If you are looking for an art licensing agency, the most useful list is not the longest one. It is a list of agencies that are actually accepting artist submissions and represent work that fits what you make.
I checked the submission information for the agencies below in October 2026. Policies can change, so I would still open the official submission page before sending anything. I would also study each agency’s current artist roster before deciding that an open submission form automatically makes it a good target.
If you are completely new to the business side first, my broader art licensing guide explains how licensing works before you start approaching companies or representatives.
Art Licensing Agencies I Would Research First
These are not interchangeable companies. Some lean heavily toward home decor, some toward illustration and publishing, and others represent a much wider range of commercial artwork. I would choose based on fit rather than submitting the same portfolio to all of them.
Wild Apple
Wild Apple currently says that artist submissions are open on an ongoing basis.
Its current submission information emphasizes decorative artwork and work suited to home decor and wall decor markets. Subjects it specifically mentions include florals, coastal imagery, landscapes, holiday art, figurative work, maps, nature and photography.
The current form allows artists to include links to their website and social accounts plus up to six representative JPEGs.
I would study Wild Apple’s existing collections carefully before submitting. This looks much more useful for an artist whose work naturally fits products and decor than someone trying to force unrelated fine art into licensing.
Penny Lane Fine Art & Licensing
Penny Lane Fine Art & Licensing currently accepts artist submissions by email.
Penny Lane is unusually specific about what it wants. Its current guidelines focus on finished decorative artwork designed for the commercial home decor and art licensing market rather than unfinished concepts or sketches.
At the time I checked, Penny Lane asked for 8 to 10 individual JPG files and specifically noted that the images should be attached directly rather than relying only on portfolio links.
I would consider this one when my work already looks like something that could naturally appear as wall art or home decor.
Tate & Co Licensing
Tate Licensing currently has a submission process for artists seeking representation.
The application asks for more business context than a simple image upload. Tate requests information about your portfolio, social links, existing licensing arrangements, licensing goals and related professional activity.
That tells me I would approach this submission more like a representation inquiry than a casual artwork submission. I would have my portfolio and explanation of what I want from an agent organized before applying.
Jehane Ltd
Jehane Ltd is much more specific about aesthetic fit.
Its current submission page describes an interest in strong draughtsmanship, a distinct personal voice and artists interested in publishing, licensing and a longer-term creative relationship.
Artists can currently submit 10 JPEGs or a curated PDF containing up to 10 pieces, along with a website, social accounts and a short bio.
Jehane also states that it takes on only a limited number of new artists each year. I would spend extra time studying its existing roster before sending work rather than treating this as another address on a mass-email list.
Art Licensing International
Art Licensing International currently says it is looking for new artists and interested in reviewing work.
Its current guidelines allow artists to send links to an online portfolio or social accounts. For direct digital submissions, it asks for a selection of low-resolution files representing the artist’s style.
I would use this as another reason to prepare a concise licensing-specific portfolio instead of expecting an agency to sort through an entire career archive.
MGL Art Licensing
MGL Art Licensing currently has an artist-submission form for people seeking representation.
MGL represents artwork across product categories including greeting cards, stationery, puzzles, apparel, homewares, bedding and gifts. Its portfolio includes subjects such as wildlife, florals, landscapes and fantasy art.
The current submission form allows artists to attach work and provide their website and Instagram account. MGL says that if an applicant does not hear back within three weeks, the submission was not selected.
This is one I would look at particularly closely if my portfolio contains commercially usable wildlife, animal, landscape or illustrative work.
Advocate Art
Advocate Art currently invites artists to submit work for representation.
Its business spans publishing and licensing, including children’s illustration, seasonal imagery, decorative art, greeting cards, products and puzzles.
Advocate’s submission page says it wants artists who are professional, reliable and commercially relevant to what its clients buy. Current applications are reviewed through its submission partner using JPG artwork.
I would consider this more seriously if illustration and publishing are part of my goals rather than assuming every licensing agency focuses primarily on wall decor.
Ansada Licensing Group
Ansada Licensing Group currently accepts artwork submissions for licensing consideration.
This one is especially interesting for artists working in subjects such as wildlife, farm imagery, florals, landscapes, historical scenes, nostalgic work and figurative art. Its current guidelines say it is not accepting photography or abstract art.
Ansada allows electronic submissions and portfolio website referrals and asks artists to include professional background information with the submission.
For an artist with a traditional wildlife or representational portfolio, I would put this higher on the research list than agencies whose rosters are dominated by patterns or decorative florals.
An Agency, a Publisher and a Company Looking for Art Are Different Opportunities
This distinction is worth making before you start submitting because artists often use all three terms as though they mean the same thing.
An art licensing agency or agent generally represents artists and pitches their work to potential licensing clients.
An art publisher may acquire or license images primarily for wall art, prints and related markets.
A manufacturer or product company may license a specific image directly from an artist without representing the artist more broadly.
If representation itself is what you want, my guide to art licensing agents goes further into the agent relationship. If you are looking for companies rather than representation, use my list of art licensing companies.
I Would Check the Roster Before I Check the Submission Form
An open submission page only tells me that I am allowed to send work. It does not tell me whether sending that work is a good use of my time.
Before approaching an agency, I would look through the artists it already represents and ask a few questions.
- Does my work fit any of the product markets this agency already serves?
- Does my portfolio feel related to the roster without simply duplicating another artist?
- Do I have enough cohesive work to show that my style is repeatable?
- Can I imagine my images working on actual products rather than only as original art?
- Does the agency appear to work with the kind of imagery I make?
If those answers are weak, I would work on the portfolio rather than immediately looking for more email addresses.
My guide to building an art licensing portfolio covers that part of the process separately.
What I Would Send to an Art Licensing Agency
I would follow the agency’s instructions exactly. The requirements above already show why there is no universal submission package: one company may want six images, another may want ten, while another may care heavily about your professional background and licensing goals.
Before I begin submitting, however, I would have these materials ready:
- A clean website or portfolio page showing licensing-relevant work
- A small group of strong images that represent my current style
- A short artist bio
- My website and appropriate social links
- A brief explanation of what kind of licensing opportunities I am interested in
- Low-resolution JPEGs prepared to each agency’s requested specifications
I would not attach a giant portfolio PDF by default. If the company asks for six JPEGs, I would send six JPEGs. If it asks for ten, I would select ten. Following directions is part of the submission.
I Would Not Send Production-Ready Files During an Introduction
A first submission is normally about showing what I make, not handing over full-resolution artwork.
I would avoid sending original physical artwork, unrequested large files or production-ready high-resolution images unless the company specifically instructs me to do so.
I would also keep a record of exactly what I submitted and when.
The Submission Email Does Not Need to Be Long
If an agency accepts submissions by email, I would make the message easy to scan.
I would introduce myself, identify the kind of artwork I make, explain in one sentence why I think it fits that particular agency, and direct the reviewer to the requested portfolio or attachments.
Something along these lines is enough:
Hello [Name],
I’m an artist creating [type of artwork] for [relevant products or markets]. I’m reaching out because my work seems aligned with the [specific subjects, markets or styles] your agency currently represents.
I’ve included the requested samples below, and my portfolio is available here: [portfolio link].
Thank you for taking a look,
[Name]
I would personalize the fit sentence instead of sending an identical message to every agency.
Sometimes I Would Skip the Agency and Submit Directly
Representation is not the only path into licensing.
If I already know the product category where my artwork belongs, contacting companies that license artwork directly can sometimes be a more focused approach.
For surface-pattern and textile work, see my list of fabric companies accepting art submissions. I also maintain a broader resource on manufacturers looking for artwork.
The point is not to avoid agents. It is to understand whether I actually need representation for the opportunity I am pursuing.
If an Agency Is Interested, I Would Slow Down Before Signing
Getting a positive response is only the beginning of the business decision.
I would want to understand what the agency represents, how it earns its commission, whether the relationship is exclusive, which territories or product categories are covered, how long the agreement lasts and what happens if either side wants to end it.
I would also want the actual licensing arrangements with manufacturers to clearly define what artwork can be used, on which products, in which markets, for how long and how payment works.
My guide to an art licensing agreement covers the contract side in more detail.
A Small Target List Is More Useful Than a Huge Directory
If I were starting this process, I would build a short list of agencies whose current rosters and markets genuinely fit my work.
I would record the agency, submission page, kinds of artwork it represents, requirements, date submitted and outcome. Then I would work through the best matches first.
If several strong-fit agencies decline or do not respond, I would look again at the portfolio and its commercial fit before simply finding fifty more companies to contact.
Open submissions are useful because they give artists a clear door into the industry. The real advantage comes from choosing the right door rather than knocking on every one.