offers one document with a cover page, breakdown and totals and each part on its own pages, or one document per part. Clients see custom fields ticked Client in their portal and PDFs, and the first part of a collection can be renamed.
Above a collection's value strip, the pill for the collection's own works now sits first, right after All, ahead of any sub-collection: it is what the collection was before a sub-collection was added. The kind names read in title case (Fine Art, Ethnographic Art).
Once a collection gets its first sub-collection, everything else in it is now shown under your firm's default kind (Fine art, unless you renamed it), with its count and value, instead of a Not filed pill that made it look misplaced. Batch update only offers the records' own collection's sub-collections, so a move can no longer land in another client's collection by mistake.
A client whose collection has sub-collections now gets the same row of pills above the value strip that the team sees: All, each sub-collection with its count and value, and Not filed. Choosing one narrows the numbers, the tabs and the list. Clients with one collection see no change.
The record panel that slides in from the right and the Admin Settings panel on the left now have a grip on their edge: drag it to make the panel as wide as you like, double-click to put it back. Each panel remembers its width on that computer. Record layouts also lays each custom field out on two lines so its options read in full at any width.
Setting what one client sees in their portal opened a panel taller than the screen, so the lower switches and the Save button were cut off with no way to reach them. The panel now stays inside the window, the switches scroll, and Cancel and Save are always visible at the bottom.
Choosing a sub-collection above the value strip now changes the KPI bar, the realized-performance row and the Summary and Analytics tabs to that sub-collection, not only the list of records. All returns to the whole collection.
The Costs & Valuation tab of a saved record now shows the valuation history with Add valuation, so a new appraisal can be recorded while editing. A newer entry fills in the current value, date and appraiser fields above it.
For firms with sub-collections switched on: custom fields marked as filters appear as chips in the filter drawer (choices, yes/no, number ranges), join the spreadsheet export, can be mapped when importing a spreadsheet, are searched by the search box, show read-only on the phone, and are known to the AI assistant. New starter kinds: Cars, Wine & spirits, and Design & decorative arts.
Rolling out firm by firm. A collection can hold sub-collections (say, Contemporary Art and Ethnography), each with its own kind of object. Under App Settings you shape the record form for each kind: hide fields you never use and restore them later, add fields of your own with a type, group and reorder by drag, rename labels. Records get tags, and the Artists module can hold makers with a role. Nothing changes until your firm is switched on.
Every change to a work’s current value, valuation date or appraiser is now kept, whichever screen or import made it. Open a work and the Financials card shows the full history with a chart against the purchase price; add an older appraisal or a fresh one from there. The collection’s Analytics tab gains a value-over-time chart built from those recorded valuations.
The cost basis that adds your advisory fees, shipping and framing to the purchase price now has its own switch, and it is off until you turn it on. Clients see the purchase price and the gain against it. Share it firm-wide under Admin Settings → Client Portal, or for one person from their Portal access panel.
Adding a maker from a car or ethnographic record now opens a sheet that says Manufacturer or Culture / People, offers only the roles that record accepts, and starts on the right one. Makers of another kind carry a small tag beside their name on cards, lists and detail pages. The list's Role filter and a new Group by Role option appear once a firm has more than one kind of maker.
App Settings → Invoices now offers Connect Google Workspace beside Connect Microsoft 365. Firms on Gmail or Google Workspace sign in once and every invoice goes out from that mailbox, in its Sent folder, with the PDF attached. One mailbox per firm — connecting one replaces the other.
When a maker's role is a company (manufacturer, producer, workshop, mint) its profile asks for Founded, Closed and Based in instead of birth year and birthplace, and the gender, race and age lines disappear. A culture reads Active from and Region. Cards and detail pages follow suit. Artists are unchanged.
App Settings → Integrations has a new Time history panel. With QuickBooks connected it tells you how many time entries QuickBooks holds, shows who they belong to and which collections, and brings them in with one click — billed hours tied to their invoices, overhead kept as firm time. Connect QuickBooks Time too and the timesheets that were never sent to the books come in as well.
A PDF a client downloads from their portal is now built on the purchase price whenever All-in basis is switched off for them — cover totals, each work's cost basis and the capitalised-cost lines all restate together, rather than one figure being blanked out. Turn the switch on and reports go back to whichever basis you chose for that collection.
In a client's portal, a collection split into parts could produce a report that quietly left records out — or, if none of the ticked records belonged to the part on screen, no file at all and no explanation. Every ticked record now counts, wherever it sits, and a selection spanning parts comes back as one report per part, which the download window says up front.
The Invoices tab in the client portal now leads with Total invoiced and Paid, beside Balance due and Overdue, so a client never has to add up the column themselves. Same on the phone.
On a gallery’s detail panel, a small copy icon next to the address and phone number — for the primary location and any additional locations — copies it to your clipboard in one click, ready to paste into an email or a shipping form. No more selecting the text by hand.
Moving an invoice to the Trash now sends the time and expenses it carried back to Unbilled, and the retainer period it covered becomes due again, so nothing is stranded on an invoice that no longer exists. Restoring the invoice takes back whatever has not been billed since. Same when QuickBooks reports an invoice deleted.
On a collection’s Billing tab, the Statement button now emails the statement as well as opening it. It goes to the billing contact from your connected mailbox with the PDF attached, and a copy is filed under the collection’s documents. Administrators only.
An Export button on the Billing page downloads two spreadsheet files for any period: one row per invoice (client, collection, total, tax, balance, status, when it was sent) and one row per payment (date, invoice, amount, method, reference). Invoices numbered in Collection Pilot and invoices from QuickBooks are both included, each marked with its source.
The gain measured after your advisory fees, shipping and framing no longer appears in the client portal unless you say so. Clients still see gross appreciation against the purchase price. Switch it on for everyone under Admin Settings → Client Portal, or for one person from the globe icon on a collection's Contacts & Access card.
An expense can carry its receipt — a photo or a PDF — added from the expense form. It is filed under the collection’s documents, shows as a paperclip in the records list, and when the expense is billed the receipt goes out attached to the client’s invoice email.
Send again to the client now starts with the address the invoice last went to, rather than the QuickBooks customer’s email. And if a client on Apple Mail or Gmail ever sees a winmail.dat file instead of your PDF, the mailbox card under App Settings → Invoices explains the one Microsoft 365 setting that fixes it.
An invoice created in Collection Pilot with a retainer, hours or expense line used to ask “which artwork is this line for?” on the invoice record. Those lines are service lines, so they are now settled as such the moment the invoice is created. Lines that name an artwork still link to it automatically.
Billing → Export now has a Sales tax file beside Invoices and Payments: for the period you pick, what was taxed and what was collected, per destination and rate, one row per invoice. The panel shows the totals before you download. Works for firms on QuickBooks and firms invoicing in Collection Pilot alike.
A report that goes out on a schedule is one document for several people, so it now carries the all-in basis only when every recipient is allowed to see it — otherwise it is built on the purchase price, like the reports clients download themselves. The schedule form says so, and a test send to yourself matches what they would receive.
QuickBooks would not mark an exempt client non-taxable without one of its own reasons (resale, charitable organization, government and so on). A contact’s exemption now has a Reason list; pick one and the QuickBooks customer is marked exempt when the next invoice is created. Invoices already went out tax-free either way. The send confirmation now names the mailbox the invoice left from.
On a collection's Billing → Time tab, tick any unbilled or written-off hours and choose one of the collection's invoices to tie them to — for the times you typed hours onto an invoice by hand, or invoices from before Collection Pilot. The hours show as invoiced with the invoice number, dated to the invoice, and Untie puts them back. The invoice itself is never changed.
A bug or idea you send under Bugs & Requests no longer sits on "New" until someone gets to it. It moves to In review while it is being looked at, In progress once work starts, and Done when the change is live — and you get an email at the last two. Nothing to chase.
Under App Settings → Invoices, connect your firm’s Microsoft 365 account with one sign-in. From then on every invoice is a real email from that mailbox — in its Sent folder, replies back to you, the branded PDF attached — with the deliverability of your own mail instead of ours. Nothing to set up in your IT, and Collection Pilot only sends; it never reads your mail. Google Workspace follows.
A contact can be marked sales-tax exempt, with the certificate number and its expiry (keep the certificate itself under Documents). Every invoice billed to that contact then goes out with no tax, the composer says so, and once the certificate has expired it warns and tax applies again. The composer also flags any line whose QuickBooks item disagrees with what you set here, before the invoice is created.
A collection’s Billing settings can now cap what an activity may bill — once for the whole collection, or resetting every month — alongside its hourly rates. A cap never blocks an invoice: whoever is composing the next one sees a warning if the ticked hours would cross it, and can lower the hours billed, write off the excess, or raise the cap.
Every firm has Billing now, with or without QuickBooks. Without it, invoices are numbered from your own sequence (App Settings → Invoices), sent with your branded PDF, and payments are recorded on the invoice; an invoice can be deleted until it is sent or paid. Firms with QuickBooks keep everything as it was. Under App Settings → General → Modules, Billing and Time can each be switched off for the firm; both are on unless you say otherwise.
The Collections chapter and Explain this screen now describe the Billing and Time tabs on a collection, which only firms with QuickBooks connected or hours logged can see. The Billing and Time chapters say what those tabs hold as well.
Smart Search now lists the Help chapters that mention what you typed, under the records, so a question like “sales tax” finds the answer as well as the invoices. Every chapter also has Print / PDF at the top: print it, or choose Save as PDF in the print dialog, screenshots included.
Help now offers Explain this screen on most pages: numbered notes appear on the page’s own controls, and hovering a number tells you what it does. Tasks, Billing, Time, the Trash and Your settings have guided tours for the first time, from Help → Tour. These new tours never start on their own.
The Help Center’s chapters have grown from starters into full guides, each with screenshots of the screen it describes and numbered notes on the controls. Click a number or a note to highlight the other; Enlarge opens the picture full size, where hovering a number shows its note in place. Twenty-two screens are illustrated, from the Dashboard to App Settings.
Help moves from the small ? in the corner to a named row in the sidebar, under Bugs & Requests, and it knows what page you are on. Guide to this screen opens the manual beside the page on the matching chapter; User guide opens the whole Help Center, with search. Twenty-five chapters cover every module, the settings, billing, time and moving your collection in. The welcome tour can be replayed from any page. On a phone, find it under More → Help Center and in Settings.
An invoice can now be moved to the Trash from its own panel: it leaves Billing and the collection, its lines are unlinked and the fees they wrote come off, and its PDF goes with it. The dialog says plainly that QuickBooks keeps its copy until you delete it there. Deleting an invoice’s PDF from a work now asks whether to move the invoice too. Restore from Trash → Billing.
Lines the invoice composer adds from unbilled work no longer all land on the Commission item. A retainer goes on your Retainer item, hours on the item named after the activity (Meeting, Research…), and expenses on the item named after the category (Travel, Shipping…), falling back to your fee item. Override any of the three under App Settings → Integrations; the composer says which items it will use.
A collection’s Billing settings can now list tax destinations — pick one of the collection’s own locations or type a new one, add the rate — with defaults for artwork lines and for time, retainers and expenses. Each work remembers where it ships for tax; every line can be changed on the invoice. Lines to different taxable destinations become one invoice each, as QuickBooks requires. The PDF shows subtotal, the tax QuickBooks computed and the total. Nothing is taxed until you add a destination; Collection Pilot never decides what is taxable.
Both modules carry a small Beta mark in the menu, at the top of their pages and on a collection’s Billing and Time tabs. They work and your data is safe, but they are still being shaped, so expect changes and tell us what you find under Bugs & Requests.
An emailed invoice used to arrive from "Collection Pilot" while the invoice itself was from your firm — a mismatch spam filters treat as invoice fraud, and one landed in a client’s junk folder. It now arrives under your firm’s name, matching the subject, the PDF and the reply address.
An artwork showed the same invoice twice: QuickBooks’ own copy filed by the sync, and the branded copy filed when you emailed it. There is now one document per invoice, holding the copy the client actually received. The two existing duplicates were merged; the spare copies are in the Trash.
Opening "Written off on this collection" while a written-off expense was listed crashed the app and threw you back to the Time page with the invoice lost. Fixed. That list now separates Time from Expenses, each with Restore.
The invoice panel is wider, so the unbilled time table fits without scrolling sideways. Drag its left edge to make it wider or narrower and the app remembers your size; double-click the edge to reset. The client being billed stays pinned at the top and the total with its buttons stays pinned at the bottom, however far you scroll.
The Time page’s Records view now has Time and Expenses groups. Expenses get their own columns and the same filters — Unbilled, Invoiced, Written off, Not billable — with Write off and Restore on each row, and an expense that was written off says so when you open it.
The list of every collection with unbilled hours no longer sits under the timecard on every visit. Three tiles at the top say what is in progress (unbilled hours and expenses at their rates), what was logged this week, and firm-only hours. Click Work in progress to open the list in a side panel and invoice from there. Time and Billing now fill the page like every other module.
The Time page has a third view, Records: every time record as one list, filtered by status (Unbilled, Invoiced, Written off, Not billable), date range, collection and search, with Restore on anything written off. The invoice composer lists what was written off on that collection with a Restore button, its write-off icon explains itself on hover, and a written-off record says so when you open it.
In the invoice composer, writing off a time record used to re-tick everything else — including a retainer you had just left off the invoice. Your ticks now survive; only items that appear for the first time start ticked.
A draft cannot carry a payment link — QuickBooks issues the link together with the invoice number — so the Preview PDF now outlines the spot and says the button appears once the invoice is created. Every copy sent after that carries the live Pay online button while a balance is open.
Every email about a bug, idea or question you sent us — the receipt, each status update, and any message from our team — now starts its subject with [Feedback]. If you like to file these automatically, one mail rule on that tag now catches all of them.
On a laptop screen the left-hand menu was taller than the window, so the last items — usually Billing and Time — sat below the fold with no scroll bar to say they were there. Trash, Change Company, App Settings and the link to our website have moved into a menu behind your name at the foot of the sidebar, which gives the list its height back. If the menu still overflows, a scroll bar and a "2 more" tag now say so.
The Billing and Time tabs inside a collection now search and filter like the other tabs. Billing: search an invoice number, an artist or words on a line, and narrow by status, artist, date or amount. Time: search an activity, a note or a person, and narrow by unbilled, invoiced, written off or not billable, by who logged it, and by date. The totals follow what you have filtered to.
Help → What's new lists every change to Collection Pilot, day by day, tagged as a new feature, an improvement or a fix, and tagged with the part of the app it touches so you can read only what affects your work. The three newest sit on the Dashboard with a count of what has arrived since you last looked.
A collection can now carry a fixed fee for a period — monthly, quarterly or annually — instead of, or alongside, hourly work. Retainers appear on the Time page ready to invoice when the period closes, and count towards what a client owes.
Billing opens with three figures: unbilled time, unbilled expenses and retainers due. Work you have decided not to charge for can be marked "not to be invoiced", so it stops nagging without being deleted.
A time entry created from a meeting in your connected calendar remembers where it came from. If the meeting turns out not to be billable, you can hand the slot back and the meeting returns to the list of things still to be logged.
Address and artist lookups for galleries now run in the background — start them, close the window, come back to the results. They check Google first, reuse anything found in the last 90 days, and stop automatically at a monthly spending limit.
Historical invoices held only as PDFs can be imported so past billing sits alongside current billing in one place.
Every Billing tab now has the same filter bar, each collection shows what was billed year by year, and Analytics has a Billing tab of its own.
Filter by status, type, priority, module, reporter, company, assignee or whether Claude has reviewed it, and search across the lot. Categories accept more than one choice at a time. Two toolbar switches control whether reporters are notified and whether new reports are reviewed automatically.
A teammate kept out of Billing no longer sees expense or retainer figures either.
Meetings pulled from an Outlook calendar were shown an hour or more away from when they actually happened. Calendar connections also could not be saved at all. Both are fixed, and the screen now explains where to find the calendar link.
The page heading and its buttons stayed put while the list underneath scrolled, instead of disappearing off the top.
The "Owed to You" tile printed its explanatory line as the headline figure, and the Action Center said "Billing Billing".
Proposed addresses were paired to an existing gallery location by city, so a gallery with two doors in one city could have the wrong one updated. They are now matched by street.
An admin can now restrict individual team members from areas of the app — Billing among them — and only admins can edit another teammate's record. The restriction is enforced by the database, not just hidden in the screen.
Clients opening their portal on a phone now get a phone-shaped experience built from the same screens the team uses, rather than a shrunken desktop page.
Time tracking gained expenses, connected calendars, and a week view where blocks can be dragged to move or resized to change their length. It works on a phone. Where QuickBooks holds a fee, QuickBooks is treated as the record of truth.
Clients can see their own invoices and what a work has cost to own. The team sees what is outstanding and how long it has been outstanding.
Payment terms, who the invoice is addressed to, and the order your firm's people appear in are all set per collection and carried onto the invoice.
Eight settings cards now save as you change them. No Save button, and nothing lost by navigating away.
Narrow a collection's invoices by artist, date and status, sort by any column, and see totals for whatever is left after filtering.
An invoice line is matched to the work it names however it is worded, and confident matches link themselves. Lines that describe a service rather than a work can be ignored so they stop appearing as unmatched.
Signing in could stall for around sixteen seconds on a blank screen. The app now asks for everything it needs in a single request and opens immediately.
Items deleted in QuickBooks were shown in Collection Pilot with a "(deleted)" tag appended to their name.
Record time against a collection with a week grid, a calendar view or a running timer. Hours flow through to Billing rather than being retyped.
Build an invoice here and it lands in QuickBooks. Pick works from a picker with thumbnails, put several works on one line, and send a branded PDF in your firm's colour carrying the QuickBooks payment link.
Choose whether an invoice groups hours by the kind of work done or by who did it, and set the wording that opens and closes the invoice.
Each person can carry a different hourly rate on each collection.
A setup or reset link that has gone stale now issues a fresh one instead of ending at an error, and the links survive the scanners corporate email systems run over them.
Something you deleted now shows up in Trash straight away.
An email forwarded into Collection Pilot now links the records it says belong together, and the confirmation goes back to whoever forwarded it rather than to the wrong person.
A written guide in the Help menu covering client portal access — who sees which collections, which fields, and which documents.
A collection's acquisitions can be ordered by the artist's last name.
Sending a fresh invitation failed when the contact's email was stored with different capitalisation, or when they had started setting up an account but never finished. Both now work.
Decide what each individual client contact can see: which collections, which fields, and which documents — with a Private flag that keeps a document out of the portal entirely. Wishlist items can carry a Hold status, and you choose which statuses clients see. Access can be set up before the invitation is sent.
Opening an artist in the peek panel could crash it. Links to related records now look like links, the hero image no longer dims as you page through it, and the gallery a work was acquired from links through like the artist and collection do.
Works recorded as donated were missing their donation amount and date in the Realized Performance figures.
Replacing or removing a collection image on a phone now removes the stored file too.
Choose which fields matter for a complete record, and the app tells you which records fall short. Incomplete acquisitions appear in the Dashboard's Action Center so the gaps get closed rather than accumulating.
An admin sets the naming pattern once, so a ZIP of images arrives labelled by inventory number, artist and title rather than by whatever a camera or phone called them. A guide in the Help menu explains the options.
Notes about what has shipped can now be published to people inside the app, aimed at a particular page and audience, and each person sees a note once.
When two images ended up with the same file name, the download kept only one of them without saying so. Every file now arrives.
The settings sidebar was too narrow for its longest labels, which wrapped onto two lines.
Collection Pilot support can no longer look into a workspace unless a company admin grants access. A grant lasts seven days, says who it was given to, and can be revoked at any moment. Admins are notified when one is used.
Searching acquisitions now looks across every field on the record, not only title and artist.
Artist summaries and document notes — including whole email bodies — were being sent to the browser just to draw a list. They are not any more, so large lists open noticeably quicker.
The app's own address was appearing in search engines and competing with collectionpilot.com. It no longer is.
The billing period shown for a subscription was read from the wrong place and could be wrong.
Anyone not coming from Collector Systems or Artlogic can now bring their collection in from a spreadsheet. One file carries acquisitions, artists and contacts. The template can be downloaded from the app, and a written guide walks through filling it in.
Permanently deleting something that other records depend on now warns you first, and stops leaving those records pointing at nothing.
A yes/no filter with nothing to find no longer takes up room in the filter drawer.
A file export gave you the compressed display copy rather than the original file you uploaded.
Import screens and several other places used the built-in module name instead of the one your firm chose.
Opening filters on a long list of cards could lock the tab for several seconds.
A sign-up where nothing was owed at checkout was rejected instead of completing.
Undoing an import now asks first when it would also remove images that have since been attached to works, and clears sample data before an import rather than leaving it mixed in with real records.
What an import did is stored and viewable in the app for the whole trial, rather than existing only in an email that can be deleted or missed.
Development accounts are hidden from a customer's team list.
An artist whose acquisitions all carried images could still show as having none. Each acquisition's default image now gives its artist a picture.
Artlogic joins Collector Systems as a supported source, with its own written guide.
The file you upload is stored untouched alongside the smaller copy the app displays, so the full-quality original is always available.
Imported images are matched using the export's own list of which file belongs to which record, rather than guessing when two works share a title.
An import ends with a branded PDF summarising what came in, what did not, and what to check — emailed and kept in the app.
A company admin can clear a workspace from Settings without asking us to do it.
Your subscription can be managed from inside the app on both desktop and phone.
Several screens and the billing, team and invitation functions were reading from the wrong company when a person belongs to more than one. Everything is now scoped to the company you are actually in.
The export job ran out of memory assembling big files, and could trip storage limits while measuring them. Large exports now complete.
Opening Collection Pilot in Safari on an iPhone now offers the correct App Store listing.
A Collector Systems export can be brought in without our help: its child records are folded onto the work they belong to, and a folder of images can be attached in the same pass.
Opening a written guide from Settings hid the settings you were reading about. The guide now sits beside them.
Text in a formatted field could be silently replaced with an empty value on save, and clearing a field could be recorded twice. Formatted fields now keep what you typed, and an empty field is stored as genuinely empty.
Leaving a field saved an out-of-date copy of the form, so the most recent edit could disappear. Saving now reads what is on screen at that moment.
Signing out of one browser ended your session on every other device. It no longer does, and switching company now reports a problem and recovers instead of leaving a dead session behind.
Contacts can be linked to each other with a label describing the relationship — advisor, spouse, assistant — and the label reads as a sentence with the real names in it.
An update arriving from the server while you were mid-edit could overwrite what you had typed. Your unsaved work now wins.
Tabs open in the background when you switched company or user elsewhere now follow the switch instead of showing a mix of both.
Every build has a visible version, so a bug report says exactly which version it came from.
Choosing a person on a task now searches the whole address book, and a person who is not there yet can be created without leaving the task.
An artist form could be working from an out-of-date version of the record, so a save undid someone else's change. Saving now writes only the fields you actually changed.
The phone contact form now uses the same section dropdown as artists and galleries.
Anything typed since you last left a field could be dropped when the record saved.
A screenshot can be added to a report you have already submitted, and we can attach files back to you in the same thread.
Edition details now appear on both reports.
Artist grid cards carry the death year where there is one, and the artist's age.
Where an artist and an acquisition shared an image, removing it from the artist deleted it from the work as well. Fifty-six affected images were restored.
Adding to a wishlist from a phone did nothing from either entry point.
The Save button was missing from new-record screens on a phone.
Valid questions were being blocked, and a long answer could be discarded just as it finished.
A company admin can export everything — records and the document and image files themselves — from App Settings. Large exports run in the background and arrive as a download link.
The Analytics, Insurance, Inventory and Portfolio reports carry a valuation disclaimer.
Works are classified by their status rather than by guesswork, and appreciation is split into gross and net so advisory fees do not distort the return.
Your firm decides the shape of its inventory numbers and the app applies it, including in bulk to existing records.
Date purchased, valuation date and location can each be turned on or off, per person.
Each item on the schedule now carries its inventory number.
The "Edition:" prefix is gone from the inventory report and catalog sheet, the artwork type no longer clutters the medium line, and nationality is read from the artist rather than the work's country.
Reopening an edit form showed an empty box where there was text.
A batch update on artists can either add to what is already there or replace it outright — your choice, rather than ours.
The filter read only additional mediums and ignored the primary one, and did not notice newly created values until a reload.
An Add Task button on entity edit screens, with the resulting task visible from the record.
Scrolling a long filtered list could show the same record twice and skip others entirely.
Filing an email against a work created a second copy of that work instead of linking to the one already there.
Copying a work's details to paste elsewhere dropped the edition.
Keyword suggestions were not appearing, typed keywords were not saved, and the collection picker did not work.
A labelled Select All row at the top of the list, so a bulk action does not need every row clicked.
Sections you had hidden or shown came back in their default state after signing out. The layout is now stored with your account.
The artist Gender filter has a "(Not Set)" option.
Artists, Contacts and Galleries locked up for seconds when the filter drawer opened on a long list.
Questions were being treated as instructions to change data, so an answer never arrived.
Every list can be sorted by when the record was created.
Filters stay applied when the page reloads, and the name of the active preset is shown so you know what you are looking at.
Opening a dropdown in the page header could lock the tab on a large list, and Tasks could crash when reopened from a warm tab.
The app remembers the data it already had, so reopening a tab shows your records immediately instead of loading them again.
Images were being cropped to fill their frame; they now fit inside it whole.
Gallery lookups start the moment you ask for them and continue without the window open.
An AI model was retired by its provider and every AI feature failed. They were restored the same day, and the app now falls back to a working model automatically rather than breaking.
What has to download before the app opens fell from about 7 MB to 2.4 MB, which is most noticeable on a phone or a slow connection.
Removing the last reference to a file now deletes the file itself.
Sending feedback from the iOS app failed to reach us.
Report a bug or ask for something and follow the conversation: your own history, two-way replies, an unread indicator when we answer, and a keyboard shortcut to open it from anywhere. The list itself can be triaged in place.
Notes and feedback left with an approval are included in the email, and approving from a phone sends the email as it does on desktop.
A way to report a problem or request a change without leaving what you were doing.
Pick who is responsible at the moment a post is created, with a default assignee per person.
The approve toggle now moves a draft or in-review post into Approved.
The review email arrives with the PDFs attached and a single link that sends the report on to the client.
Reviewers could open a review without seeing the reports, a schedule starting today waited for the next cycle instead of sending, and the PDFs were three times larger than they needed to be.
Set a collection's reports to go out on a schedule, to chosen recipients, with an optional review step before anything reaches the client.
Full-screen pinch-zoom on a phone for acquisition and artist images, and in Smart Search and the Content Calendar.
A page describing how customer data is protected, for the security questions clients and their advisors ask.
The iPhone app was submitted to the App Store.
Records are indented under their group, and groups of unlinked records sink to the bottom instead of sitting among the named ones.
The About menu item now opens the marketing site instead of a 404.
Choose the owner and reviewer at creation, with a default assignee saved to your profile. The same person can now be both.
Contacts, Artists, Galleries, Acquisitions and Documents can all be filtered by when the record was created.
Opening a list in a new tab carries the filter you had applied instead of starting over.
Found something that should work better? Write to support@collectionpilot.com. There is a good chance it appears on this page with today's date.