24 Water Street, Palmer, MA 01069 1-800-432-3505 Fax: 1-413-283-3190
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What People Are Saying - September 06
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Paul Davis, Coastal Promotions, P.O. Box 799, Newcastle, ME 04553, (207) 563-1013, www.maineantiquefest.com |
Marilyn Gould, MCG Promotions, |
Marc Witus, P.O. Box 405, Gladstone, NJ 07934, (908) 234-1436, |
Iris Oseas, Van Deusen House, 59 Main Street,
Hurley, NY 12443, |
I can vividly remember the enormous crowd of early buyers
that used to attend Russell Carrell’s outdoor shows, the Maine
Antiques Festival, MCG Promotions’ Wilton Shows, and others. These
were folks who paid a premium admission price to be the first on the
field to preview merchandise before the public was admitted. I can remember
some items selling within minutes and others inexplicably generating
no interest at all during early buying.
Russell is no longer with us, but early buying is still a practice endorsed
by some promoters. This month, NEAJ took the time to ask a few dealers
and promoters about early buying and got differing opinions.
NEAJ: Early buying has been with us a long time. Do you see it as an
effective marketing tool?
PAUL DAVIS: Well, it’s not what it used to be. To tell the truth,
I think the practice varies from show to show. Take Union (Maine Antiques
Festival) for example. Early buyers at Union used to want to see the
dealers unpacking. Lately we get objections from those who would rather
see everybody set up than to get in early. I agree with them. There’s
a lot to see and they should see it all. I’m changing early buying
to Saturday morning instead of Friday evening for that show. I actually
think that we’re going to end up with more early buyers this year
than ever.
MARILYN GOULD: I would like to say how effective it was as a marketing
tool. During the late 1980s and throughout the 1990s, it was not unusual
to have 500 people lined up for early buying for our June outdoor show
– sometimes more. As we have seen business decline, many dealers
don’t like it. The one area where it continues to be quite successful
is at the November Craft Show. I think the decline happened after 9/11
and early buying hasn’t completely rebounded since.
IRIS OSEAS: For 17 years, Jonathan and I were partners in Festival Promotions.
Our opinion of early buying is that it takes excitement away from the
show and gives the false impression that the best is gone and the show
is picked. That is a false impression, because people who come to a
show have their own agendas, pick what they want, and leave great stuff
behind. The one who benefits most from early buying is the promoter.
MARC WITUS: From a promoter’s point of view, early buying can be
very effective. From my point of view, I don’t like it, and I’ll
tell you why. When I’m exhibiting in a show, I find that early
buying is detrimental to my business. If a collector cannot participate
in early buying for any reason, he will often not attend the show at
all because there is the impression that the show is picked over. I’ve
talked to a number of civilians who feel exactly this way.
NEAJ: What is the public’s perception of early buying? Do you
think entering a show early is more important to dealers or retail customers?
MARILYN GOULD: Well, the serious retail buyers tell me they love it.
Many like to get in early before crowds arrive, get their business done,
and go on with their days. This is true also for dealers who have to
open up their shops or people who have to go to work. They can come
in early and then go on with their business.
MARC WITUS: The only time I approve of early buying is if I have the
chance to be an early buyer at a show in which I am not exhibiting.
When I have done it, I have bought well.
PAUL DAVIS: Having had over a thousand early buyers in the past at Union,
I don’t believe it’s just about the dealer wanting to shop
early. Maybe one third of them are dealers. I think retail customers
are willing to pay extra to have an edge over those who come later.
One of the reasons I continue to do early buying is that it breaks up
the numbers of people arriving all at once. It eases the crunch a little
bit and makes parking and other logistics easier.
IRIS OSEAS: The public’s perception is that the show has been picked
over and all the best stuff is gone. Many members of the public won’t
pay a premium to come in early.
NEAJ: How many shows do you do that include early buying? Which ones?
MARC WITUS: I’m down to Wilton once per year, Howard County, Nashville
twice per year, and Union, Maine once per year. These all have early
buying and the other shows I do don’t offer early buying.
IRIS OSEAS: Ridgefield, which is a very good show, still does it. I
find it difficult because as I’m setting up, people are trying
to see my merchandise. I think some of the early buyers never see my
entire inventory. It makes me crazy and it makes them crazy.
PAUL DAVIS: I have three with early buying – Union, Bar Harbor,
and Rockport. We do early buying in the evening at Rockport and Bar
Harbor. It gives the dealers just a little more selling time for the
exhibitors and it allows the local dealers who have shops to see the
show as well.
MARILYN GOULD: I use early buying in the June outdoor show, the December
Holiday Marketplace, and the November Craft Show.
NEAJ: Can you talk about advantages or disadvantages of the practice?
IRIS OSEAS: I’ve often heard customers say that if they can’t
be at early buying, they will simply not come because they fear that
the best merchandise is gone. We all know that fear is simply not true.
MARC WITUS: The only advantages I see are from the promoter’s side
– as well as the dealers and collectors who are able to participate.
The disadvantage is to the collector who cannot attend early.
MARILYN GOULD: Well, I think that early buying was very beneficial when
the market was hot. As the market cools down, it’s less appropriate
and it’s more beneficial to have a larger gate at 10 a.m., when
the show officially opens. Now, for the organizations that sponsor shows,
it’s not so good to eliminate early buying. It cuts the income
from early buying significantly. This makes a big dent in the overall
profit margin.
PAUL DAVIS: It varies from show to show. In Concord, I don’t do
early buying at all. I found that the show doesn’t have the same
excitement with early buying as it does letting everybody in at once.
I think early buying is good in some situations and not in others.
Randall Decoteau
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Amanda Rivera Lopez, Director of Museum Education, Historic Deerfield, P.O. Box 301, Deerfield, MA 01342, (413) 775-7214, www.historic-deerfield.org. |
Ann Musser, Curator of Education, Smith College Museum of Art, Elm Street at Bedford Terrace, Northampton, MA 01063, www.smith.edu/artmuseum. |
Aimee Newell, Curator of Collections, Textiles, and Fine Arts, Old Sturbridge Village, 1 Old Sturbridge Village Road, Sturbridge, MA 01566, (508) 347-3362, www.osv.org. |
Most of us visit a museum, enjoy the artwork on exhibition,
relax in the café, and shop in the museum gift shop without ever
thinking of the almost invisible behind-the-scenes activity that makes
our experience possible.
Part of the infrastructure at many museums is an intern-training program
to help introduce students to the daily operations of the facility.
In the process of internship, teens, undergraduates, and graduate students
are encouraged to observe, research, and communicate with the experts
on staff. Each intern gets hands-on experience in working with the public
in the fields of museum education, history, art, and curatorial work.
NEAJ spoke with three individuals in charge of working with interns.
We hope you enjoy what they had to say.
NEAJ: Tell us about your internship program.
ANN MUSSER: We offer both academic year and summer internships. They
vary a lot. Some are intended for younger students and some are for
more experienced students. Typically, most of our interns are Smith
undergraduates and students from the Five College network. All are involved
in museum education and we look carefully at the students’ backgrounds
and try to match students to their projects. For example, if somebody
has strong studio experience, we ask them to work on developing an art
project for a family program. Basically, students enrolled in our program
get to participate in the planning and implementation of programs. Our
students get to experience museum culture and what it might be like
to work in a museum environment.
AMANDA RIVERA LOPEZ: The Historic Deerfield intern course of study includes
a summer training program and a school year service component. The idea
is that during summer the student spends two days per week over a five-week
period. These are mostly high school students from 14 to 17 years of
age. They are trained in museum operations and Deerfield history. During
the school year the interns support public programs by teaching what
they have learned. The usual service commitment is for one weekend day
per month.
AIMEE NEWELL: Our program is not like a class. Basically, we accept
interns to work on specific projects on an individual basis. Primarily,
our interns have worked on cataloguing artifacts or on exhibit projects.
Others have worked on research projects as well. For example, this summer
we have two interns. One is cataloguing a large collection of embroidery
patterns. The other is assisting us with an inventory of our entire
collection. Interns need to be enrolled in an undergraduate or graduate
program. Our schedule is generally for 12 weeks, though we can be very
flexible about schedules. Some work for as little as one day per week,
while another may want to work for an entire month.
NEAJ: Why do you think your program is important?
AMANDA RIVERA LOPEZ: Teenagers have a real interest in being involved
in a museum. However, their interests are not often met in standard
public programs. These kids are very competent and the internship allows
them the opportunity to use their skills. Through our program they can
actually contribute to the museum.
AIMEE NEWELL: For students who want to go into the museum field, there
is no substitute for hands-on experience. It gives them a chance to
see if this is the kind of work that will satisfy them. Programs like
ours also give interns a feeling for what area of museum work will be
the most exciting for them.
ANN MUSSER: Basically, even if you love art and going to museums, you
don’t usually see beyond our seamless presentation and it’s
hard to see what possibilities exist for a museum career. I think if
someone imagines that they may want a career in the arts, the field
is so competitive that you need to start as early as possible. These
programs are essential for those who go on to museum or academic careers.
One thing that’s nice about working with us is that interns get
experience in having an impact on their community, thus seeing its significance
first hand.
NEAJ: How is your course of study structured and implemented? How
many trainees work with you over the course of a year?
AIMEE NEWELL: Our program is really project driven and is supervised
by the staff member who is responsible for the project. We’ve had
as many as two or three during a semester. Generally the interns are
not paid. The benefit to us is that we get quality assistance and they
get training and real world experience that will help them in a competitive
job market. Internships at Old Sturbridge Village are really mutually
beneficial.
ANN MUSSER: The program here is a very individualized process. We want
to know what interests the student. The course of study is really project
based and each intern works within their own schedules. Typically, we
have four intensive interns who work with us during the school year
and three during the summer. We also have volunteer opportunities that
are not quite as intensive. These would be our Student Museum Educators.
We had eighteen of these this year.
AMANDA RIVERA LOPEZ: I’d say we usually have between four and six
students per year. This program is important because teenagers, who
are not yet adults, work very well with younger kids and their families.
The young relate very well to them. In this respect, I see them as a
real asset to the museum. What they get out of this is really world
experience. This training course is excellent on a resume and helps
students to be more competitive in the college admissions process.
NEAJ: Would you care to share the names of a few of your former interns?
ANN MUSSER: Krystal Read is in Texas at the Crowe Collections, Nell
Gross is at the Seattle Art Museum, and others include Sarah Chung who
is in the prints department at Museum of Modern Art in New York. I really
put major emphasis on reference letters for my students because the
museum world is so intimate. You know, there are only two degrees of
separation between any of us. It’s comforting to know that my students
go into this field. I don’t feel like I’m ever saying goodbye
to them. I’ll see them again at conferences.
AMANDA RIVERA LOPEZ: Well, this is only our third year, so we don’t
have a track record yet. I will say that I never had the chance to intern
myself. Maybe if a program had been available, I would have. My first
program of this type was at the El Paso Museum of Art. I have worked
on intern programs ever since.
AIMEE NEWELL: I’m not sure. I was actually an intern here, which
led to my becoming a curator at Old Sturbridge Village. I also interned
at SPNEA (now Historic New England), at the Jamestown Settlement, and
also at the Henry Ford Museum.
Randall Decoteau
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Rick Russack, F. Russack Books, 20 Beach Plain
Road, |
Priscilla Boyd Angelos, |
Tom Dawson, Dawson Gallery, 44 Maryland Avenue, Annapolis,
MD 21401, |
Mickey Deike, Shalimar Farm, P.O. Box 108, Cass, WV 24927, (304) 456-4852 |
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Joel Fletcher, Fletcher/Copenhaver Fine Art,
P.O. Box 1038, |
Charles Edwin Puckett, 3847 West Market Street #253, Akron, OH 44333, (330) 668-0032, www.cepuckett.com. |
Drusilla Jones, |
Writing this column has its demands. Among them is coming
up with a fresh topic every month about the movers and shakers in the
business. We talk to promoters, dealers, museum directors, curators,
collectors, and just about everybody else that step in and out of our
business days. Rarely, though, do we look back to collectors and entrepreneurs
from long ago who have had a lasting impact on our antiques market.
As I worked on questions to ask our panel of interviewees, I thought
of collectors whose sense of vision has helped shape the world of antiques.
These might be folks like Cummings Davis, whose collection today resides
at the Concord Museum; people like Henry Francis Dupont who assembled
the finest collection of American decorative arts that the world has
ever known; Marjorie Merriweather Post at Hillwood; and the Hogg sisters
of Bayou Bend. I thought also of decorators like Nancy McClelland, Horace
Walpole, and Henry Davis Sleeper, and the legions that helped create
the Colonial Revival Movement. Arthur Little, Electra Havemeyer Webb,
J.P. Morgan, and Isabella Stewart Gardiner came to my attention as well.
So, I set out to interview seven people about the influence of yesterday’s
style and taste on today’s business. I got the surprise of my life
as each person I talked to gave me a very personal view of this subject.
I think you will enjoy hearing what our experts had to say. As a matter
of fact, our editors would enjoy hearing your opinion, so let us know
who you think deserves the most credit for influencing today’s
antiques market.
Priscilla Boyd Angelos
I’d like to say Phil Bradley. Think of how many people who worked
under him went out and started successful businesses – like Skip
Chalfant, Richard Worth, Dale Hunt, and Chris Rebollo. Phil also put
tremendous excitement into the auction market. A lot of us still remember
him very kindly. He taught us all.
I also think we should talk about Russell Carrell. He is the one who
got my parents into the Philadelphia Show. He had flair and he was just
unbelievably helpful to all of us in the business. I remember running
around his shows at eight years old. He always had time for us –
so many memories. I think it is just as easy today to dictate fashion
as it was a hundred years ago. You just have to be a very strong personality
and you can reach anybody.
Tom Dawson
I would congratulate more than any single person The National Gallery
in Washington, DC, for mounting the Luminist exhibition in 1981. The
show was beautifully presented and the wonderful catalogue gave Americans,
for maybe the first time, a perspective on Heade, Gifford, and artists
like Kensett. This kind of show ignited the market for American paintings,
which continues to this day.
If you want to think in terms of a single person, I look to the academic
side of things. Scholarship today in American art history is almost
a growth industry. We have to salute these writers, as well as galleries
like Hirsch & Adler, Vose, and others who have maintained integrity
and stimulated interest. So, I don’t really point to one person.
We can talk about dealers both small and large who work for the public.
These people give the business their very best effort. But nobody really
dictates fashion today. Nobody has a stranglehold for the long run.
Mickey Deike
I’d have to name Wallace Nutting, whose image comes to the fore
immediately. He collected, researched, and reproduced fine examples
of American furniture. He also established a criterion for taste during
the Colonial Revival Movement. I would also like to have known Nina
Fletcher Little, who comes along a little later, but was also very involved
in preservation.
I also think it’s very important to acknowledge dealers who pass
on their knowledge and enthusiasm for collecting. I salute people like
Joy Hanes, Griselda Lewis, and Geoffrey Godden. These people are knowledgeable,
passionate about their work, and willing to share. It takes a lot of
energy to transfer a passion for objects to a wider audience.
As to the ease of dictating fashion today as opposed to yesterday, I
say never. The dynamics are so widespread and diverse that it costs
far too much to get a message out today. Values change and as values
change in society, fashion follows. If you want to change something,
you have to change a whole value system.
Joel Fletcher
My taste for antiques and my eye, such as it is, was formed based on
where I lived in London, Paris, and Florence over a period of 14 years.
One influence for me would be Paul Prouté, scholar, collector,
and dealer in Paris. He operated one of the most successful galleries
for works on paper. I still buy from his grandchildren. They have one
of the most amazing inventories, which ranges from very early things
to contemporary works. What started for me as a hobby, turned into business
through his influence.
I’ve also got to recommend good show promoters like Penny Jones,
Bob Armacost, and others who have been a big help. These folks have
high standards and when you go to their shows, you know that there is
nobody on the floor that you’ll be embarrassed to show with.
Drusilla Jones
From my point of view, I’ll talk about the book world. A.S.W. Rosenbach
put out a catalogue of rare children’s books dating to the early
days of the United States. He was a rare book dealer who worked on Rittenhouse
Square in Philadelphia and his work made people notice the importance
of children’s books. Today the A.S.W. Rosenbach Foundation and
Museum occupies the original building and houses among other things
the Maurice Sendak archives.
Dr. Seuss is another I’d like to talk about. He is one of the most
important influences on the contemporary children’s book market.
His unique approach burst onto the world. His use of amusing rhymes
and strong illustrations in primary colors will never be forgotten.
He makes children respond to him who never forget either his images
or his verse.
I don’t think it’s as easy to influence the market today as
it was a hundred years ago. In the early years we only had print media
to work through. Today we have competing voices like TV, the entertainment
industry, video games, and movies – too many distractions altogether.
At one time books were the main source of information. It’s not
the same today.
Charles Edwin Puckett
I’d like to limit my answer to medieval manuscripts. When I do
that, I think that publishers like Harry Abrams and George Braziller;
and authors like Christopher de Hamel and Roger Wieck have had major
influence because they have brought the world of the medieval manuscript
into public view.
Before the 1960s, there was little available other than scholarly texts.
This group introduced to the broader public good images, strong insight
into the field, and intelligent writing. You know, things can suffer
because nobody knows about them; this category has matured and grown
because of their influence. Just 30 or so years ago, this was a narrow
field not collected by a lot of people.
In a worldwide marketplace, I don’t think it’s as easy today
to influence things. It’s harder, indeed. Our audience is so much
broader. A hundred years ago a very small group of movers and shakers
could easily influence a small group of ‘fashionable’ collectors.
We live in a different world today.
Rick Russack
A very interesting question; The first name that comes to my mind is
Nina Fletcher Little, but I think that the members of the Walpole Society
who helped develop the American collection at the Metropolitan Museum
should be recognized. People like Henry Francis Dupont, Luke Vincent
Lockwood, Art T. H. Halsey, and Francis Garpin established collections
without the help of all the research materials we have available today.
These guys worked using their own eyes and judgment.
I also think that we should recognize Russell Carrell and Gordon Reid.
Both contributed the American flea market concept; show formats that
are ubiquitous today.
I don’t think it’s as easy to dictate fashion and taste today.
But because of communications advances, it’s easier for scholars
to find their niches. We really have far more research materials today
to help each collector develop his own taste. Virtually none of these
materials were available when the greatest collections were established.
Prior to the 1920s, an antique was important because of its ownership
association with a historical figure like George Washington. It wasn’t
until much later that an object was important because of its design.
n
Randall Decoteau
Leanne Stella
In our March issue we asked dealers whether it was more advantageous to specialize or to carry a general line of merchandise. This month we carried the same line of questioning to Leanne Stella of the Stella Show Management Company. Leanne joined the family business in the early 1990s, and Irene Stella has been producing antiques shows since the late 1960s. Combined, they see a lot of exhibitors over the course of a year and we think you’ll like what Leanne’s experience brings to this subject.NEAJ: Who seems to do better business these days – Generalists or Specialists?
LEANNE STELLA: I think that dealers who are self-promoting do the best.
These dealers are always bringing something new to their customers and
they put a tremendous effort into their displays, which is just one
marketing technique. They also keep in touch with their customers and
let them know what exciting things they are offering. Specialists fit
into this category because they are very much self-promoters. These
exhibitors appeal to a high-end client, keep themselves in vogue, and
often mix fine antiques with decorative merchandise.
NEAJ: So do you see promotion as the key?
LEANNE STELLA: One of the most important things about this business
is promotion. Every dealer needs to be promotion-minded. Even though
it’s a big part of the promoter’s responsibility to publicize
a show, I see both of us working together as a team to promote the shows
even better. I think this is really important if they want to survive
and if we want to survive.
NEAJ: What kind of teamwork do you suggest?
LEANNE STELLA: Dealers need to be pro-active, even at the basic level
of offering comp passes to their best customers or sending out cards.
The most successful dealers know that they have to entice their best
buyers to the shows and by sending them a complimentary pass we might
help get them to our show. Our mutual job is to make the shows interesting
and exciting to the customers. Today, we have to offer events with special
activities like lectures and exhibitions as well as good merchandise.
It’s not just about shopping. Today, people can shop anywhere,
even at home in front of their computers. We have to give them good
reasons to come spend a day at our show.
NEAJ: Do you think niche marketing offers a dealer any advantages?
LEANNE STELLA: Although I think that dealers who specialize are often
very successful, the best dealers are exhibitors who are passionate
about what they show. And they aren’t always niche marketers. In
terms of impact, specializing helps, but I don’t see it as necessary.
These people are really decorators and they do wonders with a space.
Think about setting up a booth with only flags, or majolica, or brass.
These are dealers who are very much self-promoters. They push themselves
to be the most professional in the business. And niche marketers always
seem to have the best promotional mailings. We know because they put
us on their mailing lists. I also think that specialists develop very
dedicated customers once they capture their attention. They find customers
who are as passionate about their merchandise as they are themselves.
NEAJ: Do you consider niche marketing when planning a show?
LEANNE STELLA: Garden shows are one good example of niche marketing
in action. Decorating your garden is a strong trend with broad appeal.
It is important to have these two elements when developing a specialty
show; a trend with longevity and a broad enough market to support the
show. I do agree that specialty shows are important, but I think that
the promoter has to be on top of the curve. You have to know what the
next hot trend will be. Modernism is an easier one to talk about. We
included modernism in our shows very early, and we capitalized on that
market when we saw that it had a broad market base that was continuing
to build.
NEAJ: I would imagine that you have to proceed with caution when planning
a show within one category.
LEANNE STELLA: You can’t just start shows to start shows. You have
to have a market and tailor the show to the market. It is also important
to listen to your dealers and provide what they need. Some of our most
successful shows were started because our exhibitors kept telling us
that was what they needed. Two good examples of this are our Antiques
at the Armory Show and our two new events in the Hamptons. It is important
not to just start a show because you found an empty building. Promoters
must know the market they are entering and know that both the dealers
and the visitors can support the show.
NEAJ: Let’s talk about your Armory Show. You have a lot of specialists
at that show with a lot of categories covered.
LEANNE STELLA: When it comes to our smaller shows like Antiques at the
Armory, we like introducing dealers who market within niches. You’ll
find specialists at this show selling decoys, flags, textiles, ceramics,
majolica, Americana, early English furniture, folk art, and more. Each
booth can function as a separate shop and this concept has been very
successful for us. On the other hand, we have general line dealers at
the show who do very well.
NEAJ: Is a presence on the Internet essential? Do you feel that selling
on the Internet is an advantage?
LEANNE STELLA: I think it’s important for all of us to be on the
Internet. You have to have a presence and selling on the Internet can
bring new customers into the show. There’s no question that you
develop a following through the web.
NEAJ: What advice would you give to dealers who want to be successful
in today’s market?
LEANNE STELLA: Every dealer has to be careful not to get stale. In other
words, they have to be watching customer reaction; they need to see
what’s going on around them; and they need to market themselves
accordingly. Shows have to be special and customers need to come into
a show and find things that are different than anywhere else.
Leanne Stella, Stella Show Management Co., 151 West 25th Street, New
York, NY 10001, (212) 255-0020, www.stellashows.com.
Randall Decoteau
There is a lot of buzz around today’s antiques
marketplace about the right and wrong ways to run a business. Everybody
seems to have an opinion about what’s selling, what’s not
selling, and what the consumer desires. More recently, there has been
serious talk about whether one should specialize or carry a general
line of merchandise.
Niche marketing seems to be the newest trend (though some have concentrated
within a particular area for years). This month, NEAJ sought conversations
with four antiques specialists to find out the pros and cons of niche
marketing.
NEAJ: What is your area of specialty? When did you begin to specialize?
MICHAEL WHITMAN: Metalware from the Gothic period on is our specialty.
This covers all the metals like brass, copper, iron, pewter, tin, bronze,
silver, paktong, etc. I’ve lived in this country for thirty years
now, so I guess I’ve been doing this for thirty-two years. I feel
that it is more advantageous to know a lot about a little than to know
a little about a lot.
BARBARA FINE: We started our business in 1977. We are in the Cummings
Center in Beverly and we carry natural history lithographs and engravings,
maps, and a lot of other paper items. We like maritime things as well.
NANCY BARSHTER: My partner and I sell nineteenth-century children’s
ceramics, primarily ABC plates and mugs, toy tea sets, miniature transfer
ware, and other whimsical wares. Most of our stock comes from England.
We started the business about three years ago when I retired from my
law practice, moved up North, and turned a collecting interest into
a business.
KATHLEEN HALLER: My husband and I sell eighteenth- and nineteenth-century
English, Irish, and Scottish silver. We also like China trade silver
and special period table glass. Right from the beginning we were specialists.
We started buying inventory in 1978 and did our first show in 1980.
NEAJ: What is the reaction of today’s consumer to your boutique
approach to marketing?
NANCY BARSHTER: From the customer’s point of view, they seem to
like building a relationship with a specialist dealer who they can learn
from, who can help them build their collection, and assist them in their
research. Customers who shop with a boutique dealer get more choices.
They don’t always get the best prices because in order to build
a very specialized stock, we sometimes have to pay more to obtain the
concentration needed within our field.
KATHLEEN HALLER: I think most of our customers feel comfortable working
with somebody who handles one product exclusively. I believe that today’s
consumer needs to trust in a dealer’s knowledge and experience.
BARBARA FINE: I feel that the fact that I specialize indicates that
I have a great deal of knowledge. People like to have a variety from
which to choose when you carry only one type of merchandise. I also
gain more confidence in myself as somebody who has gained expertise
over the years. I have learned from my concentration on one subject.
MICHAEL WHITMAN: The customer is more at ease when buying from a specialist.
It’s reasonable to assume that you are more likely to share an
intelligent conversation with an advanced collector if you specialize.
NEAJ: Does niche marketing offer your business any advantages?
KATHLEEN HALLER: It is likely that we will be the only silver dealer
in an average 40 dealer show, which can mean less competition for the
same dollar. I see that as a distinct advantage. I think customers who
have bought before come to look for us, specifically because we are
specialists. This loyalty translates into repeat business.
BARBARA FINE: Over the years, you do learn to find the best sources
for your merchandise. On the down side, I think that specializing can
make it more difficult to get contracts for a show. There has to be
balance in a show and sometimes you have to wait to get in. I always
feel that you have to love what you do, and if people are looking for
works on paper they might tend to gravitate toward the niche marketer.
NANCY BARSHTER: In an Internet business, we can better focus our advertising
budget, tailoring it to the search vehicles on the Web. It’s simpler
to buy when you are so focused, and we can also build relationships
with other specialists in our field. It’s easier to gain mastery
of a specialization. We can build a research library more easily, and
the more objects we handle within our niche, the better we get at it.
MICHAEL WHITMAN: A generalist fishes in a pond with ten different poles.
I’m fishing with one pole, so in some instances, specializing can
work against you. However, I’ve gotten into better shows like Washington
and Delaware simply because I specialize. There are too many general
dealers in comparison.
NEAJ: Do you feel that specialization is necessary to survive in the
antiques business?
BARBARA FINE: All I can say is that we are pondering that very question.
When I have the answer, then maybe I can tell you. We are all trying
to discover new ways of approaching business. We talk about diversification
and change, and we are working on ways to adapt to a changing business.
I do know that we love our prints and we are going to continue with
our concentration in them.
MICHAEL WHITMAN: Again, it’s a double-edged sword. The odds are
good that a generalist will sell a certain percentage of his one hundred
objects. I have to wait for the right customer. Great saleable items
under the money are impossible to keep in stock these days, and being
known for metals is an advantage. This sometimes makes it easier to
get inventory.
NANCY BARSHTER: We have never done it any other way, but we find that
building a specialized business from the ground up is more straightforward
and focused. Customers see us as experts – they know that we know
what we’re talking about and they come to us when they are looking
to fill gaps in their collections. If we don’t have what they are
looking for, they know we’ll know where to look for it. Overall
I think specialists will have an easier time adapting to the changes
in the antiques business.
KATHLEEN HALLER: I always feel that having depth of knowledge in one
particular field is an advantage. Generalists often don’t have
the time to be as focused. Only time will tell whether one needs to
be a specialist to survive. We are optimistic about our future in the
business.
NEAJ: Is a presence on the Internet essential or does it simply offer
an advantage?
NANCY BARSHTER: I think that selling as a specialist is easier on the
Internet than selling as a generalist. A specialist dealer really has
to be on the Internet to survive long term. The more specialized you
are, the larger geographic region you have to cover in order to make
a living. There are only two ways to do that, traveling to many shows,
or taking full advantage of the world wide web. We take a three-fold
approach to selling on the Internet – we sell on eBay, we have
an online group shop at Ruby Lane, and we’re building a Website.
I believe that there is a difference between smalls and large objects
when selling on the Internet. In six or eight photographs, we can capture
the significant details of a plate or cup, but you can’t do that
with a sideboard.
KATHLEEN HALLER: No, I don’t feel there’s an advantage at
all. We find that our customers like to pick up things, feel them, think
about them, and then come back on a second day to do it all over again.
We don’t use the Internet to sell. That maybe makes us dinosaurs,
but we think our personal contacts help to build rapport with our clients.
BARBARA FINE: Yes, I think that having a Website helps people to get
to know you as a business. Many people already know what they want and
a search can help them to find the object they are looking for. We’ve
had our site for three years now and we get business from it. It’s
a tool to let people know who you are and what you are about. You can
easily keep in contact with clients through the Web.
MICHAEL WHITMAN: Well, I’m not on the Internet, but I think it
is probably the way to go in the twenty-first century. Let’s think
also that if I put up an object on the Internet with a description and
a price, that I might never be able to buy that object below that price
again. If I put my stock on the Internet with prices, people might use
the stock list as a bible. Isn’t that a disadvantage after all?
Randall Decoteau
Our Experts
Leslie Keno, Senior Vice President and Director of Business Development, American Furniture and Decorative Arts, Sotheby’s 1334 York Avenue, New York, NY 10021, (212) 606-7000, www.sothebys.com
Bruce Perkins, President, Flather & Perkins, Inc., 888 Seventeenth Street, NW, Washington, DC 20006, (202) 466-8888, www.flatherperkins.net
Paul Fisher, Vice President, Estate and Appraisal Department, Christie’s, 20 Rockefeller Plaza, New York, NY 10020, (212) 636-2400, www.christies.com
NEAJ: There is sometimes confusion over the value of objects. Do you feel that the same object can be worth different amounts depending on varying points of view?
PAUL FISHER: It is hard to say if one absolute value can be assigned
to art. Regional appeal and an appropriate marketplace should be considered.
If we feel an item might sell better in California, or in Amsterdam,
or Hong Kong we’ll try it. From this point of view, value can be
relative. Another obvious factor is supply and demand. Changes in fashion
also affect the market. Biedermeier furniture hasn’t really generated
much interest since the 1990s, but there is great demand for mid-century
modern at the moment.
LESLIE KENO: An object is actually “worth” what a willing
seller and a willing buyer can agree upon, and the purchase price is
the value at that specific time and place. Every object is unique, yet
these objects can be seen within a context or framework of comparables
that can help to establish the value. We each do our best to arrive
at a valuation based on sale results of similar or related pieces.
BRUCE PERKINS: Absolutely! It depends what the valuation is for, and
there is a large difference between the valuation for an estate (which
is what you would actually get for the object) and an insurance appraisal.
The latter is based upon what it could cost you to replace the object
tomorrow. As you know, there is often a big difference between buying
and selling a piece.
NEAJ: Do you make a distinction between cash value and replacement value?
BRUCE PERKINS: Insurance companies say “actual cash value”.
Actual cash value is a price you could actually realize. Replacement
value is what it might cost you to replace a lost object in a reasonable
amount of time. From an insurance point of view, if you want to replace
something, you may not want to spend a year attempting to find the object
at the best price. The way I look at it, actual cash value is what some
refer to as fair market value.
PAUL FISHER: Any distinction is really outside the scope of our business.
As most people are aware, the premise of auction is fair market value.
This is generally considered the price at which property would change
hands between a willing buyer and seller, neither being compelled to
act and both having reasonable knowledge of relevant facts.
LESLIE KENO: I think that question is best answered by an insurance
expert.
NEAJ: Is an appraiser likely to take a different approach than a dealer
or auctioneer in placing a value on an object?
LESLIE KENO: If you are a consignor at an auction house a mutual goal
is to have your property sell for the highest possible price in the
marketplace. I always recommend placing realistic presale auction estimates
on property coming up for auction. Sale results have shown that realistic
estimates can create enthusiasm while aggressive estimates can intimidate
potential purchasers dampening interest – ultimately reducing the
return to the seller.
BRUCE PERKINS: In my experience, I don’t think so. Everything depends
on why the individual wants to establish a value. Are you going to buy
it or sell it? A good appraiser is going to ask what the appraisal is
for. An estate valuation is always different from an insurance appraisal
because it represents cash value. The key is always to ask ‘What
is it for’.
PAUL FISHER: I think people formulate appraisals based on what they
know and what they can learn. Often you have to do research before you
can formulate an accurate opinion. We look for comparable sales, we
notice when similar things don’t sell, and we consider provenance
and other data. It’s never an exact science.
NEAJ: Could you talk about pedestrian objects that have significant
historical value or an interesting history of ownership?
BRUCE PERKINS: I can speak to that specifically from an insurance perspective.
When you have an object that’s incredibly rare because of its historical
context you have to look at the object in a different way. For example,
if you have Robert E. Lee’s uniform, it’s absolutely irreplaceable.
If it’s gone, you can’t find another. You need to arrive at
a valuation based on the fact that it can’t be replaced. A good
appraiser again is going to ask you why you want it appraised. In cases
like these, provenance can be the most important part of the value.
LESLIE KENO: The four basic factors we use to help evaluate objects
are quality, rarity, condition, and provenance. Items come up that have
exceptional provenance all the time, and provenance can certainly have
a huge effect on an object’s monetary value. In our January 2005
sale of Property of the Goddard Family, a nineteenth century paint-decorated
plank seat nursing bench estimated at $200 to $300 sold for $12,000
which is, to my knowledge, a world record price for this fairly common
furniture form. I think that there is a very strong likelihood that
the history of ownership of this bench – in this case, descendants
of the prominent Brown, Ives and Goddard Families of Providence, Rhode
Island – played a strong role in achieving that price.
PAUL FISHER: I was once approached with an object described as George
Washington’s bedpan, certainly not the most glamorous artifact,
but there is an historical factor to be considered. Sometimes the most
valuable item in a collection can be the one least liked by the owner.
Because of this, when visiting a home, I always ask if there is anything
in the attic or basement. We recently auctioned a child’s dress
from the Gardiner collection, which had remained tucked away over two
centuries and sold for something like 10 times its estimate, probably
because of the great provenance. There is also certainly a ‘star
factor’ for celebrity belongings, like Judy Garland’s prop
ruby slippers, that have become cultural icons.
NEAJ: Sometimes clients insist on insurance values that can be inflated
out of personal vanity. Could you comment on this phenomenon?
LESLIE KENO: Everyone wants to think they have a winning lottery ticket
and that is human nature. But, we have to use common sense, good judgment,
and discretion when evaluating objects. The great thing about this field
is that even though it’s not an exact science, the more objects
we see the more we learn. Not a day goes by that I don’t learn
something new.
PAUL FISHER: I see hints of this in my daily work, though I wouldn’t
necessarily call it vanity. I think that enthusiasm can lead some people
to think that objects are worth more than they really are. Art is a
special commodity and people can react to it in a way that makes them
want to spend. Others invest expecting that their art will appreciate
in value. This doesn’t always happen. Another phenomenon I see
is that people will give added value to something just because it’s
old, without considering how important a factor condition is. We have
to explain that alterations, natural wear and tear, or repairs can inhibit
both the value and sale potential of an object.
BRUCE PERKINS: Once again, I will speak from an insurance perspective.
We are very fortunate that this is unusual for us. We often check comparables
and question an appraisal in situations like these. With most of our
clients, if a value is questioned, the amounts can be substantial. We
then go to a qualified appraiser who will make a careful analysis.
Randall Decoteau
People have been selling on the Internet since the early to mid-1990s now. We constantly hear from dealers who sell on eBay and Internet group shops about how they are doing. This month NEAJ talked to several upper-end dealers in antiques to find out how things are going on their Internet Web sites. You’ll be happy to learn that the antiques business is alive and doing very well on the pages of their sites.
Our Experts
Jesse Goldberg, Artemis Gallery, 22 Wallace Road, North Salem, NY 10560, (914) 669-5971, www.artemisantiques.com
Russ Goldberger, RJG Antiques/Russ & Karen Goldberger, P.O. Box 60, Rye, NH 03870, (603) 433-1770, www.rjgantiques.com
Elle Shushan, 1600 Arch Street, Suite 1603, Philadelphia, PA 19103, (267) 514-2033, www.portraitminiatures.com
NEAJ: You have a prominent presence on the Internet. How long ago did you establish your site, and what criteria did you have in mind when creating it?
ELLE SHUSHAN: Mine was a very early site, probably around 1999; so early
in fact, that we initially felt that people wouldn’t be able to
digest run-on names, thus the early hyphen. My criterion has always
been simplicity. I think people don’t want bells, whistles, and
revolving pinwheels. So many sites have these, but I think customers
want to come in, look at whatever it is they want, and move on. I have
always thought that the easier a site is to navigate, the easier it
is to sell on it.
JESSE GOLDBERG: I started my site approximately two years ago. My specialized
area is American Federal furniture and related decorative arts, so I
began by photographing some of the furniture and putting it into categories
to make it easier for clients to see. For example, I have a gallery
of seating furniture, a gallery of tables, and another for case pieces.
Each gallery has small vignettes. By clicking on one image, a page opens
up with more detailed shots, description, measurements, historical background,
and most importantly, the price. Creating a Web site is strictly a trial
and error process. You start with a skeleton outline and fill in as
you go.
RUSS GOLDBERGER: We have had an Internet presence for about 10 years
now. The site has gone through many evolutionary changes. Today, our
comprehensive listing of at least 250 antiques and decoys are kept up
to date daily on a site that is secure and accepts credit cards. We’ve
been in the mail order antique selling business for 30 years, so it
seemed to us that the Internet was another tool to take our brochures
a step further. The Web site allowed us to reach more people more effectively.
Our site is hit heavily and our merchandise is seen around the world.
We wanted, from the beginning, for our web pages to be both educational
and functional. It’s important to give customers the material so
that they feel comfortable as prices continue to go up.
NEAJ: What was the cost of design and how expensive is it to maintain?
JESSE GOLDBERG: The initial cost of design was minimal, maybe $400-500.
However, there is an additional charge to add new pictures and descriptions.
I let my web designer do all my maintenance. So, I spend roughly around
$1,000 per year to maintain and update the site.
RUSS GOLDBERGER: Because we’ve evolved, I can’t tell you what
we paid, but we started at around $2,000 or so. Standard maintenance
is under $200 a quarter. Maintenance of the site for a year is less
than $1,000. Let’s just say that it costs way less than doing a
show.
ELLE SHUSHAN: The cost of my current design was significant, around
$3,500. Jill (Custom Web Design) and I spent four months by phone and
Internet developing it. She had to buy everything from type to software
to implement my ideas. I lose track of what these things actually cost,
but updating my site costs $50 per hour. The cost of hosting is inexpensive,
between $25-50 per month.
NEAJ: Do you see your Internet presence as an advertising and marketing
tool? How successful is your Web site in terms of sales?
RUSS GOLDBERGER: Certainly, it’s clearly an extension of everything
we’ve been doing over the years. As support for the notion that
this is an important part of our marketing program, we are increasing
our Internet advertising to encourage more people to come to our site.
As to sales, the site has become a significant portion of our sales
mix. I see no reason why it won’t continue to grow. There is still
a huge potential for expansion.
ELLE SHUSHAN: I see my site as a huge marketing tool, and because I
have software on my Web site that tells where my referrals come from,
I understand where people found me and why they came to me. Many of
my visitors come from associations to which I belong. Last night I checked
and found that I had six referrals from the Olympia site even though
I won’t be there for months yet. Right now my site is my largest
source of income since I don’t keep a shop. My business ebbs and
flows with my shows. I send out announcements quarterly by mail to get
clients to know that I’ve updated the site. People who want to
be notified of updates simply need to leave their email address when
visiting my Web site.
JESSE GOLDBERG: The Web site enables me to reach people all over the
country. In the last year-and-a-half I’ve averaged 140 discreet
listings per day, and the Web site has generated strong selling. I’ve
developed lots of long-term customers in Texas, California, Florida,
and other places that I’m not likely to visit. Here’s something
of great importance: people outside of the northeast have little access
to early American antiques and they need the Internet to find me.
NEAJ: How do people find your Web site? What’s the best way
to drive clients to it? Could you talk about your use of search engines?
Are there any technical shortcomings, advantages, or disadvantages that
you want to talk about?
RUSS GOLDBERGER: I think that search engines are critical in having
people who are unfamiliar with your Web site find you. I feel that Google,
by far, dominates, at least for now. You need to pay constant attention
to the site. Stay in touch with your email. I believe that the Internet
is most useful for shippable products that are easily photographed and
described and that have a ready audience. Those clients will find you.
The customer drives the transaction, and if you think about it, that’s
kind of neat.
ELLE SHUSHAN: Search engines work well, because I am in such a limited
field that I am at the top of the list whenever anybody does a search.
So, I’m fortunate in that respect. My site is hugely easy; you
see exactly what you need to see. It’s a very simplistic, but highly
technical site.
JESSE GOLDBERG: If you key in ‘Federal furniture’ to a Google
search, I will come up on the first page. You have to use key words
to put into the search engines, and the more specific the terms, the
better. The term has to be a very good discriminator. It’s very
difficult for a generalist dealer to attract people to a Web site because
keying in a general term like ‘country’ or ‘furniture’
calls up a pool of dealers that is limitless.
NEAJ: When selling on the Internet, do you approach selling and sales
strategy any differently than you might in the shop or at a show?
JESSE GOLDBERG: Yes! Because customers don’t have the advantage
of physically handling each piece, I send many more detailed photos
before a sale is made. In addition, furniture is always sent on approval
and may be returned for any reason. That’s a big difference. When
somebody is 3,000 miles away, you can’t expect a firm decision
based on an image. I want my customer to be happy and I must say I’ve
never gotten a piece of furniture back.
RUSS GOLDBERGER: The only difference that I can think of for sure is
that a certain number of customers will simply purchase items based
on my guaranteed descriptions as well as the ease of purchase from a
secure site. That’s certainly different from my experience at shows.
ELLE SHUSHAN: Well, of course, you have to because you are not dealing
with people face-to-face and your customer is not touching the object.
You somehow have to put it in their hands by sending them extra images
and by giving extra description – things you don’t get from
a one-dimensional image.
Have you ever tried to buy antiques as gifts? The task has its difficulties as well as its rewards. NEAJ visited the Chevy Chase Antiques Show, the Wilton Antiques Marketplace, a flea market in upstate New York, Fairgrounds Antiques Center in Sturbridge, and Sturbridge Antique Shops to search for the answer.
Our Shoppers:
SHEP BAKER,
Reston, Virginia
MICHELLE CARADONNA,
Charlton, Massachusetts
MARY ELLEN McGURTY,
Peekskill, New York
MARION SCHREITMUELLER,
Kensington, Maryland
NANSI NELSON,
New York, New York
SHERYL TRAYLOR,
Marlboro, Massachusetts
SHEP BAKER: I guess that it’s probably been 10 years now that
I’ve been buying federal period and late colonial furniture, coin
silver, certain English and French porcelains, and brilliant cut glass.
I also have a special place in my heart (and a small place on one table)
for Tunbridge ware. I like buying antiques as gifts. A couple of years
ago, I bought a three-piece Mexican silver creamer and sugar on a tray
that dated to the 1930s. It was priced around $250 and it made a great
wedding gift for a couple whose tastes are rather contemporary. It appealed
to their aesthetic and its antique nature said something about me.
I don’t buy for the serious collector. I think when you become
a more advanced collector, you are more exacting, so while these folks
might appreciate the gesture of a gift of antiques, you might not actually
make a home run on their gift. I love to buy at shows because, well,
I like the opportunity to compare the various selections from different
dealers. I think you get far more variety at a show than you do in a
single dealer shop, and frankly, I don’t try to do antiquing online.
I need to see and touch and converse in order to buy.
MICHELLE CARADONNA: I’ve been buying antiques since I was about
10. My mother got me hooked on flea markets, antiques shows, yard sales,
and shops. I love jewelry, vintage beaded handbags, toys, and lots of
other things. I frequent all venues, especially eBay. I’m online
every single day and buy almost all of my beaded bags there. I’m
a power seller who specializes in high-end evening gowns. I send them
all over the world. Anytime I’m driving and see a shop or yard
sale, I stop.
I shop year round for gifts. You find a bargain and you have to buy
right then and put it away. I mainly buy jewelry for gifts; the best
is a vintage brooch. I like to keep these gifts under $30 for family
members, and I just bought a pack of playing cards from Air Force One
for my husband. I never have a problem buying for the advanced collector.
It’s easy to find great things in New England and, of course, on
eBay. I’m a confident buyer and I never worry about duplicating
an item in somebody’s collection. With vintage jewelry there isn’t
much chance of that.
MARY ELLEN McGURTY: I guess I’m a late bloomer in the antiques
world. I didn’t get started buying antiques until I was in my late
40s, around 1992. I buy a little bit of everything, mostly related to
furnishing the house. I’m particularly interested in Victoriana
and have a strong feeling for china. I’m also a member of the National
Shelley Club. I would have to say that I occasionally buy antiques for
gifts. They are my favorite kind of gift to buy, though many of my friends
don’t share my love of antiques and prefer new things.
This type of shopping has to be done on a year round basis, because
you just can’t find what you need on a minute’s notice. I
have a gift closet, which gets filled on a month-to-month basis. If
I don’t have a gift for somebody in the closet, I start filling
those needs around October. And price is always an object and significant
factor. Most of my gifts are in the $100 range. I don’t often buy
for the serious collector. You want to please somebody when you give
a gift and it’s easy to duplicate an item in their collection.
However, on one occasion, a friend was short two Fostoria wine glasses.
I was able to find her pattern at a Depression glass show and my friend
was thrilled. I always prefer both shops and shows – about equally
– and I love antiques centers. I also think for my Shelley collecting,
going online has moved my collection along more quickly.
MARION SCHREITMUELLER: Can you believe that I have been buying for 35
years now? I’m a glass collector – mostly things from 1890
to contemporary. I have a nice goblet collection, perfume bottles, and
one-of-a-kind Italian glass from the 1950s. My passion is glass, but
I also buy furniture and silver. I started collecting when I lived in
Hartford in the 1960s. Shows were plentiful up there and I always love
shows. They are really the best place to buy. I’m a touchy-feely
kind of person who would rather hold an object in my hand than look
at it online. I’m also a history buff who wants to know where it
was made, who made it, who owned it, etc. You learn a lot more at shows
just by chatting.
I don’t have that many people to shop for anymore, but I usually
start buying around September and I’m finished before the Thanksgiving
rush. Sometimes, if I know that a person is interested in a certain
type of thing, I will select a great piece of glass or something similar.
The worst sin is to give a precious object to somebody who doesn’t
have a clue. I’ve given a relative a rug worth around $6,000, and
I’ve also given $10 items, so price range often just depends on
the person.
NANSI NELSON: I’d have to admit that it’s been 35 years now
that I’ve been buying antiques. I collect a wide range of things
like apothecary jars, medieval furniture, French and Indian War militaria,
vine and grape motif glassware, ancient jewelry, and things like old
iron. Actually, the list is endless. You know, we give wedding gifts
more these days than holiday gifts, and (my husband) Barry and I also
give a lot of business gifts. When it’s time to give a gift, we
often try to find a wonderful antique. The price range varies, but we
sometimes like to give a nice decanter and glass set. Sometimes we personalize
the glasses. Maybe you need a gift for your lawyer, so you give something
for their office that’s akin to their profession, like a bookstack
lamp or an ancient coin. People love antiques, especially those who
don’t have the time or the money to buy them.
Lots of friends do love buying online, but I have to touch what I buy.
So, shows are always best for me. We average going to five shows per
weekend. Isn’t that about 250 per year? We also like shops during
the weekdays. We know so many people in the business, that when we need
something special, we know exactly who to call. I always buy things
as I see them. If it’s January and I see something perfect for
somebody, it gets bought and put away for the right moment. When you
shop all the time, it makes perfect sense; and when it’s December
and everybody else is frantic to buy gifts, we are done.
SHERYL TRAYLOR, Okay, I’ve been buying antiques for 15 plus years
– any more honesty and I’ll give away my age. I like things
like crystal, sterling, and very choice Louis XVI furniture. And in
crystal, we’re talking cut glass, nothing plain. My favorite place
to buy is at shops, though I like shows, too. I really want to see and
touch the items, which you can’t do online, so I’m not a big
Internet shopper. I only tried an auction once, and I got caught up
in the moment and really overspent – big mistake!
I always buy what I’d like myself for gifts. I have four sisters
all with the same kind of taste. Unfortunately, I don’t put myself
on any price limits and I never worry about buying for the advanced
collector. When you choose something great, anybody will be happy to
receive it. I shop for gifts year round. I guess I’m just a shopper,
and when you look for the best item, it often doesn’t wait for
you. You’ve got to seize the moment.
Those who love and work with antiques do so in a world where they are constantly battling with changes in technology, market economy, and ways of doing business. This month NEAJ spoke with three experts, each of whom is uniquely qualified to speak with authority on this subject. Frank Gaglio ran his own antiques business before moving on to show management, Jill Probst still works at selling antique clocks through Charles Edwin, Inc., and John Grogan is currently the Director of Ad Sales at NEAJ, with a long tenure as a sales director at a major Internet magazine and as salesman for a major PC magazine before that.
Our Dealers:
Frank Gaglio, Barn Star Productions, 7 Center Street, Rhinebeck, NY 12572, (845) 876-0616, www.barnstar.com
John Grogan, Director of Sales, New England Antiques Journal, 24 Water Street, Palmer, MA 01069, (800) 432-3505, www.antiquesjournal.com
Jill Probst, Classic Web Design and Charles Edwin, Inc., P.O. Box 1340, Louisa, VA 23093-1340, (540) 967-0416, www.classicwebdesign.com or www.charles-edwin.com
NEAJ: What can a dealer do to improve or establish his/her business
image in today’s marketplace?
JILL PROBST: I wish I had some new observations, but it’s still
all about exposure. We know that our chances of selling are absolutely
linked to the number of potential customers who know about us. Whether
the merchandise is high-end retail or collectibles, four principal methods
of promotion are available: an open shop; antiques shows; print advertising;
and the Internet. Any one or any mix of these methods will suit just
about everyone but the specific publication, antiques show, shop location,
and web design should be compatible with the level of merchandise. Anybody
in this business needs a website because all of the potential buyers
look to the Web to find things – things that range from a good
recipe for salmon to dog boarding facilities. Classic Web Design was
established in 1995 and has helped a lot of companies and antiques dealers
to create Internet identities. Prices can range from as little as $300
for a magazine ad presentation to a really complex online catalogue
with E-Commerce capabilities for thousands of dollars.
JOHN GROGAN: There is SO much that can be done. Establishing a brand,
something for which you are known, is critical whether you’re a
large or small business. Establishing yourself as an expert in something,
and then promoting that image, builds your brand, credibility, and name
recognition. Affinity marketing, building a list of customers and using
that list, is critical, and email makes it easy and inexpensive. Finally,
I suggest that dealers think outside of the box. Everyone in the business
talks about new buyers; go out and find them! Consider setting up a
booth at a bridal show to sell glassware or rugs or brass beds. The
possibilities are endless!
FRANK GAGLIO: There are many opportunities today for antique dealers
to improve or establish their business images in the marketplace, beginning
with self-evaluation. What I am suggesting is that you look at your
strengths in the field and focus on that area. Confidence can be recognized
immediately by a potential customer and knowledge of your inventory
is strongly advised. Also, I recommend taking advantage of the opportunities
provided to dealers by show promoters such as participating in “Special
Show Sections” for upcoming shows. Good, clean photo advertisements,
contributing free editorial/publicity photos, and writing articles to
include in the section, are all ways to establish yourself as an expert
in your field. Sending out show cards provided by promoters is another
way to establish or improve your image in the business.
NEAJ: Let’s zero in on the web as a marketing tool. How important
do you feel it is to have a website?
FRANK GAGLIO: Using the Internet and having a website can be tremendous
tools in today’s marketplace. Any promoter or dealer who does not
agree is kidding themselves. For visible proof of the Internet’s
value, log on to www.barnstar.com and see the counter on the bottom
of our home page. Since September 23, 2004, over 8,000 visitors have
been to our site for information about our shows including dates, hours,
exhibitor lists, photos, directions, discounted hotels, special show
features, and links to our dealers’ websites for a preview of their
merchandise. Our website has kept Barn Star Productions’ events
accessible to customers across the United States and around the world.
JILL PROBST: Very, and increasingly! Dealers often complain that “our
old clients aren’t buying any more,” so what we have to do
now is to get new clients. We (Charles Edwin Inc.) found several years
ago that our new clients tended to have websites for their own companies,
are comfortable with the Internet, and naturally look for their antiques
on the web. The Internet lets buyers shop in the comfort, leisure, and
privacy of their own homes, as and when they please. The very large
number of websites now online also helps buyers research the items and
comparison-shop across continents. It’s now a familiar tool for
nearly everybody, and the combination of a website and an open shop
or an antique show covers quite a large audience.
JOHN GROGAN: The web is here, and it’s not going away, so why fight
it! Ideal web businesses sell products that are either very hard to
find or that are usually found in single retail outlets in a region.
Most real antiques fit these criteria. Build a website today. Make it
part of an overall marketing plan that furthers your brand-building
efforts. Make it content-rich (i.e. put information on it and update
it regularly so people come back often). Then market the heck out of
it via search engine optimization, print advertising, etc. The web is
also a great engine for building your e-mail list. NEAJ is making
it easy and inexpensive to get online today. In about an hour you can
have a site up and running going through www.antiquesjournal.com.
NEAJ: What you do you think about print advertising? How effective a
tool is it for reaching potential clients?
JOHN GROGAN: Print advertising is like a mousetrap – many have
tried to change or improve the concept but nothing beats the original.
No matter what market you’re in, antiques, computers, photography
or boating, there is still no better, more cost-efficient way to build
brand and attract new customers than through print advertising. Rather
than spreading ad dollars everywhere pick a couple of advertising vehicles
and use them constantly. Consistency builds brand, and branding builds
customers.
JILL PROBST: Print advertising has been the primary method of reaching
people outside the village for centuries, and can be quite effective
since there is a range of publications catering to buyers from high-end
retail to collectibles. The choice of publication depends on the dealer’s
merchandise, targeted buyers, and geographical location. And let us
not forget its possibilities for advertising a website!
FRANK GAGLIO: Print advertising is very important to a degree. The issue
here is cost, regional overlap, and the number of publications that
constantly solicit for ads. I personally look for publications that
offer free editorial and photo opportunities, and who print my extensive
press releases. In 2006, Barn Star will rethink trade publications for
frequency of ads, opting for other papers that are local to my events,
and possibly radio ads to reach new customers. A large part of the problem
with trade print ads is that we always reach the same readers and customers.
One thing I have tried to do for New Hampshire’s Antiques Week
events is to convince the other promoters to run full-page institutional
ads including all the events. This would save thousands of dollars in
repetitive advertising and provide new money to explore other mass media
including cable television and radio.
NEAJ: Do you feel that promoting yourself in the antiques world has
changed any over the past few years? What challenges do we face for
the future?
FRANK GAGLIO: Promoting yourself is a constantly evolving process.
Any show promoters who feel they can rest on their laurels in today’s
economy may soon find themselves working at Wal-Mart. Personally, I
spent the first week of July up at the Brimfield antiques markets in
the heat and rain putting out show cards and calendars for Antiques
Week In New Hampshire at every field, as well as cards for upcoming
Barn Star events. If you are not out there with your dealers doing the
work, no one else will be. As far as future challenges, I believe that
creating more cluster events or Antiques Week events is the wave of
the future. January in New York City, April in Philadelphia, and August
in New Hampshire are all examples of how like-minded promoters can work
together drawing more customers from greater distances to the benefit
of both exhibitors and collectors while reducing expenses in the process.
Auction houses are another competitive factor in our business, as well
as show promoters with outdated ideas. Each can leave antiques dealers
with many decisions to make in the near future if they intend to continue
successfully in the pursuit of their passion. I welcome both new dealers
and customers to contact me regarding our future shows.
JOHN GROGAN: The biggest challenge is what everyone talks about, but
no one has been able to do anything about until now – attracting
new buyers to the market. NEAJ is committed to establishing relationships
with unique, alternate channels, like PBS, NPR, symphony & theater
groups, medical organizations, etc. to find new buyers, bring antiques
to life for them, and kindle in them the same passion for these beautiful
objects that all of us already feel.
JILL PROBST: On one hand, we have the Internet with its intriguing possibilities
and opportunities that we only need to recognize and capitalize on.
On the other, we have very tough times for antiques shows. Beyond the
demise of the large charity committees that are essential to producing
many charity shows, the economy suffered the triple whammy of the late-90s
recession, the end of the dot-com boom of Blessed Memory, and then 9/11
which added a couple more nails to the coffin. Nearly all of us look
for alternatives or supplements to show income. Among our colleagues
we’ve seen shop-only people go to shows/appointment; show-only
people open shops; former dealers becoming ‘consultants’ with
no stock, and much more emphasis on appraisals, restoration, or (dare
I say?) web design. It’s all clean money that isn’t tied to
capital expenditures. As for the future, it’s hard to say whether
the current situation is a blip or a trend, but I think the industry
will continue to change as it has for decades. I expect to see some
hybrid form of marketing antiques that incorporates the Internet’s
reach with traditional antiques businesses. For individual dealers like
ourselves, I see an active website, and for antiques shows, we’re
looking toward live video feeds from the shows that display the booths
(and people in them) with online communications so that remote viewers
can get in touch with the dealers. The possibilities are endless and
terribly exciting!
Dozens of antiques dealers are taking on two jobs and diversifying their efforts in an attempt to make a better living. NEAJ asked four dealers about second jobs, and about whether these careers or the antiques business came first.
Our Dealers:
Alan Cunha, Cunha-St.John Antiques, 159 Main Street, Essex, MA 01929, (978) 768-3335, www.cunhastjohn.com
Karen DiSaia, Oriental Rugs, Ltd., P.O. Box 814, 23
Lyme Street, Old Lyme, CT 06371, (860) 434-1167,
www.orientalrugsltd.com
Kaye Gregg, Finnegan Gallery, Chicago, IL (773) 244-1761, www.finnegangallery.com
John Hunt Marshall, 254 Reservoir Road, Westhampton,
MA 01027,
(413) 529-9995
NEAJ: Have you always been an antiques dealer? What interests you besides
antiques?
KAYE GREGG: Marty and I always collected garden and architectural pieces.
For years our vacations were geared around antiques shows. We started
the antiques business in 1994 and we just kept building. It’s the
passion that became the career! Other than traveling, which is part
of the business, we have no real hobbies.
JOHN HUNT MARSHALL: I started buying and selling when I was in college
and my parents were collectors, so I was going to Brimfield when Gordon
Reid was all that was there and when most of the parking was free. Kitty
and I are doing fewer shows these days. We stick to better shows, but
do some of the inexpensive markets in winter like Paul Davis’ Portsmouth
show. As for other interests, I really like to travel.
KAREN DI SAIA: I started as a teacher of socially and emotionally challenged
children. I did that for five years. At that same time, I was interested
in antiques. I got into them because I wanted everything in my house
to have a story. Gradually, I began to upgrade and started selling off
previous purchases. I don’t even remember how I got into my first
show, but we eventually jumped off that cliff. We’ve been in the
antiques business now for 30 years.
ALAN CUNHA: I was a collector of Regency furniture ever since my wife
and I got married 30 years ago. Because I’m in the resort business,
I found that I had winters off, which allowed for buying trips and the
development of an interest in a secondary business. We did a renovation
in Charlestown, Massachusetts, in an area that was being gentrified
during the 70s. Our partner, Wayne St. John, was doing the same thing.
He collected folk art and campaign furniture. We opened the shop with
Chris Vining on Charles Street in the early nineties.
NEAJ: How about alternative careers, do you work at anything else?
Which came first?
KAREN DI SAIA: Sure, I’m managing shows these days. It’s a
perfect example of a volunteer job turning into a career. My first show
management job was the Old Lyme Show for the Antiques Council and I’ve
managed several shows for them. I was asked last year to do the Minneapolis
Museum of Art Show as a professional. I’m the show chairman for
the A.D.A. show in Deerfield, and next year I’ll be running the
Connecticut Spring Antique Show in Hartford and the American Antiques
Show in New York.
ALAN CUNHA: I have an inn and restaurant on Nantucket, Le Languedoc.
It’s a bistro with 12 guest rooms. We opened in 1976. I run the
front of the house and the wine cellar. Our partner, Neil Grennan, is
the executive chef. My wife and I met him back in Charlestown when we
were doing our renovation there. The restaurant, obviously, came first.
JOHN HUNT MARSHALL: I teach school now, but I was a full-time dealer
for about 20 years. I teach high school woodshop classes at a small
private school. Sometimes I substitute teach in math or gym as well.
Right before I started teaching, I ran my father’s lumber business
for about two and a half years. I studied at RISD, so I always did the
kind of projects I teach in shop, and it kind of fits with the antiques.
KAYE GREGG: It’s a good question because as far as a career goes,
the real estate business came first. But I started collecting antiques
when I was in college. My secret life is leasing commercial real estate.
I represent firms and companies looking to rent office space. For instance,
your company has a requirement for a 5,000 square foot sales office
– I find the space and negotiate the business terms with the landlord.
Then I finalize the lease document working with the attorney.
NEAJ: Does your second career interface with your antiques business?
How so?
ALAN CUNHA: Absolutely! We do a lot of travel to help us inspire our
restaurant menu, wine lists, et cetera. To stay current, you have to
always see your competition. I combine these trips with shopping for
antiques. We buy throughout the United States, England, and Europe.
JOHN HUNT MARSHALL: This particular job, well, they are very willing
to work with me when I need to take time to do the antiques thing in
Philadelphia or Wilton. As for crossover, I don’t think there is
much to say. As far as travel goes, it has helped me to expand what
I think is acceptable to bring to a show. I’m going to Guyana in
the fall and if I see something there that I think will sell, I’ll
take it home with me.
KAYE GREGG: It doesn’t really; there’s no overlap here.
KAREN DI SAIA: Of course, it’s all evolved from antiques. My life
is all about antiques and helping people interface with each other.
The face-to-face way of dealing in antiques has become my major commitment.
NEAJ: Why do you think so many people do something else?
JOHN HUNT MARSHALL: Well, I think people who are my age know that it’s
very difficult to do this business well, and when you divide your time
it’s harder to focus on your antiques. The pursuit of quality goods
can absolutely be a full-time job. If you want to sell good things,
this business is hard and you need a second source of income.
KAYE GREGG: I think it’s because a lot of dealers are in couples,
which makes it easier, and I feel that many people who come to this
business see it as a second career. Very few start out in the antiques
business. You come to this from another background because you love
it and you stick with it. The antiques business isn’t just about
making money. It’s about the underlying interest.
ALAN CUNHA: The economic factors in both the antiques business and the
resort business make it necessary. The cash flow uncertainty in both
make you want to have a safety net.
KAREN DI SAIA: My second career came as my children grew and I found
myself with more time on my hands. I spent so much time doing show management
as a volunteer that people recognized my ability and asked me to take
on these jobs.
NEAJ: What do you see yourself doing over the next couple of years?
Any changes in the wind?
JOHN HUNT MARSHALL: Well, unless I win the lottery, I will probably
continue doing what I’m doing the way I’ve been doing it.
I definitely see myself defining and redefining the kinds of things
I want to sell. I’ve really been priced out of the level of furniture
that I care to carry.
KAYE GREGG: I don’t know what the timetable will be, but one day
the antiques business will become our only occupation.
KAREN DI SAIA: Over the next couple of years I will continue to work
at managing the shows, yet still maintain my business in Oriental Rugs.
I’ve just made enormous changes in my life taking over the challenge
of professional show management, so I see myself zeroing in on that
task. At the same time, I still want to be a good rug dealer.
ALAN CUNHA: I’d like to cut the size of the restaurant, so that
I can be more active in the antiques business. We have an open shop
and we do shows. I have a fine dining restaurant, an inn, a take-out
food store, and a specialty food store on Nantucket. In any industry,
you need diversity for the most possible sources of income.
At a recent editorial meeting the staff at NEAJ wondered about attendance at our local museums. Most of us are veteran museum-goers and sometimes notice crowds, while at other times we have the galleries to ourselves. NEAJ talked to several people directly involved with the marketing of four popular destinations to get their opinions and observations. We think you’ll enjoy hearing what they had to say.
Our Experts:
Jay Finney, Deputy Director of Marketing and Communication, Peabody Essex Museum, East India Square, Salem, MA 01970, www.pem.org
Amanda Rivera Lopez, Director of Museum Education, Historic Deerfield, Inc., P.O. Box 321, Deerfield, MA 01342, www.historic-deerfield.org
Carl R. Nold, President, Historic New England, 141 Cambridge Street, Boston, MA 02114, www.historicnewengland.org
Martin Richman, Director of Development and Marketing, Worcester Art Museum, 55 Salisbury Street, Worcester, MA 01609, www.worcesterart.org
NEAJ: In your opinion, have the numbers of people visiting museums
changed over the past 20 years? How do you account for this change?
JAY FINNEY: Attendance at art museums has grown dramatically and
significantly over the past 20 years. The main engine behind that growth,
other than museum expansion, has been the phenomenon of the blockbuster.
It started with King Tut 25 years ago but in the last two decades it’s
been like a well-oiled machine. In certain cities museums are tourist
attractions. That, multiplied by museums across the country, has resulted
in large increases in art museum attendance. The same rule doesn’t
seem to apply to natural history or science museums. In these venues,
IMAX Theater has been a big draw. You have many more people visiting
than ever before, and attendant with those blockbusters is strong marketing
and sponsorship that all add up to our success stories.
AMANDA RIVERA LOPEZ: Numbers have definitely dropped off for
history museums. They reached a high point in the 1970s with interest
created by the Bicentennial celebrations that fueled an enthusiasm for
history and the past. More recently people haven’t viewed history
or history museums as relevant. Today, it is important for museums to
showcase how the present is connected to the past in projects like exhibitions
and programs to boost attendance.
CARL R. NOLD: We have a number of national studies that look
at attendance. They indicate that the total number of visits is up,
but this is due to populations and a proliferation of museums. Many
museums have suffered declines, some quite significantly. In history
museums we have seen a steady decline in visitors. The number one cause
is lack of time in people’s schedules. People tend to travel more
extensively, so these people may not need museums to visit the world
as in the past. There is also a perception that a museum is like grandmother’s
attic and is not a contemporary thing to do. Finally, there is less
group activity in society today. Yet in my opinion, one of the most
important and positive things people value about museums is the social
aspect.
MARTIN RICHMAN: They certainly have changed. In my opinion, the
change has a lot to do with people’s busy lives. There are so many
more things to do than there were 20 years ago to compete for people’s
attention. Today there are more attractions and museums in Massachusetts
alone. The Worcester Art Museum has had some peaks in attendance, like
the Antioch exhibit. However, over the past few years we’ve been
seeing flat numbers and little growth.NEAJ: What are the challenges
in marketing a museum to today’s audience?
AMANDA RIVERA LOPEZ: I have a lot of different answers for this
question. Our population consists of really diverse multi-tasking individuals.
People have less time to spend; schools have less money to divert to
field trips; and we find ourselves competing against a host of other
leisure activities from which people can choose. To market our museums
in this atmosphere is a real challenge. You can’t rely on people’s
inherent sense that museums are worthwhile. You have to demonstrate
to people that there are many different things that you can do and multiple
needs that can be filled when you come here.
MARTIN RICHMAN: I think one thing is competing energy. People
have only so much time and energy. I also feel that our exhibitions
can be focused on areas of special interest. We have to focus on niche
marketing for those special interest groups. Money is the biggest challenge
of all. The same dollars don’t buy the same amount of advertising
that they did years ago.
JAY FINNEY: Beyond the blockbuster phenomenon, which can devalue
your permanent collection by focusing only on the next best show, I
would say that you have to be careful not to overdo the blockbusters.
Look at your exhibition schedule carefully. Be clear in your goals.
You want to maintain your collector/connoisseur audience, your critical
press, and your scholarly visitors. The whole institution has to balance
these three. What mix of exhibitions will bring people through the door?
We need to ask ourselves how we can position what might be an academic
exhibition so that it appeals to a broad audience.
CARL R. NOLD: I think first, competition for people’s time
and attention is the biggest challenge. One of those things is the Internet.
Another is that in our marketing we need to appeal to special interests,
and it is difficult to convey multiple special messages. Research is
a big challenge in marketing. Museums can never spend the money that
these kinds of surveys cost, so the problem is for us to know who our
audience is. We have to a do a better job of reaching people. If we
engage our visitors’ special interests they will have a better
experience.
NEAJ: Is the experience of visiting a museum essentially changed for art lovers?
MARTIN RICHMAN: I don’t think the experience for the visitor
has changed that much over the years, but we are seeing lots of first
time visitors who might need greater depth in interpretation. This could
take the form of a docent-led tour or head phones. We have a Spanish-language
version of our audio tour now that we didn’t have ten years ago.
The labels and other materials that accompany our exhibitions are more
complex and people want to know more today.
CARL R. NOLD: I think the essential experience is not changed.
People come to a museum seeking the authentic, the real artifact, and
the real experience. What has changed is what goes on in a museum around
the encounter with the real artifact. This includes the audio tour,
interactive computers, a new experience in the museum shop, and purely
social events that surround the core experience. There is very much
a sense today that museums have to be a part of their communities as
a whole and appeal to a wider audience.
AMANDA RIVERA LOPEZ: There is another important piece to consider.
A general decline in visitors has helped museums to make themselves
more accessible to more people. This brings to the visitor new kinds
of labels, gallery guides, and new ways to look at exhibitions –
so yes, we are ensuring future survival through these things. We are
cultivating new visitors with new tastes.
JAY FINNEY: I would say yes, especially because of the entertainment
nature of museums today. It’s not this hushed environment for the
elite that we offered years ago. We are in the entertainment business
these days. People come to museums to see and be seen, to experience
an exhibition and to have lunch at the same time. Today you have large
audiences who have little knowledge and want to learn. So museums have
to be much more accessible along with all the amenities that go with
a fast paced lifestyle. I see two rules: If it’s not relevant,
people won’t come; and Marketing can’t change rule #1. If
you don’t make the work relevant to your audience, no amount of
marketing will accomplish this.
NEAJ: How does museum education interface with marketing when drawing attendance?
CARL R. NOLD: On the first level, I look at educational programs
as building our future audiences – people who will value what we
do. If we reach parents through their kids, we reach an even larger
audience. Museum education is not just about school kids. It’s
about a depth of scholarship and lifelong learning. If we help people
understand that they can have a high quality learning experience, it
makes the marketing that much easier.
AMANDA RIVERA LOPEZ: I may be biased as a museum education director,
but if you want to be relevant, you need to enhance each visitor’s
experience through education. Educators have abilities to create programs
for a range of visitors, which is really a type of marketing in itself.
JAY FINNEY: In our museum we place particular emphasis on programming
to help make the collection come alive. We use music, dance, lectures,
etcetera to help integrate art and culture. Because of the resources
we devote to education, we get a tremendous draw.
MARTIN RICHMAN: Actually, this is critical. We go from planning
and marketing of an exhibition to planning and marketing through education
as a way to bring diverse audiences that might not have thought of the
museum as a resource or tool for their area of expertise. In other words
we can offer a cross-disciplinary approach. For example, we offered
a lecture about infectious diseases in the time of the plague to attract
the medical community to our current Hope and Healing exhibition.
NEAJ: Do you have any final comments about the future of New England’s
museums?
JAY FINNEY: Tourism is on the rise; we see hopeful signs of the
economy improving; and with that the wealthy will feel free to give
to museums. If, however, a museum doesn’t have a sustainable business
plan, they should be looking at taking any advantage that comes their
way. Museums are in competition with every other leisure time choice.
It’s about what you do, how you say it, and how the institution
supports your choice.
AMANDA RIVERA LOPEZ: I can speak specifically about my experience
at Historic Deerfield. I think that families particularly find museums
wonderful places where they can spend time together. We are getting
better at creating experiences for every member of the group. One of
our greatest challenges is deciding how to play a role in classroom
education when time and resources are limited for schools.
MARTIN RICHMAN: We have tremendous institutions in New England.
There is a great desire for all of them to become successful. However,
we aren’t going to accomplish this alone. It takes partnering with
media outlets to really get the message out. One of the trends I’m
seeing now is a focus on marketing for children. Visiting school groups
get incentive passes so they can bring their parents back to the museum.
Free family admission on family days is another good trend.
CARL R. NOLD: There are many museum experiences that you can
have in New England’s museums. We do reenactments for thousands
of people and we offer tours for two visitors with a curator. Diversity
of experience offers the quiet moment or the high level of activity.
Both are in our futures. New England is uniquely positioned to strengthen
our museums for the future because there are short distances to travel,
wonderful institutions, and diverse offerings within them.
Jessica Nicoll, Chief Curator of the Portland Museum
of Art, will be taking the position of Director and Chief Curator of
the Smith College Museum of Art this August. A 1983 graduate of Smith
College, Nicoll was hired as Curator of American Art for the Portland
Museum in 1992, and was promoted to Chief Curator in 1995. She has curated
more than twenty exhibitions including Winslow Homer Facing Nature May
1998), Marguerite & William Zorach: Harmonies and Contrasts (November
2001), and The Allure of the Maine Coast: Robert Henri and His Circle
(June 1995).
She also oversaw the restoration, interpretation, and reinstallation
of the Museum’s Federal-era McLellan House and the historic Sweat
Memorial Galleries, which reopened to the public in 2002. During her
tenure at the Portland Museum of Art, she authored numerous exhibition
catalogues, gallery guides, and scholarly articles on topics that include
Charles Codman, Will Barnet, Winslow Homer, William and Marguerite Zorach,
Abraham Bogdanov, and the artistic community formed by Robert Henri
on Monhegan Island. Nicoll came to the Portland Museum of Art from Old
Sturbridge Village in Massachusetts where she was Curator of Exhibits
for six years. She has a Masters degree and a Museum Studies certificate
from the Winterthur Program in Early American Culture at the University
of Delaware. Her B.A. from Smith College is in History and American
Studies.
NEAJ: When did you first learn that you would be making the move
to Smith College?
JESSICA NICOLL: Suzannah Fabing announced her plans to retire early
last summer, and Smith College began their search in earnest during
the fall. As a graduate of Smith, I knew the museum and decided to apply
for the position. We went through the interview process this winter,
and I came out of it the winner. This really has been a great honor
for me.
NEAJ: You’ve served the Portland Museum of Art for a long time.
Can you share your thoughts as you plan your move to Northampton?
NICOLL: I’ve been in Portland now for thirteen years. My colleagues
are happy for me, but it was hard for me to make this decision because
I both love and care for this Museum. I’m very committed to the
mission here. But, I am moving. It’s a testament to the opportunity.
This is a happy circumstance for me and my family because Northampton
is a wonderful community.
NEAJ: What in particular excites you about your new position?
NICOLL: I will serve as both the Director and Chief Curator. I think
that the thing that excites me most is the new facility. A spectacular,
renovated and expanded Brown Fine Arts Center opened to the public in
2003. Managed by the New York architecture firm Polshek Partnership,
the $35 million project dramatically reshaped the three components of
the complex: the Smith College Museum of Art, the art department, and
art library. The facility has been very thoughtfully designed to address
the functions of the museum, so it has more gallery space, more collection
storage capacity, and more teaching space. I think the new building
presents opportunities for greater engagement of the campus and also
for outreach with the surrounding community.
NEAJ: How familiar are you with the collections?
NICOLL: The collections are just fantastic. Within several decades,
the Museum’s holdings have grown to about 25,000 works of art.
Historically, the mission focused on nineteenth and twentieth century
American and European art. An area of tremendous strength is works on
paper, prints, drawings, and photography. Smith was actively collecting
photography very early on. There have been exciting new collecting initiatives
in Asian and African art, so the collection is growing and broadening
in its focus. As somebody coming into this position from a curatorial
point of view, I think about how the collection needs to grow, and about
the direction it will take under my guidance.
NEAJ: If I’m not mistaken, the museum holds an extraordinary
collection of nineteenth century paintings and sculpture including works
by Courbet, Degas, Monet, Seurat, Renoir, Gauguin, Cezanne, and twentieth
century works by Picasso, Gris, Giacometti, Jean Arp, and Kirchner.
Beyond that, there are American works by Thomas Eakins, John Singleton
Copley, Albert Bierstadt, John Singer Sargent, Winslow Homer, Alexander
Calder, Mark Rothko, Robert Motherwell, and James Abbot McNeil Whistler.
Do you have any personal favorites?
NICOLL: There are tremendous paintings and sculptures in this collection.
If I had to pick one from the days of my undergraduate experience, it
would be Thomas Eakins’ late masterpiece, Portrait of Edith Mahon.
It’s a very moving portrait of a family friend of the artist. It
evokes both her presence and his great sensitivity toward her.
NEAJ: Are there any major projects that will need special attention
upon your arrival?
NICOLL: I’m fortunate that I will be working with Associate Director
David Dempsey, who oversees the collection. Any museum collections are
inherently fragile, but I’m moving into one that is completely
under control. I’m looking forward to working with a very capable
staff.
NEAJ: How about specific areas of interest for you? What legacy can
you offer the museum?
NICOLL: One of the things that’s exciting for me to think about
is all the ways that the museum can be a teaching resource. One of the
areas that I feel has more potential is museum education. This has emerged
as an important professional discipline in recent decades. I will be
interested in working with the education department on campus to see
if we can build collaboration between the museum and the college’s
education department. This way we might offer training for future museum
educators.
Smith College Museum of Art, Northampton, MA 01063, (413) 585-2760,
www.smith.edu/artmuseum
At a Glance:
Collection Facts and Figures
• An extraordinary and internationally recognized collection of
19th–century French paintings, including works by Courbet, Degas,
Monet, Seurat, Renoir, Gauguin, Cezanne, Vuillard, and superb early
20th century holdings, including Picasso, Gris, and Kirchner
• A significant collection of paintings by American artists such
as Thomas Eakins and John Singleton Copley
• Approximately 8,000 prints, spanning seven centuries
• 1,600 drawings, reflecting the history of Western draftsmanship
from the 16th century to the present
• 5,700 photographic prints and gravures, spanning the medium’s
history
• Growing collections of ancient art, decorative arts, Asian art,
and traditional societies’ art
hot\’hat\ adj hot.ter: hot.test [ME, fr. OE
hat: akin to OHG heiz hot, Lith kaisti to get hot] 6 a: unusually lucky
or favorable b: temporarily capable of unusual performance c: currently
popular
Did you ever wonder if the experts have a handle on what’s selling
and what’s dead inventory in today’s market? Are there areas
of collecting that represent particularly ‘good buys’ for
the beginning collector, perhaps things that may be overlooked by those
focused on other categories? How about trends – do they recognize
patterns where certain categories are increasing or decreasing in importance?
NEAJ visited the front lines at the Wilton Historical Society Antiques
Show and found eight dealers willing to talk at length on the subject.
We hope you find their answers as interesting as we did.
BILL KING: I love ceramics, English ceramics in particular. I’ve
been selling them for eighteen years now, from the time of my first
show for the Wilton Historical Society in 1989. I think mocha is hot
right now, and American historical views on Staffordshire are really
moving. Delft is a little quieter these days, and English basalt sales
are flat. For a number of years, you couldn’t keep Toby jugs in
stock, but selling isn’t very good in that category either. Mocha
is still well priced. Jonathan Rikard is coming out with a new book
on the subject, and I expect it will appreciate in value. Young collectors
seem to be interested in this category because it has an almost modern
aesthetic.
Geranium Antiques, P.O. Box 278, Dorset, VT 05251, (802) 867-5588
NINA HELLMAN: I’ve been in business for thirty-nine years
now, doing my first show in 1966. My first love is authentic scrimshaw
of the whaling period, but in general, I enjoy historically important
items that have aesthetic appeal. In my field, good scrimshaw is very
hot, and interest in navigational instruments has been very weak. Maritime
material of the Spanish American War period is underappreciated right
now, and shadow box ship models, ship carvings, and figureheads are
categories to watch. Scrimshaw is still appreciating in value, and is
increasingly being recognized by folk art collectors. I believe that
even beginning collectors should buy the best they can afford, and be
patient for appreciation. Maritime, which is my field, has seen good
growth over the years.
Nina Hellman Marine Antiques – Americana, 48 Centre Street, Nantucket,
MA 02554, (508) 228-4677, www.nauticalnantucket.com
GREG KRAMER: For thirty-three years now, our specialty has been
Pennsylvania German antiques. But the trouble starts when you realize
that we are just as strong in folk art, redware, American glass, and
furniture. My broad statement on hot items is that the high end is the
best part of the market, and the mid level is on the slow side, and
has been for awhile. The leaders are stoneware, samplers, and really
good paint-decorated objects with untouched surface. Anything middle
line is what’s dead. I think American glass is a really good buy.
You can purchase eighteenth century glass for less than what Fiesta
ware would cost right now. Quilts have been slow, so now might be a
time to buy back into that category. I’d also look at redware.
It’s been on the upswing for three years now, and there’s
plenty of room yet for it to grow. Painted furniture is a very strong
trend, and folk portraits have certainly been on the explosive end.
Greg K. Kramer & Co., 27 West Freeman Street, Robisonia (Editor:
Sic), PA 19551, (610) 693-3223
GLORIA LONERGAN: I’ve been buying longer than I’ve
been selling. I think I’ve been in the business for eighteen years
now, but I’ve only been doing shows for twelve of those years.
I like old paint, folk art, hooked rugs, game boards, textiles, and
weathervanes. As you know, furniture has been slow for a while, but
smaller things have been moving. I think hooked rugs, game boards, and
decorated boxes are really strong. I used to keep six cupboards in stock
at all times, but now furniture sales are so flat, that I concentrate
on other areas. I can’t say that there is anything cheap in my
area right now, because folk art is bringing huge prices. Weathervanes
have soared in price. I’d definitely call that a trend. Game boards
and hooked rugs are similar areas. They keep going up and up.
Gloria M. Lonergan Antiques, P.O. Box 299, Mendham, NJ 07945, (973)
543-2133
LEW SCRANTON: I’m in this now for thirty-seven years, (he
laughs) thirty-six years too long. I like early New England country
furniture and accessories like iron, lighting, redware, silhouettes,
and decorated tin. As to hot items, that’s a good question. It’s
hard to answer because I don’t know. I think the next generation
doesn’t understand early Americana. They want stuff that they remember
from their grandmother’s house – like 1950’s and 1960’s
collectibles. Baskets are one of those areas that are a good buy right
now. It’ll only take an article about them to boost sales. Silhouettes
are a little quiet. They run in fits and spurts. And, I don’t really
see any trends. We as dealers are in a tough period. We’re adjusting.
The very best of everything sells, so set your sights high and carry
a big checkbook. Even if you only buy one good thing a year, buy the
best you can buy.
Lewis W. Scranton Antiques, 38 Fire Tower Road, Killingworth, CT 06419,
(860) 663-1060
PAT STAUBLE: Can you believe that I’ve done this now for
forty years – thirty-two years in Wiscasset? We were the first
up there to handle original painted surface furniture and folk, ship
shadow boxes, early pottery, carving, and the like. Great folk art is
very hot these days. Unique one of a kind items move quickly. Certain
textiles are not performing, however. Quilts in particular are quiet.
An area like Canton ceramics is flat as well. I think early glass and
quilts are good items that can be found for a price. Sometimes toys
and mid-level furniture like drop leaf tables can be a very good buy
as well. Regional fine art is a definite trend. For us, these might
be scenes of coastal Maine. They are increasing in value. Folk carving
is going up, and there is still a lot of room for growth.
Patricia Stauble Antiques & Assoc., 180 Main Street, P.O. Box 265,
Wiscasset, ME 04578, (207) 882-6341
EVE STONE: Unusual and one of a kind items from the eighteenth
century interest me the most, and I’ve been working with them for
thirty-five years. Look at this 18th century rose cutter shaped like
a musket. I love unusual metalware. What’s hot is fireplace equipment,
no pun intended. Eighteenth century brass has become very hard to find,
and as a result has become more expensive, so it’s not moving as
it did in the past. Copper molds are selling because people use them
to cook with and can decorate a country kitchen at the same time. Good
interesting items always sell. Honestly speaking, I don’t see any
good buys in this end of the business. Beginning collectors need to
do their research, and decide what they can afford. Just because an
item is cheap, doesn’t make it good. You should always buy the
best you can possibly buy. As to trends, within my specialty, people
are always looking for lighting and good quality candlesticks.
Eve Stone Antiques, Ltd., 22 Selden Street, Woodbridge, CT 06525, (203)
389-6665, www.evestoneantiques.com
LEON WEISS: We started in 1969, thirty-six years ago. We collected
as kids, and set up at shows to sell even then. We like American antique
toys and banks along with American folk art. Nothing is really dead
in toys; mechanical banks have been fairly hot as long as we’ve
been in business. Cast iron horse-drawn toys, particularly those depicting
fire apparatus or fancy vehicles, have gained significant strength in
the last five years, even doubling and tripling in price. Friction toys
that are momentum driven I think are still undervalued. Horse-drawn
toys have more growth potential. German tin automobiles are at a ten-year
low, and this is a good time to get into that market. I think still
banks are a trend, those with no action, especially rare examples in
very good condition. These are poised to be more widely accepted and
will increase in value over the years.
Gemini Antiques Ltd., 2418 Montauk Highway, P.O. Box 1752, Bridgehampton,
NY 11932, (631) 537-4565, www.geminiantiques.com, New York Gallery by
appointment only, (212) 316-6380
By Randall Decoteau
Have you ever wondered how most people get into the business of selling antiques? It would be my guess that almost everybody starts as a collector, and one thing leads to another in the quest for the most elusive object. We each have to feed the habit, so to speak. Many would expect antiques dealers to collect the things we know they sell, but this group was full of surprises. We hope you enjoy these answers as much as the staff at NEAJ did.
Our Collectors:
Ed Weissman, Ed Weissman Antiquarian,
110 Chapel Street, Portsmouth, NH 03801,
(603) 431-7575,
www.edweissmanantiques.com
Joyce Ruskin Hanes and Lee Hanes, Hanes and Ruskin,
10 Lyme Street, Old Lyme, CT 06371,
(860) 434-1800,
www.hanesandruskin.com
Sandra Mitchell, Ancient Frills,
504 Barrett, Winston-Salem, NC 27104,
(336) 971-0775
Fred Di Maio (with Schooner), East Dennis Antiques,
Box 210, 1514 Route 6A, East Dennis, MA 02641,
(508) 385-7651,
www.eastdennisantiques.com
NEAJ: Are you a collector? How did you get started?
FRED DI MAIO: From the time I was a child, I’ve considered myself
a collector. I began with stamps and coins, and progressed to antique
furniture by the time I graduated from college. My parents and grandparents
clearly recognized my interest in old things and began to give me heirlooms
that I still have. A neighbor gave me my first research volume, Nutting’s
Furniture Treasury.
LEE HANES: Absolutely. I got started around 1960 collecting anything
made of brass. I bought brass candlesticks, candlestick telephones,
fire tools, etcetera. I had no money, so didn’t buy anything particularly
interesting now that I look back, but it put me on the road to collecting
bigger and better things. My taste is more sophisticated now. I collect
early lighting, period high-style American furniture, and early ceramics.
SANDRA MITCHELL: Yes, about fourteen years ago, I visited a very wealthy
lady on the Avenue Foche in Paris, and as a parting gift she gave me
an extraordinary antique lace handkerchief. After having it mounted
and framed, I decided to research and learn more about the historical
aspects of lace. I discovered a rich history, which continues to intrigue
me today.
ED WEISSMAN: Am I a collector? Not really, because what I want to collect
is so difficult, that I’d rather just sell what I like. I prefer
accessories and items from the 16th century and earlier used in the
Gothic Period – like reliquaries, bronzes, crystal, iron implements
of various types, paintings on vellum, and other rarities.
NEAJ: Tell us a little about your merchandise, and about what you
keep for yourself.
JOYCE RUSKIN HANES: Our merchandise is basically high style American
furniture, needlework, early ceramics, iron and brass items, and other
early accessories. For ourselves, we have mine, his, and ours. His is
metalwork, mine is ceramics, and ours is the furniture, needlework,
paintings, and the rest of it. My favorite thing is a cup and saucer
in pearlware with underglaze high temperature decoration of three Chinamen.
It’s whimsical and fabulous. I repositioned where I sit in my dining
room so I can look at it while I have dinner.
ED WEISSMAN: Go to the treasure room in The Cloisters; anything in there
is my cup of tea. We handle mostly American furniture prior to 1830.
I do keep a few Queen Anne period American things, and as far as early
Gothic goes, I’ve tucked away a few things like an ivory triptych,
some Limoges enamelwork, and an old reliquary casket. Basically, I’ve
kept only a few trinkets. I just saw a few carved stone lions at an
auction recently that ended up going for $250,000. These things are
very rare and very scarce.
FRED DI MAIO: There was a time when I bought one for the shop and one
for me. You get over that fast! But, now we sell American and English
18th and 19th century furniture, picture frames, mirrors, quilts, prints,
and paintings. We’re an old-fashioned shop, a general line place
where you can find all kinds of things. We collect the same things we
sell; but we also collect antique cars. We have a 1934 Cadillac convertible
coupe, a 1941 Ford wooden body station wagon, and a 1959 Mercedes 220S
cabriolet.
SANDRA MITCHELL: I sell any sort of antique textiles. I buy table linens,
household linens, fine laces, christening gowns, pillows, and occasionally
tapestries and hangings. My main focus is on workmanship. Anything that
represents handwork is significant for me. Pieces that I feel are museum
quality or are of historical importance tend to go into my collection.
The point of view with antique textiles is that they are not well understood,
generally are not well appreciated, and can be really undervalued.
NEAJ: Do you have any regrets about buying certain items? Do you
have any regrets about not buying something?
ED WEISSMAN: I certainly do have regrets about buying items. If you
are a dealer, you often have regrets when you take a gamble. One in
particular was not buying a pair of sixteenth century crystal candlesticks.
I had the opportunity to buy one pair a number of years ago for $20,000.
Today, they are worth a half million dollars. At the time it was the
gamble that stopped me. I worried about authenticity. I still wish I’d
bought them.
FRED DI MAIO: Yes on both counts – all the time. There’s the
item you didn’t look over carefully enough and you later find replacement
parts. Every dealer goes through that. Very often, though, I wish I
had bought something. I’ve never hesitated to buy something if
I thought it was priced well, but once I had a chance to buy a 1947
Chrysler ‘woodie’ convertible. It was a fair amount of money,
and I didn’t buy it. Well, I always wished I had bought the thing.
What a car!
SANDRA MITCHELL: I think for a collector the real issue is always about
what you didn’t buy. Things that are mediocre serve as interesting
stepping stones on the learning curve, so I don’t regret any of
those. One of the first early auctions I attended in Old Town, Alexandria
had incredible Italian linens that I didn’t really understand fully.
Had I known then what I know now, I wouldn’t have been the under
bidder.
LEE HANES: I regret everything we’ve had for more that a year that
hasn’t sold. That being said, we were at a small fair in England
in 1981, and this guy had a pair of Staffordshire pigs for about $600
US. They were cute and we never saw a pair like that again. What stopped
us? They seemed pricey at the time, so the price held us back.
NEAJ: What’s your secret desire in terms of the ultimate collector
item? Is there something that haunts your dreams?
SANDRA MITCHELL: Historically, laces were highly valued. Sumptuary laws
were established to govern their use. It wasn’t just a piece of
apparel, but a statement about the wearer’s wealth and status.
Going back to the handkerchief in my collection, it was made around
1850 in Youghal, a small village in Ireland. The villagers produced
this lace to live, but going back to visit there, I realized that my
collection is better than theirs is today, and it is a passion of mine
to send them back some of their lost heritage. That’s my dream.
ED WEISSMAN: I’d love to buy a box of Gothic period trinkets, gilt
metal work, and intricate castings. Maybe I’d like a silver gilt
figure of a saint, a pair of crystal candlesticks with silver or gold
mounts, an enameled reliquary casket – there are so many things.
I could go on and on. How about a carved ivory comb or a book of hours?
LEE HANES: I collect taper sticks. I would love to find an English brass
taper stick in the trumpet form. These were made in the seventeenth
century and I’ve only seen them in books. My favorite thing –
no question – I found a pair of ten inch swirl-based Queen Anne
candlesticks circa 1740. I’d really like to be buried with them.
There are things that I’m going to be buried with that I wish I
was rid of.
FRED DI MAIO: Of course; I’d like an early fabulous piece of real
estate on the order of Mount Vernon. Does that count?
NEAJ: Can you offer any advice for beginning collectors?
JOY HANES: Buy with your heart; buy what you love; and study and learn
about it. Our advice when talking about any ceramics is this: If you
only want perfect things, you’ll have a very small collection.
People are more often sorry about what they didn’t purchase than
what they do buy, so take what you want when you see it. Keep prominently
displayed your biggest mistake, so that you are reminded to look hard
at what you want, and buy it from a reputable dealer; do not take chances
at auction.
FRED DI MAIO: Don’t let people tell you that you’re crazy.
Do your homework. Buy what you like, but first research the books, explore
the museums, and talk to people who have more experience than you do.
In the end, don’t hesitate to follow your heart. When I was in
third grade, I bought a 1939 World Fair commemorative coin from a kid
at school for a dollar. My mother didn’t scold me, and instead
took me down to the numismatic department down at Gimbels. I got the
grand tour and was informed that my coin wasn’t worth much. Even
so, I still love it, and I still have it in my collection. It was a
great learning experience.
SANDRA MITCHELL: Beginning collectors need to take care of what they
find in their own back yards. You can start out with small pieces like
doilies and coasters, and that’s not a bad idea. It’s an inexpensive
and intriguing way to start a collection, and there are good publications
out there to guide you. Never use chlorine bleach on your finds, and
never store them in plastic. They are natural fibers and need to breathe.
Use acid-free materials instead.
ED WEISSMAN: You should honestly have a passion for the item you are
looking at. It should take your breath away. I just paid a fortune for
a cap pistol because it spoke to me. I paid a record price, but the
thing haunted me.
NEAJ: So did this writer ever tell you about the McIntyre sideboard
that got away while he went to think about it over a cup of coffee?
Reproductions of fine antique furniture, porcelain, folk art, glass, and needlework abound in today’s marketplace. Most are made with no intention to deceive the collector, but some are so well done that they end up being shown by inexperienced dealers and being bought by novice collectors. NEAJ spoke with four dealers at the Hunt Valley Antiques Show in MD, each expert in his/her own fields, to find out how they feel about this phenomenon.
Our Experts:
Alan Cunha, Cunha-St.John Antiques, 159 Main Street, Essex, MA 01929, (978) 768-3335, www.cunhastjohn.com
Spencer Gordon, Spencer Marks, Ltd., PO Box 303, East Walpole, MA 02032, (508) 668-6990, www.spencermarks.com
Patricia Drake Keady, Drake Field Antiques, 16 Meadowbrook Road, Longmeadow, MA 01106, (413) 567-7412
John Snead, John & Patricia Snead, PO Box 973, McLean, VA 22101, (703) 534-1777
NEAJ: Tell us a little about your business, about your merchandise, and venues where you sell.
ALAN CUNHA: We started 15 years ago on Charles Street in Boston. We
sell 18th and 19th century American and English furniture and appropriate
decorative arts of the period, with an emphasis on Anglo-Irish glass,
mirrors, and ceramics. We like to take the edge off the presentation
of the brown furniture by layering in garden items, folk art, and treen.
We have the Essex shop, we participate in eight major shows per year,
and we sell on our website.
SPENCER GORDON: We sell fine antique silver from the mid 17th century
up into the 20th century. We’ve been doing this since 1986, and
we sell at select shows as well as on our website. We sell to museums
and private collectors throughout the world. Spencer Marks is best known
for its 19th century American silver.
PATRICIA DRAKE KEADY: Our business has been going now for 20 years.
We handle late 18th century and early 19th century American furniture
with a sub-specialty of hearth equipment and appropriate accessories.
We do shows for Bob Armacost, Marilyn Gould, Forbes & Turner, and
others. We don’t keep a shop.
JOHN SNEAD: Pat and I started 25 years ago selling English tall case
clocks, as well as American, German, and French examples. We also handle
English and American furniture and decorative accessories, Victorian
and Art Deco ceramics, and other accessories. We had a shop years ago,
but now we sell primarily at charity antiques shows.
NEAJ: Reproductions sometimes appear within the antiques marketplace.
Aside from the fact that they are generally not made with the intention
to deceive, would you care to comment on this subject?
PATRICIA DRAKE KEADY: I feel strongly that antiques shows should be
vetted. Reproductions do not belong in what is advertised as an antiques
show. In the context of this line of questioning, I have to say that
it’s hard to sell something that looks similar to a reproduction.
The far lower price of the latter is a big problem. An antiques dealer
can’t compete. I have no disrespect for an artisan who can make
such an item, but regardless of quality, the two should not be mixed
in the same venue.
ALAN CUNHA: My issue with reproductions is that the untrained eye often
can’t discern the difference between those made in period and bench-made
items produced later. It’s a disadvantage for the consumer when
these items are not labeled properly, and are shown in an antiques venue
(and it happens all the time). The period antique has an asset value,
while the other only has a current market value. Many consumers can’t
understand the difference. I suggest that the name ‘reproduction’
sums it up.
SPENCER GORDON: A lot of antique silver patterns are currently being
reproduced, and some are definitely meant to deceive. Some is being
honestly reproduced as new. However, when the new objects find their
way into a secondary market, they are often sold by unknowledgeable
or dishonest vendors as antiques.
JOHN SNEAD: I don’t think reproductions hurt the antiques market,
but they don’t belong in shows. I think shows should enforce date
lines for merchandise being shown. Williamsburg has a lovely line of
reproduction clocks, but, make no mistake; as nice as they are, they
aren’t the real thing.
NEAJ: Aside from fakes and forgeries, do you feel that reproductions
have any impact on today’s antiques business? Explain.
SPENCER GORDON: The impact of reproductions in my market is serious.
Even when honestly represented, they confuse buyers, and when dishonestly
represented, the client can easily be deceived. No customer likes to
be burned. The most obvious area where one sees this today is in the
high quality silver flatware being made from original dies by manufacturers.
For instance, ‘Lily’ by Whiting was one of the most collected
patterns ten and twenty years ago, yet today with new reproductions
commonly available, the collectors are confused and the antique pieces
are not always easy to sell.
JOHN SNEAD: In my field, I think it would be difficult to misrepresent
a reproduction clock as real, so I don’t see an effect. It’s
interesting to note that a good reproduction of a tall case clock is
expensive, though. The price is not so different from the real thing,
so I wonder why people don’t invest in antique clocks.
PATRICIA DRAKE KEADY: I think they do have an effect. Much of the buying
public is not as concerned about the real antique. They often would
rather have a look for a price. There doesn’t seem to be a feeling
for either the heritage or the investment value of the real antique.
Therefore, the sale of reproductions can skim off sales that should
go to antiques when they are shown in the same venue. One doesn’t
belong with the other.
ALAN CUNHA: Reproductions are not antiques. In the antiques world, the
true antiques dealer is at a disadvantage if he has to compete with
reproductions elsewhere on the selling floor. It all boils down to the
integrity of the dealer. Reproductions are so well executed that it
is difficult to tell the difference sometimes. The subject shouldn’t
only be limited to furniture. Every aspect of our stock – glass,
ceramics, metal, garden, architectural items, folk art, and so on needs
to be scrutinized and looked at in great detail. Professional organizations
with standards allow the vendor as well as the consumer a road map to
negotiate what we are all looking at. I often think the future of the
business is in these organizations’ hands.
NEAJ: Do you feel that there is any overlap between the client who
purchases the real thing and the customer who seeks out reproductions?
JOHN SNEAD: I’m not sure that there is competition for the same
dollar. Most people who want to buy a real antique clock want exactly
that. A reproduction wouldn’t satisfy their needs. With United
States clocks, the movements of antiques and reproductions are very
much the same and require the same amount of care to keep them going,
so the reproduction offers little competition.
ALAN CUNHA: Yes, unfortunately, there is an overlap because many times
we are competing for the same dollar. The collector is the smallest
part of our market. Most clients are looking for a decorator item that
is utilitarian and must be of certain dimensions and practical applications.
The reproduction can serve the same need for these customers. The big
difference is, again, investment value.
PATRICIA DRAKE KEADY: There probably is – some people love the
look of an eclectic house, so ultimately the decision is up to the consumer.
Sometimes buying a reproduction can allow a person to purchase a form
that they could not otherwise afford. A good example might be a Queen
Anne tea table or expensive cupboard.
SPENCER GORDON: I think I already answered that – yes. There are
many confused collectors of various flatware patterns. Buying newly
issued examples of old patterns can have its budgetary advantages, but
the price of the antique is clearly affected by the new flatware.
NEAJ: Are there ever occasions where you might advise somebody to
purchase a reproduction rather than an original antique?
ALAN CUNHA: The fact is, depending on people’s lifestyles and budgetary
constraints, we sometimes suggest reproduction seating for dining rooms
for both durability and lack of product availability. Did you ever try
to find 12 or more period chairs for a dining room?
SPENCER GORDON: No.
PATRICIA DRAKE KEADY: Sure. If they like the form, color, etcetera,
sometimes reproductions work better for some people. It should always
be an educated decision.
JOHN SNEAD: No (he laughs), why would I do that? Maybe I’d suggest
that for furniture, but not with clocks.
By Randall Decoteau
In our January issue we solicited opinions regarding the state of the antiques show business from four promoters. We decided to go to the trenches as a follow-up and ask the same questions of show dealers. Together, these folks bring us 120 years of experience at both shows and shops. They’ve seen highs and lows as well as good times and bad, and we hope you’ll enjoy reading what they have to say.
Our Dealers:
Michael Malley,
East End Galleries, Pittsburg, PA,
(412) 682-6331
Herb Meiselman,
CIRCA, PO Box 28, 73 Main Street, Rockport, MA 01966,
(978) 546-5200, www.circaofrockport.com
Elva Needles, Elva Needles Antiques,
335 East 55th Street, Kansas City, MO 64113,
(816) 361-1778
Todd W. Sigety, ISA, Washington Square Antiques, Inc.,
425 South Washington Street, Alexandria, VA 22314,
(703) 836-1020, www.washingtonsquareantiques.com
NEAJ: Tell us about your business, your merchandise, and your client base.
MICHAEL MALLEY: Well, let’s start off with the fact that I’ve
made my livelihood on this business for 35 years. It’s a good business
filled with adventure. I try to sell objects that are very good examples
of what they are, and I’ve been successful. I sell primarily at
shows using a variety of venues that allow me to sell at various price
points. I prefer charity-sponsored shows over any others.
HERB MEISELMAN: Deb and I have been selling antiques for 22 years, starting
out with American furniture and accessories. We’ve evolved into
selling more Continental than American because we travel a lot and have
access to merchandise in Europe. We buy things we like that represent
good design regardless of period. One area where we are virtually unique
is photo frames, which we have been selling for 20 years now. We sell
at shows and in our Rockport shop, as well as privately.
ELVA NEEDLES: I married Phil and an antique chair, and ended up keeping
them both, and I’m sticking to this story. On a serious side, we
quickly learned that we could buy and sell to pay for our antiques habit.
We probably did this for a number of years before we started wholesaling
to other dealers. It’s been almost 50 years now. We carry New England
furniture, Staffordshire, and pattern glass pre-1860. We have a shop
and we also do shows.
TODD SIGETY: I’m a second generation antiques dealer with two shops
in Old Town, Alexandria specializing in English and American furniture
and decorative accessories. I’m also an accredited appraiser with
the International Society of Appraisers. We like to do local shows to
help publicize the shops.
NEAJ: We’ve had a tough couple of years. What kind of challenges
do you face when consumer confidence is low?
ELVA NEEDLES: We’ve seen both recessions and good times in this
business, and I would agree that consumer confidence is down right now.
The biggest challenge is to maintain confidence in our merchandise.
Our customers are primarily middle and upper middle market people, who
are hurt by economic ups and downs. We are seeing lower attendance at
shows and hands tightly stuck in the pockets among those who venture
out. It’s also a challenge to find merchandise in good condition
at a price that’s viable. Sales of smalls have kept us afloat these
last few years.
TODD SIGETY: I guess my major challenge is managing the business, the
inventory, and cash flow. During slow business times, when I buy I look
to replace something specific as opposed to generally buying for stock.
Additionally, keeping the shops and shows looking fresh is a difficult
task during slow times.
HERB MEISELMAN: Well, you have a challenge in getting rid of old inventory.
A dealer always wants to look new and fresh, so in a bad economy, how
do you turn the older stuff? This is what we have put a lot of effort
into over the past several years. We really notice dealers who look
the same from one show to the next. Another challenge is getting good
stock. It’s highly competitive out there when buying the best –
and the best is what seems to sell when times are tough.
MICHAEL MALLEY: I’ve not had a tough couple of years and I attribute
that to my philosophy that I try to sell only objects that are very
good examples of what they are. The best is what’s selling right
now. I like a combination of selling in all price ranges, but the best
within each range. The biggest trap in this business is spending good
money on mediocre merchandise just because you think it’s a bargain.
Suddenly you can have a lot of money tied up in things that won’t
sell. The best always turns quickly.
NEAJ: Do you feel that the state of the economy is the only factor
to consider when talking about show business? Explain.
HERB MEISELMAN: I’m not sure we’re talking about the state
of the economy. People keep acting as if we will recover soon, but I’m
seeing a new pattern. After all, we’re in this for almost five
years now – the new pattern involves a range of issues. The middle
class is buying much less. They are afraid and their taste seems to
be changing. The taste issue is of greater long-term concern than the
economy. If antiques become less attractive, it’s a problem for
the business. I think another issue is that many people feel less secure
about their financial situations. I think that the extravagance of the
1990s is out of favor. Conspicuous consumption is not fashionable.
ELVA NEEDLES: No, I’m concerned about the state of our country
as well. We are constantly surrounded by bad news and it affects us
all more than we think. I also feel that young people today don’t
appreciate old things. They seem to prefer a slick reproduction to the
real thing. We face low attendance at shows and lack of interest. In
some locales, like Houston and Denver, we sell to second generations,
so that’s a positive twist, but it’s not so in other areas.
MICHAEL MALLEY: I feel that the customer with the desires of 20 years
ago is not the customer of today. If you are still working on your perception
of that period, you’re having a hard time – unless you are
dealing in only the best of the classical forms. My thought is that
anybody who has offspring 35 to 40 years old, and listens about their
likes and dislikes, can begin to understand the mind set of today. Otherwise,
you might not know the market as well as you think you do. Maybe we
have to get this business beyond the 18th century, and even the 19th
century.
TODD SIGETY: No, I think it’s more than that. I’m concerned
at the moment that there aren’t enough people to support the number
of shows and dealers. Observing show attendance, I notice many older
collectors who are winding down in purchasing for their collections.
It’s getting more difficult to find and cultivate young collectors.
I’m not certain whether this is a generational shift or simply
a sign of the times.
NEAJ: What have you done to improve traffic at your shows, and what
kinds of results have you seen? Do you see an improvement in your customers’
reactions?
TODD SIGETY: Since I’m primarily a shop dealer, local shows are
a good form of advertising for me. At the shows, I try to display a
wide range of merchandise. The range appeals to beginning collectors
as well as the seasoned collector, and I hope to have something for
everyone. My show booth offers a nice selection of furniture, fine art,
and decorative accessories. Customer reaction has been good right along,
but buying patterns have been inconsistent at best.
MICHAEL MALLEY: In my particular case, I try to create as eclectic a
booth as I possibly can in order to draw in as many different people
into it. The more diverse the merchandise, the greater chance I have
of attracting a larger range of customers. Customers seem to love my
mix. The object is to get as many as I can into my booth.
ELVA NEEDLES: What we’ve done for a number of years is to send
out a letter highlighting items that we’ll be bringing to our shows.
We’ve had a favorable response to this. I do think that the money
is there if you can come up with what a customer wants at a good price.
The American consumer is sadly very discount oriented.
HERB MEISELMAN: We’re very conscientious about sending show cards,
but beyond that I think it’s a show manager’s responsibility
to bring in clients. In the shop we have very prominent windows on Main
Street, which we change monthly, and that draws folks in. It goes back
to what I said previously. You have to always present a fresh new look
to keep them coming in.
NEAJ: What are your predictions for 2005 in the antiques show business?
HERB MEISELMAN: I think we’ll see more of the same basic things
going on, but I feel that the survivors are all learning how to cope
with business better by buying carefully, by choosing shows with more
discretion, and by keeping fresh displays in shops.
ELVA NEEDLES: I expect more of the same. I feel that customers need
good value for their money. I also see more and more dealers selling
items that are not authentic yet calling them real. This is difficult
to compete with. The ‘look’ still seems to be king.
TODD SIGETY: Given that the last two months of 2004 showed marked improvement,
my expectations for 2005 are positive. What I would like to see return
to the industry most is consistency in consumer buying patterns, so
there are fewer peaks and valleys in the selling process.
MICHAEL MALLEY: Business will only be as good as the merchandise you
show. If you’re willing to work very hard to find the merchandise
that will sell, you will have a very good year. If you buy only what
comes along and falls in front of you, I don’t think you’ll
have a good year. I find that I used to be able to make a very good
living traveling only within 50 miles of Pittsburg. But, today I need
to travel regularly within 300 miles.
The focus of this month’s column started with a visit to the Association of Collecting Clubs website at www.collectors.org. We found a startling assortment of clubs serving collectors of everything from salt cellars to shaving mugs, from flashlights to fishing lures, and from dolls to Daguerreotypes. A chat with Larry Krug indicated that this organization exists to serve its member organizations. Its website gets 100,000 visitors per month and global management is their point of view in the age when anybody who has access to the Internet can buy, sell, and trade all over the world. We selected four clubs at random and hope you’ll find these collectors as interesting as we did.
Brian Krapf, President, American Political Items Collectors,
PO Box 5632, Derwood, MD 20855-0632, (301) 926-7648, www.apic.us
Mike Skelton, President, The Casino Chip and Gaming
Token Collectors Club, Inc.,
PO Box 35769, Las Vegas, Nevada 89133-5769, (877) 422-4822, www.ccgtcc.com
Sue Jones Tagliapietra, President, Red Wing Collectors
Society,
Box 50, Red Wing, MN 55066-0050, (800) 977-7927, www.redwingcollectors.org
Kent Washington, President, National Depression Glass
Association, Inc.,
PO Box 8264, Wichita, KS 67208-0264, (210) 599-0635, www.ndga.net
NEAJ: Tell us about your club. How long have you been in operation? How many members?
MIKE SKELTON: We have about 3,000 active members in 11 countries and
all 50 states. The club was founded in 1980, and we are a not for profit
tax exempt organization. We educate the public through our award winning
(ANA specialty club magazine of the year) quarterly magazine and our
website. The website has an education section about chips, tokens, and
casino memorabilia.
BRIAN KRAPF: At this point, we are a 60-year-old non profit organization
dedicated to the study and preservation of America’s political
past. We currently have approximately 3,000 members nationwide, which
don’t include all members of the House and Senate, who are complimentary
members. We have two former US Presidents as members – Jimmy Carter
and Bill Clinton. Jimmy Carter is very giving of his time with collectors.
SUE JONES TAGLIAPIETRA: The club started in 1977; we will shortly be
celebrating our 30th year. We have nearly 6,000 members throughout the
United States, Canada, and one member in Belgium. Our largest group
of members is in the upper Midwest. The mission of the society is the
preservation of Red Wing pottery. We want to make sure we preserve the
history of Red Wing and guarantee that the legacy of this ware is alive
and well. We also want to bring collectors together, to establish a
network – each of our members can share knowledge between themselves
as well as the public.
KENT WASHBURN: Our organization has been in existence for approximately
30 years. We have members all over the country, nearly 1,000 to date.
Membership dues are $20 per person. The purpose of the association is
to educate people on Depression glass and to preserve American glassware.
NEAJ: Could you give us some idea of the range and depth in this
area of collecting? What rarity might be your ‘holy grail?’
BRIAN KRAPF: We collect from George Washington to George W. Bush. Political
items include any tangible artifact used to promote a candidate. These
would include buttons, banners, posters, china, glass, 3-D items, textiles,
etcetera. I’ve been collecting for 28 years since I was 10 years
old. The ‘holy grail’ in our hobby is considered the Cox-Roosevelt
jugate. A jugate is a button that features the Presidential and vice
presidential candidates. This one was used in 1920 when they lost to
Warren Harding. The Democrats didn’t have a lot of money for this
campaign, so very few jugates were made. Only a handful of them are
known to exist.
KENT WASHBURN: The ‘holy grail’ in my estimation is that piece
of your mother’s or grandmother’s glass that you can’t
find anywhere in your region. Sometimes, though, the item is readily
available in one region of the country rather than another. A good example
is pink Adam, which was highly distributed in New England, yet is rare
in other places. Depression glass is an absolutely huge field and gets
larger and larger all the time. There’s a lot to fill the appetite
of the novice and there are always challenges even for the most advanced
collector to find that elusive piece.
SUE JONES TAGLIAPIETRA: What’s exciting about Red Wing is the breadth
of items the Pottery made. Starting in the late 1800s, salt glaze pottery
was made, and by the time they went out of business in 1967, dinnerware
was the factory’s main stay. So with such a broad range, your ‘holy
grail’ depends on your area of collecting. For me personally, a
signed piece of salt glaze stoneware or a front-stamped salt glazed
water cooler would do it!
MIKE SKELTON: eBay records indicate 15,000 collectors worldwide. This
is based on the numbers of transactions, yet it is still hard to quantify.
This last year, a first issue $100 chip from the Sands sold for $44,000,
and there was another $33,000 sale on eBay. So it’s a very active
field. Really early chips were illegal; gaming was only legalized in
Nevada in 1931. Early ‘Illegals’ are a specialty within the
field. There is rumored to be a $100 white chip from the Flamingo in
Las Vegas. I’ve never seen one, but it would be my ‘holy grail.’
NEAJ: Do you have an annual convention? Tell us about it.
SUE JONES TAGLIAPIETRA: We actually have two events; our big convention
is always on the first full weekend following the Fourth of July. We
have it in Red Wing. It’s a combination educational seminars, networking,
and opportunities to find pottery. Our keynote speaker is always an
expert in Red Wing Pottery. The emphasis is on education, but we have
an auction to benefit the club. We have a show and sale as well, and
do bus tours of the city to illustrate the sites related to the history
of Red Wing Pottery. There are even urns in local cemeteries made by
Red Wing. The factory dump site still turns up examples of things that
we never knew were made, samples that didn’t quite make the grade.
I think, sometimes, that education is like a huge jigsaw puzzle, and
each piece brings us closer to the answers. Our second event is a smaller
mid-winter get-together. This one moves to various locations and helps
bring collectors together.
KENT WASHBURN: Yes, our convention rotates to different regions of the
country. The 2005 event will be in Waxahachie, Texas, just outside Dallas.
It’s a convention, show, and glass sale. We have 32 nationally
leading exhibitors offering an extraordinary widely varied and sophisticated
inventory for the collector. This year the membership is attempting
to set a world record by displaying the largest selection of American
glass animals ever shown. We will feature guest authors, seminars, and
workshops. One workshop in particular will be on how to pack glass for
shipping.
MIKE SKELTON: 2005 will be our 13th annual convention in Las Vegas.
We have it on August 3 - 6 at the Riviera Hotel and Casino. Our sale
will offer 110 dealer tables. Here, members can buy, sell, and trade
during the show. We have educational seminars each day, trade sessions
each day, and a poker and blackjack tournament. Our early bird banquet
kicks off the convention with exciting speakers each year. Past speakers
include Mr. Robert Maheu, Howard Hughes’ right hand man. We’ve
also had Ms. Claudine Williams, Chairman of Harrah’s Las Vegas,
and Oscar Goodman, Mayor of Las Vegas.
BRIAN KRAPF: We have our national convention every two years, which
rotates from region to region. Our conventions last a full week, and
feature a large bourse or antiques fair, speakers, workshops, and special
events. For example, our next convention in Kansas City is in 2006,
and will offer excursions to the Truman Library and home. We also hold
several shows a year throughout the country. Check our website for a
show calendar.
NEAJ: What are some of the advantages of membership in a collectors’
club?
KENT WASHBURN: One is access and personal contact with national experts;
two is connection to one of the best networks of glass collectors available;
three are our glass shows and national glass convention, which provides
the most competitive glass prices available. The volume and selection
makes our convention one of the most financially advantageous available.
As a member of the National Depression Glass Association, you can be
part of the preservation of our national glass heritage. It gives a
lot of people a sense that they are doing something very positive.
BRIAN KRAPF: Membership offers a network of people throughout the country
with similar interests. You suddenly realize that you are not an isolated
collector. The sharing of information and the trading of items between
members is crucial to the enjoyment of the hobby. Being in a group like
this allows the collector to interact with people of similar interests.
SUE JONES TAGLIAPIETRA: A collectors’ society is the forum for
bringing like-minded people together. You can generate excitement and
validate our mutual craziness over the product by getting together.
The major advantages are the networking we do and the friendships and
common bonds we share. Our members become extended family. We have a
newsletter six times a year, a wonderful publication. Sharing knowledge
is very important. The more people that know about Red Wing the better
we can keep its history alive.
MIKE SKELTON: Number one advantage is our Casino Chips and Token News
Magazine. In and of itself, it pays for the $20 annual member dues.
Members have a code of ethics, which covers the trades, purchases, and
sales within the hobby. Our networking and access to our club library
is also very important.
NEAJ: How do you encourage younger members and beginning collectors?
SUE JONES TAGLIAPIETRA: We get excited about this subject. About five
years ago, our vice president, Wendy Callicoat, and I developed two
seminars for kids aged 3 - 15 under the name “A Kid’s View
of Red Wing.” We had 20 youngsters the first year and it was amazing
to see the enthusiasm. We have expanded to the point where we have two
full days of seminars for kids and their own auction. Now about 100
kids participate. They use Red Wing Bucks instead of cash. All of the
items for their auction are donated and they start collecting at a very
young age. It’s about education and making learning fun. We balance
instruction with hands-on activities like molding, throwing a pot, or
model making. These kids are never going to forget what they learn here.
Families now come to the convention for vacation knowing their kids
will be involved.
MIKE SKELTON: Our website is important. Listing of frequently asked
questions are there along with “Chipology 101.” We also have
activities with older members helping younger ones in educational seminars
around the country. We also have area clubs in other parts of the country
which do a good job. I gave a lecture last year at the University of
Texas. This was a nice young freshman class audience. Our membership
is young with a medium age of about 40 years.
KENT WASHBURN: You must use the Internet and technologies that younger
people are familiar and comfortable with to be successful here. You’ve
got to be in the chat rooms; you’ve got to get them to a place
they understand. You can also expose new collectors by gifting them
with practical, appealing, useful items. A nice cake plate is something
a new bride might use. It has to mean something to her; the collectability
of it might relate to family traditions and the holidays. A new collector
needs function, meaning, and prettiness. The first item leads to a second,
maybe a third, and maybe more. You don’t start with a rare piece
that has to be kept in a cabinet.
BRIAN KRAPF: This is important to us – just like any area of collecting,
we face an aging membership. The first step is to face reality and realize
that social dynamics have changed. When I was a child, my family collected
stamps as a family, and people don’t seem to do that anymore. Children
are now more interested in sports, video games, and DVDs. We have to
realize that history is not being stressed in primary or secondary education.
APIC has taken an aggressive lead by forming a youth committee comprised
of former educators and chaired by the former Superintendent of the
Albany school system to specifically target younger audiences. We realize
that our potential youth members won’t be found on a soccer field.
Rather we focus our energy and developmental sights on youth who are
interested in debates, Model United Nations, Junior Chamber of Commerce,
and other historical and political interests. We are also developing
a CD ROM for instructors to use in teaching history which teaches political
history through the use of political artifacts. We are developing a
youth newsletter and a youth area on our website, which will include
trivia games and historical information geared toward youth. Today’s
youth are very computer savvy, and we firmly believe the website is
where the action is.
From time to time NEAJ likes to conduct one in-depth interview rather than follow our usual format of talking with four individuals. This month, we speak with Philip Zea, President of Historic Deerfield, Inc. about his vision for the future of this unique museum. Historic Deerfield was incorporated in 1952 to formalize the work Mr. and Mrs. Henry Flynt began in 1936. Today 14 meticulously preserved museum houses in Deerfield, Massachusetts and the Flynt Center of Early New England Life display more than 25,000 objects made or used in America between 1650 and 1850.
Philip Zea, President of Historic Deerfield Inc.
NEAJ: You’ve been with Deerfield a long time. Tell us a bit about your background.
PHILIP ZEA: I came to work in Deerfield in 1981 as assistant curator
and became chief curator in 1987. Deputy Director was added to my title
in 1996. I departed for Colonial Williamsburg in 1999 to become Curator
of Furniture there, and in 2001, I moved on to The Society for Preservation
of New England Antiquities to become Vice President for Museums and
Collections. I returned here as President in 2003.
NEAJ: What do you hope to accomplish during your tenure at Historic
Deerfield?
PHILIP ZEA: In my second go-round at Historic Deerfield, I’d like
to help make us more visible, and more a part of the recreational lives
of people who live within 100 miles. We have thousands of supporters
outside the 100-mile radius, but folks that live nearby are neighbors
and this is their valley. It seems logical to me that we should be better
aligned with people who live closer to us.
NEAJ: So how can you make the museum more viable for the locals?
PHILIP ZEA: Once a visitor arrives here, the museum really needs to
be easier to enjoy. Visitor services have to be stronger, and we need
to offer a greater variety of experiences. Traditionally, the Deerfield
experience has been based on the guided tour. You will see a trend here
toward more self-guided viewing. Already, the Flynt Center, our silver
collection, and the Sheldon house can be seen without a guide. Next
year you will be able to tour the Stebbins house in the same way. We’d
also like to occupy the outdoor spaces between the old houses through
more outdoor activities. We have this sensational landscape, which we
occupy only occasionally for special events. Activities like the Historic
Trades Program that we initiated this year previously were only offered
as special events and now are available on selected weekends for the
general public. All this will be done in an effort to change the visibility
of this wonderful place.
This year (2004) we offered woodworking demonstrations such as turning,
veneering, inlay techniques, window sash construction, and coopering,
as well as printing, washing and ironing (“That’s real work!”),
embroidery, hatmaking, tailoring, shoemaking, and silversmithing. We
were delighted that the Sunday of hatmaking and embroidery drew almost
250 people! I guess that it’s most fun to watch other people work!
This interpretation has taken place on the weekends during last fall
and will be expanded in 2005 by combining it with our Open Hearth Cooking
Program, which has been going on since the 1980s. All of this is to
the good because it animates Deerfield as well as the past. It’s
fun to bring a little theater to history.
NEAJ: Like every other museum, we’re talking about outreach.
PHILIP ZEA: That’s right. As wonderful as Historic Deerfield is,
we need to make it more than a private party. It’s philosophically
unsound to be semi-public. We have to reach out and draw more people
to Deerfield. Traditionally, Historic Deerfield has been an adult rather
than family venue. We have to take education to the next generation
of supporters – our children. Museum education at Deerfield is
more and more empowered. Our Director of Museum Education, Amanda Rivera
Lopez, and her staff, are developing our programming here at the History
Workshop in Deerfield. It is located in the Victorian barn behind our
silver collection toward the north end of the Street. Here, for example,
“Hands-On History” is offered to younger weekend visitors.
The range of topics is growing and has included lately archeology, 17th
century life, tea and revolution, and early music. Actually, we look
at a variety of periods from the 17th century up to the colonial revival
period, and our subject matter goes well into the 20th century.
NEAJ: I would imagine that education and outreach when added to existing
operating expenses, spells additional funding?
PHILIP ZEA: We have a fairly decent endowment, which up until a few
years ago enabled us to live within our means. These funds, however,
don’t produce the income they once did and operating costs have
spiraled upwards especially after we opened our exhibition and visible
storage facility, the Flynt Center of Early New England Life, in 1998.
We have to be more aggressive in fundraising to expand our programming
and be more visible as a museum. Obviously, big gifts are the best;
but smaller ones are just as important and in a way more compelling
because that’s grassroots commitment. We have to attract new members
and broaden the base of the pyramid to increase financial support. If
we can expand membership more locally and regionally, people will become
more involved in the bigger picture regardless of the size of the gift.
The regional component is especially important to us because that is
the source of most repeat visits.
NEAJ: I wonder if you have any pet projects that you’d like to
move forward?
PHILIP ZEA: The next museum house that we are studying, in terms of
architectural and archeological evidence, probate records, refurbishing
and refurnishing, is Barnard Tavern, which was built about 1795. I’m
excited about this project because it isn’t another domestic setting.
We do relatively little now with the interpretation of public life a
couple centuries ago in Deerfield. The tavern will illustrate how strangers
interacted with Deerfield, and how residents experienced the town and
their neighbors when they left their homes each day.
NEAJ: Don’t the tavern and Frary House have a strong Colonial
Revival element?
PHILIP ZEA: They do. Don’t they all?! The Frary House will remain
the principal place where we explore the Colonial Revival movement in
Deerfield. The tavern next door will go 100 years further back in time.
The physical evidence of the building is there, and we will of course
reinforce historical integrity of the place during the course of the
reinstallation. Outside the tavern, the archeological evidence may be
especially exciting. The UMASS Summer Field in Archeology, with which
we have had collaboration since the early 1980s, will again return to
Deerfield to begin excavation of the Barnard Tavern site. That’s
what is so exciting about Deerfield. If you look in the right places,
the past is all here!
NEAJ: So the future looks good for Historic Deerfield?
PHILIP ZEA: Well, we think so. There is more and more happening here
for a wider range of people. I don’t believe the adage: “Build
it and they will come.” But if we make Deerfield more imaginative
and our efforts more of a lens for learning from the past in a range
of interesting and entertaining ways, we will reinforce the impulse
that most people have to try to find where they fit in the grand scheme
of things. Developing a sense of place is what Deerfield is all about.
Visit Historic Deerfield online at www.historic-deerfield.org or
telephone (413) 774-5581 for more information.
For the last few years, we’ve heard all the complaints from vendors and buyers alike, and nobody seems to agree on the state of the antiques business. Some folks are doing fine and business is great, while others cry the blues. NEAJ decided to go directly to four antiques show promoters to get their opinions on the future of 2005 business.
Our Show Promoters:
Allison Kohler, JMK Shows,
54 Upper Mountain Ave.,
Rockaway, NJ 07866, (973) 586-0820, www.jmkshows.com
Linda Turner,
Forbes & Turner Antiques Shows, LindaT@maine.rr.com,
www.forbesandturner.com
Marilyn C. Gould,
MCG Antiques Promotions,
10 Chicken Street, Wilton, CT 06897, (203) 762-3525
Linda Zukas, P.O. Box 729,
Cape Neddick, ME 03902,
(207) 439-2334,
www.vintagefashionandtextileshow.com
NEAJ: Tell us about your shows and dealer mix.
LINDA TURNER: Betty Forbes started this business over 40 years ago with
Frances Phipps. Betty was much loved and she is still missed at the
shows. We have two outdoor shows, Hildene and Dorset, both in Vermont.
Dorset has 160 dealers and Hildene ranges from 75 to 160 vendors depending
on whether we are talking about July or September. I also run Hartford
spring and fall, and another show in Manchester, New Hampshire, the
Riverside show during Antiques Week. We attract Americana and high country
dealers, though we have more of a mix in our outdoor shows.
MARILYN GOULD: Between crafts and antiques shows, I have eight now.
I started as president of the Wilton Historical Society. In 1985, I
was unable to get a professional manager to take on the show, so I organized
it that year on my own in just two months. I average 100 dealers in
a show; and merchandise ranges from top Americana to more 19th century
material priced so that young couples find it affordable. Every one
of my shows is done for a significant non-profit organization, and volunteers
work at each show. I think this is appealing to customers. Our shows
have components of friendliness, charity involvement, and the knowledge
that my partner Dave and I are collectors, too. They don’t see
us as a commercial enterprise.
LINDA ZUKAS: This is our 15th year running and our 41st consecutive
Vintage Fashion and Antique Textile Show. The majority of our dealers
are veterans. They’ve been with us from day one, and don’t
tend to give up their spaces. We have a long wait list, and 150 booths
per show. Our show kicks off Brimfield week every May, July, and September
at the Sturbridge Host Hotel.
ALLISON KOHLER: We run medium to high quality shows for 30 years now.
Our dealers carry a little of everything from porcelains to silver,
from furniture to Orientalia, to books, jewelry, and paintings. We have
an eclectic mix of vendors. We run Birchwood Manor and Hackensack in
New Jersey, Sarasota in Florida, and the Philadelphia main line for
a total of seven antiques shows. They average 100 to 150 dealers.
NEAJ: We’ve had a tough couple of years. What kind of challenges
do you face when consumer confidence is low?
MARILYN GOULD: We’re really dealing with two changes here. One
is the current economic downturn, and the other is a demographic change.
The latter is the most serious for the long run in the antiques business.
There are fewer younger people interested in early American antiques,
and fewer young dealers. We have two choices from my vantage point.
We can offer material that young people will find to their taste such
as later merchandise with more excitement in design, color, form, and
function. Secondly we should introduce them to early American antiques.
I’ve always felt that an antiques show has a strong educational
component. People coming in at one level can be introduced to another,
and can become more sophisticated and advance their collecting habits.
ALLISON KOHLER: A big issue for us is drawing in people who will spend
during an economic downturn. It’s also very hard to get dealers.
All of the vendors seem to be cutting back on shows, and when they do
one, they want a sure thing, so it’s very hard to get dealer support.
Costs of running shows are spiraling upward, and it is difficult for
us to keep booth rents in line. Another challenge we face is getting
new people interested in antiques. Attracting an expanded customer base
is very important right now.
LINDA ZUKAS: Because we are a specialty show, the economy hasn’t
affected us at all. Business gets better and better with each show.
Our dealers offer good quality at a good price. You know, if dealers
complain about a bad show, they usually don’t have anything people
want in the first place. We attract a focused customer. It’s not
how many people you get to stand in line to come in; it’s the buyer
to seller ratio that’s important here.
LINDA TURNER: For the past two years I haven’t advertised any less.
I feel like I owe it to my dealers. It’s very hard to determine
which advertising dollars bring in which customers, so I’ve left
that alone. You have to get the right buyers to a show whether the gate
expands or not.
NEAJ: Do you feel that the state of the economy is the only factor
to consider when talking about show business? Explain.
LINDA ZUKAS: I don’t feel that the economy is a factor at all.
People are staying in and feathering their nests. The bird leaves the
nest every day, and comes back with a ribbon or something shiny. People
are buying if the price and quality are right.
LINDA TURNER: I think generally speaking, the economy, with its ups
and downs, is not often a major factor. But during 2004 it definitely
affected the mood of the customer. The economy/war mentality is having
a strong effect. Another factor is the average age of antiques dealers.
There are fewer and fewer younger people coming into the business, and
I encourage them whenever I can find them.
ALLISON KOHLER: No, I think what we have here are a lot of older dealers
who are retiring, with fewer younger people filling the void. I feel
that the Internet is taking away from show business. It has a definite
impact. We are also very concerned here about fakes and reproductions
in today’s marketplace, and we are vigilant about controlling and
maintaining the level of integrity in our shows. This problem casts
a shadow on the whole industry.
MARILYN GOULD: We are well aware that the things that we sell are not
necessities. We are asking buyers to spend discretionary funds every
time they come to a show. Younger consumers are using funds in a different
way today. They buy big sound systems, big houses, big cars – yet
furnishings seem secondary. This is another factor; I think that many
younger people don’t have the appreciation for the past. They don’t
know their American history.
NEAJ: What have you done to improve traffic at your shows, and what
kinds of results have you seen? Do you see an improvement in your customers’
reactions?
ALLISON KOHLER: We’ve increased our advertising budget, and we’ve
added a Website, which we are proud of. I’m personally trying to
visit a lot of shows. I want my finger on the pulse of the industry.
I’m always handing out fliers and passing the word about our shows.
We’ve started travel incentives where we offer customers (who spend
a certain amount) travel vouchers. We gave away almost 3,000 vouchers
over the course of last year. We also have offered attendance prizes
at certain times. These amenities help to boost attendance as well as
sales.
MARILYN GOULD: First for me is very heavy advertising. Even if dealer
fees don’t support it, I don’t cut back on advertising –
this includes both trade and retail publications. I offer a raffle two
or three times per day in my shows, which is very popular with the retail
traffic. During early buying, I offer continental breakfast. I do music
for ambience and amenities like carpeting the aisles and shuttle buses
help set a mood. All this is designed to pamper the client. Customer
feedback indicates that they really like the continental breakfasts,
and our customer gate tells us that we’re doing something right.
LINDA ZUKAS: I have cut down on advertising in the antiques trade papers.
Dealers know when our shows are. Instead I cover publications that are
outside the trade. My dealers’ reactions to this are important,
and they tell me that we are increasing retail traffic with many new
customers coming to our shows.
LINDA TURNER: One thing we tried this year is booth talks, and those
who attended really seemed to like them. We chose a slower day to boost
attendance. We also gave up early buying in Hartford and that seemed
to work. One of the things that I noticed is that moving the Riverside
show location seemed to increase traffic. The new location is much easier
to reach, offers better parking, and is more accessible than the armory.
It is difficult to gauge customer reaction from our point of view. The
dealers have a much better take on the customer, so we always listen
to our dealers.
NEAJ: What are your predictions for 2005 in the antiques show business?
MARILYN GOULD: I feel that business will improve. I think the economy
will lead people to feel more comfortable spending money on art and
antiques again…and…the mood will pick up. Selling at the mid
to upper-mid level is bound to improve in this climate.
ALLISON KOHLER: I predict that we will still have a hard time filling
shows, but I’m cautiously optimistic about increases in business
over the next year. We have to work as hard as we can to get dealer
support and expand our customer base.
LINDA TURNER: I am hopeful that the industry will return to the good
old days. I’d particularly like to see a renewed interest in collecting.
At my fall Hartford show, I saw furniture go out the door, so I am encouraged
for 2005. After a soft market, I hope this is just the beginning.
LINDA ZUKAS: 2005 will be the best to date! What else can I say? Every
one of my shows is getting better all the time, and I have no reason
to believe that 2005 will be any different. My core dealers have success
at every outing because they figure out what their customers want. It
brings it back full circle – if you have good quality at a good
price, you’re going to have good sales.
Antiques dealers always seem to have their thumbs on the pulse of the industry, so what better people to listen to when wondering about the flow of goods from season to season? NEAJ queried four dealers on the subject at Bob Armacost’s Chevy Chase Antiques Show. Each is from a different part of the country, these vendors offer a range of merchandise that runs the gamut between fine furniture and jewelry.
Our Experts:
Carole Greco, Birchknoll Antiques and Appraisals, 354 Orchard Street, Millis, Massachusetts, (508) 376-8808, www.birchknollantiques.com
Sue Ewald, Sue Ewald Antiques, Poolesville, Maryland
(301) 948-5540
Robert Woody, At the Sign of the Sycamore, P.O. Box 344, Sewickley, Pennsylvania 15143
Teresa Puckett, Charles Edwin Puckett, 3867 West Market Street, #253, Akron, Ohio 44333, (330) 668-0037, www.cepuckett.com
NEAJ: What kind of merchandise do you sell and what venues do you use?
TERESA PUCKETT: We sell medieval and Renaissance illuminated manuscripts,
antique maps, and antiquities. We do probably a dozen antiques shows
per year and show only by appointment at home. We do a fair amount of
business on our website; we’ve been doing this full time since
1978, but Charles started working part time in this business during
the 1960s.
CAROLE GRECO: We handle American furniture prior to 1840, Chinese Export
porcelains, and appropriate accessories like lighting, carpets, fireplace
equipment, and looking glasses. John and I have been in business 34
years now. We were show promoters for 14 years; and we still keep a
shop in Wolfeboro, New Hampshire. We sell by appointment in Millis,
Massachusetts, sell on the website, and do a number of antiques shows.
ROBERT WOODY: I’ve been in business now for 49 years, and I sell
only at shows. I do 15 of them each year. My specialty is American and
English Victorian domestic silver and silver plate, along with appropriate
table glass, and on rare occasions, a piece of wood.
SUE EWALD: For the 45 years that I’ve been in business, I’ve
sold most everything. Lately, though, I’ve been selling lots of
antique jewelry. I still handle antique porcelains, Baltimore silver,
smaller pieces of period furniture, and accessories. I only sell at
antiques shows, and I still keep a schedule of a dozen shows.
NEAJ: Do you perceive a rise and fall in business over the course
of the year? What are your best selling times? What are your weakest?
ROBERT WOODY: Definitely! My best shows are inevitably in January and
February. Summer shows tend to be the weakest, though ironically I had
two very good shows this summer – one was in Rehoboth Beach, Delaware.
I never do shows in December. I find that if people haven’t made
up their minds to buy antiques by Thanksgiving, they aren’t going
to buy until after the holidays.
SUE EWALD: In my business, I don’t see much difference over a single
year. But, certainly over the years, there’s a rise and fall because
of changes in the economy, interest rates, stock market fluctuations,
and the state of the country. All seem to have a strong effect.
CAROLE GRECO: Best selling times for us are late winter or very early
spring. To be more precise, maybe I should say spring and fall. May
and June I don’t think are good months, but I have a couple of
good shows in July and August. As far as December goes, I find that
my customers who are buying holiday gifts have made their decisions
by the first of December. I see business as cyclical, definitely. I’ve
seen three recessions and, of course, we are in the midst of the third
one. I believe and hope that we will pull through this one just like
the others.
TERESA PUCKETT: I think over the past years our best selling time is
in the fall, maybe September through November. It slows down for us
over the holiday season and picks back up in January through April.
Summer shows aren’t usually good for us, to be perfectly honest.
People are vacationing and their minds are elsewhere. We spend the summer
months regrouping and getting ready for fall shows.
NEAJ: Do you feel that holiday times give people another reason to
buy antiques? Explain.
CAROLE GRECO: Yes, if they need an excuse to buy, holiday gift giving
is a good one. I have several customers who buy for family and friends
mostly at Christmas, but for other occasions as well.
TERESA PUCKETT: I think so – I know particularly when we get close
to Christmas, our website sales increase. We don’t as a general
rule do shows in December, though.
SUE EWALD: Absolutely not! Holiday times have never been particularly
strong for me. People are distracted by having to spend extra money
to buy gifts, etcetera. I don’t work in December at all. Vacation
time shows are fine, though. I do Rehoboth Beach in August and Lewes,
Delaware in July, and both are wonderful shows!
ROBERT WOODY: I sell a lot of goods for holiday gifts, but sales tend
to be before the first of December. We don’t work in the last month
of the year because business tends to slack off.
NEAJ: Has this year’s selling measured up to your projected
business plan? Are you on target, ahead, or behind where you’d
like to be?
SUE EWALD: I’m exactly where I expect to be considering the times.
I think the election has a lot to do with this year’s business,
and I’m looking forward to better business going forward to 2005.
TERESA PUCKETT: Actually, we’ve had some strong selling for spring
2004, and in talking with other dealers, all seem encouraged with both
the economy and sales in general. We are ahead in business as of this
time last year, and are heading into our very strongest selling period.
CAROLE GRECO: Well, I don’t think from what I hear that anyone
is ahead of where they would like to be. I think we are pretty much
on the mark. Very frankly, I did not have great expectations for this
year, however, I look at the average for my shows, and my numbers for
2004 have been by and large meeting the average.
ROBERT WOODY: Yes, I’m on target. Compared to the last few years,
business hasn’t been bad. But when compared to ten years ago, I’m
afraid it seems to be way down.
NEAJ: What are your forecasts for business over the next 12 months?
ROBERT WOODY: This is an election year and business always slides in
the fall of an election year. I expect business to pick up immediately
after this election and I hope the next twelve months are going to be
as good as last year, if not better.
SUE EWALD: Well, I’m not a magician, but I am looking forward to
an improvement in overall business. I can only hope that the economy
will improve.
CAROLE GRECO: Depending on the outcome of the election, I am optimistic.
I’ve been in business through many Democrat and Republican administrations,
and politics don’t seem to affect my sales negatively or positively.
From my perspective, it’s a mentality. Today’s buyer is less
collector-oriented and more decorator-oriented.
TERESA PUCKETT: If things stay on track, we should be way ahead of 2004
figures. I’m very optimistic!
How often do we consider objects on view at our favorite historic house or museum from the point of view of conservation experts? The ravages of time, age, strong light, over-use, heat, humidity, and neglect wreak havoc on priceless artifacts as every day passes. NEAJ spoke with four conservation experts whose mission is to worry about preserving art objects for posterity.
Our Experts:
Rita Albertson, Chief Conservator, Worcester Art Museum, 55 Salisbury Street, Worcester, MA 01069, (508) 799-4406, www.worcesterart.org
Bill MacMillan, Conservator, Higgins Armory Museum, 100 Barber Avenue, Worcester, MA 01606, (508) 853-6015, www.higgins.org
Leslie Paisley, Paper Conservator, Williamstown Art Conservation Center, 225 South Street, Williamstown, MA 01267, (413) 458-5741, www.williamstownart.org
Deirdre Windsor, Windsor Conservation, 85 Pine Street, Dover, MA 02030, (508) 785-1974
NEAJ: Do you make a distinction between conservation
and restoration?
DEIRDRE WINDSOR: I certainly do! With conservation we preserve the original
or existing material. For example, in areas of loss or damage, a conservator
would use a reversible stabilization technique. But in restoration,
the tendency might be to remove degraded material or replace missing
areas. In conservation practice we strive to achieve structural stability
and visual unity by using new materials that are known to be chemically
and physically stable. A conservation expert must also consider other
factors before recommending a treatment. These might include the context
or use of the artifact, the physical environment in which it will be
located, or the overall need for ongoing care.
BILL MacMILLAN: I perceive a huge difference. I see conservation as
preserving pieces as they are along with wear and tear, bumps, and bruises.
Restoration, on the other hand, tries to make an object look like it
did when new. Antiques should have the patina of age, and it is more
my job as a conservator to keep them stable, helping to preserve them
for future generations. My job is to be certain that we have something
to pass along to future museum goers.
LESLIE PAISLEY: I think that most private individuals are unfamiliar
with the term ‘conservation.’ One of the things I try to impress
upon clients is that my goals for treatment are fairly conservative.
I have a holistic approach, which is concerned with how the piece will
age over time – not how it will look in two weeks! Restoration
often has more to do with making something look good in a cosmetic sense,
than be good. As a paper conservator, I want my work to be invisible.
The goal ultimately is to make the object look pristine without evidence
of treatment. This is a real challenge with works on paper, which are
organic.
RITA ALBERTSON: Conservation is a broad term that takes into consideration
not only the treatment, but also the general care and preservation of
a work of art. It also implies that philosophical and ethical considerations
are taken into account. Restoration refers more specifically to treatment
and is sometimes used to refer to a less than professional approach
to treating works. There are more than a few people working in the field
who never received formal conservation training. Private clients should
feel free to contact their local art museum for advice on how to locate
a well-trained conservator.
NEAJ: Can you talk a bit about neglect and its consequences? Can
over-loving and over-exposing artifacts have a negative effect?
LESLIE PAISLEY: Over-loving is a good way to describe this phenomenon.
Things in private collections have it tough as opposed to museum artifacts,
which take downtime in dark, climate-controlled conditions. When it’s
possible, it is not a bad idea to consider rotating your works on paper.
This reduces the amount of light each individual object gets over the
course of a year. It also allows the collector to take a fresh look
at the artwork. As a Hawaiian-trained conservator, I learned well about
climate control and limited exposure. I think rotating works tends to
be more of an Eastern philosophy than a Western one.
RITA ALBERTSON: If the alternative is sub-standard restoration, then
benign neglect is not necessarily a bad thing. The most important thing
one can do to prolong the life of a painting is to hang it in a safe
and stable environment, away from direct light and extremes of temperature
and relative humidity. Also, an acid free backing board should be attached
to the stretcher bars on the reverse side of a canvas picture to further
protect it from damage. If the paint is flaking, or the canvas torn,
you need to consult a conservator.
BILL MacMILLAN: People have a fascination with armor, and everybody
wants to touch. This can easily accelerate the rusting or corrosion
process. We want as many people to enjoy the object as possible, but
we need to protect it as well. Metals in particular need to be cared
for – you simply can’t ignore them. No rust and corrosion
can be reversed, but at least it can be stopped.
DEIRDRE WINDSOR: This is particularly apropos for textiles, as one of
the most detrimental factors to their condition is the environment.
Light and high temperatures cause fading and irreversible degradation
of fibers, yet to enjoy textiles, one must have light. Dirt and atmospheric
pollution can cause abrasions as well as chemical and physical changes
to the structure of the textiles. High temperatures and humidity may
also result in microbiological growth (mold and mildew). Many textiles,
however, were intended to be used, whether they are garments, domestic
textiles such as quilts or rugs, or fiber art. In the museum environment,
use is defined in terms of display. The private collector may use textiles
for practical purposes in the home. Therefore, a shift in thinking must
occur to preserve artifacts by diligently protecting them from environmental
factors that cause damage.
NEAJ: Have advances in technology affected you over the course of
your career? It would seem that advanced study would be necessary all
the time.
RITA ALBERTSON: Every work of art is unique and poses its own challenges.
In some cases we do look to advanced technology for answers, however,
it is equally important for us acquire art historical knowledge and
to train our eyes through frequent contact with great works of art.
Many conservators spend their vacations visiting art museums. We also
attend conferences and symposia organized by national and international
associations to learn about new developments in the field and to confer
with colleagues.
BILL MacMILLAN: There are always new things to learn. It’s something
that I remind myself about every day. There is a lot of science regarding
qualities of metals and composition of chemicals, but across the board,
the business is a hands-on field. When push comes to shove, there is
no replacement for taking a piece in hand and learning from experience.
I think hands-on experience is much more important than updated technology.
We, of course, need both, but we also need to apply that in a practical
manner. It’s a balance.
DEIRDRE WINDSOR: I have to say ‘yes.’ Advances in technology
have changed textile conservation immensely during the course of my
20-year career. For example, the analytical techniques used to test
and develop new materials used in treatment have been a very important
advancement. This is mostly due to the maturation of the conservation
profession, which aims for high standards in our approaches to preserving
artifacts. Our ongoing research on new materials and the informative
communication through professional meetings, publications, and now through
the Internet is also important. As a result, for informed textile conservators,
the methodology has evolved with the advancement in a very specific
technology. Our field is very specialized. And in a very short period
of time, the technology has advanced.
LESLIE PAISLEY: It really is – One of my great joys is to participate
in the American Institute for Conservation, our national organization
for conservators. As chair of the book and paper group a couple of years
ago, I was involved in the education committee, which helped to promote
advanced level educational opportunities to our members. This information
is way more accessible than years ago. We need to update our thinking
and connect with other professionals as often as we can.
NEAJ: What are some of the challenges you face in your day-to-day experience?
What kind of problems do you see with most frequency?
BILL MacMILLAN: The biggest challenge is balancing the needs of the
objects with the needs of the public. Everything else is temporary.
Some fields like architectural conservation are a race against time.
I bow down to them. The biggest challenge we face here at the Higgins
Armory Museum is the combination of metal and organic materials. You
need to keep metal in armor very dry, yet leather fasteners and straps
need some humidity to keep them from drying out.
LESLIE PAISLEY: In this lab, we get a broad range of important historical
objects as well as very valuable fine art from museums. The challenge
is staying current with a broad range of material as well as adapting
treatment to the climates from which the objects come. One challenge
is that contemporary art is getting bigger in size. As works on paper
get larger, the framing materials have to get even more expansive. The
suppliers and manufacturers don’t always keep up with framing sizes.
DEIRDRE WINDSOR: An ongoing challenge in textile conservation that I
face continually is trying to preserve degraded silk, for example, silk
pictorial needlework, silk costume that may be weighted, crazy quilt
pieces, and taffeta linings in costume. The challenge is trying to provide
support for fabric that is very weak. It has to be stabilized because
even if silk threads in an embroidery or tapestry may look intact, one
could actually turn it into dust by improper handling.
RITA ALBERTSON: In an art museum, the emphasis is mainly on preservation
and research. We strive to treat things as minimally as possible, with
the aim of exhibiting only those works that best represent the artist.
We engage in an ongoing dialog with curators and scientists to achieve
that goal. We also address the needs of the collection as a whole, such
as proper storage, display and handling. One of the biggest challenges
that we face right now is finding the resources to expand our capacity
for storage.
NEAJ: Where is the line between what collectors can tackle themselves
and what should be sent to a professional?
LESLIE PAISLEY: There is a fine line between neglect and trying to do
something well intentioned yet using the wrong materials. Unfortunately,
many of the artists who create art don’t take the care they could
to insure that their art will survive. I see a team effort with a conservation
framer, conservator, and the owner to provide the best and most enduring
life for an art object.
DEIRDRE WINDSOR: This is a hard question with regard to textiles because
they are in every corner of our daily lives. It is easy for the layperson
to imagine that they can clean their textiles. I’ve been drawn
into many washing machine and dry cleaning nightmares. With some informed
education, collectors can successfully vacuum sturdy textiles, but I
emphasize the word ‘sturdy.’ Immersion cleaning or ‘wet’
cleaning has many other factors to consider and I would caution the
layperson not to attempt this treatment, as the changes which can occur
such as dye bleeding, distortion, tearing, or shrinking are usually
irreversible. The line in my mind as a conservator is if a collector
is uncertain or senses a risk to the object, they should call an expert.
RITA ALBERTSON: Museums and collectors are the caretakers of works of
art; if treated properly, they will survive us and be passed on to future
generations. Other than occasional dusting with a soft brush, treatment
is best left to a conservator. More than once I received a phone call
from a panic stricken owner who is in the midst of ‘cleaning’
a work and more than the varnish is disappearing. We owe it to artists
and future generations to preserve our heritage in the best way that
we know how. If the paint is flaking, store it flat until a conservator
can be consulted.
BILL MacMILLAN: My best rule of thumb is: If you are a layperson without
training, you are better off leaving your piece alone because inevitably
you could do something that will destroy it. Also, be aware of what
care your piece will require before you buy it.
by Randall Decoteau
There is no question that when decorating with antiques, accessories
often make the final statement in a room. Often the definitive addition
of warmth and comfort in any period interior comes with the introduction
of antique textiles. NEAJ spoke with four experts in this field to find
out what’s going on in this market.
Henry T. Callan, 162 Quaker Meeting House Road, East Sandwich, MA 02537, (508) 888-5372, specialist in American, English, and Continental samplers.
Stella Rubin, Potomac, MD, (301) 948-4187, www.stellarubin.com, expert in American antique quilts.
Colette Donovan, Merrimacport, MA, (978) 346-0614, specialist in rare and early American textiles, usually in a more country context.
Melinda & Laszlo Zongor, 4862 Bedford Valley Road, Bedford, PA 15522, (814) 356-3777, www.fineantiquecoverlets.com, specialists in fine antique coverlets.
NEAJ: When considering valuation of textiles, quilts, hooked rugs, and samplers, is there still room for growth in value? Is movement of goods cyclical as in other markets?
COLETTE DONOVAN: Whole cloth quilts and fine bed coverings, or yarn sewn,
shirred, and unique hooked rugs still have huge growth potential. I don’t
think they’ve ever been fully appreciated as the art form that they
are. Oddly enough, I do see cycles. I find that I don’t sell wools
and ‘linsey-woolsey’ much in the summer. Yet, linen and cotton
homespuns have more appeal in warmer weather. In fall, people concentrate
on other types of textiles.
MELINDA ZONGOR: Absolutely! This is one of the most undervalued areas
of collectibles still available. The secret here is that coverlets have
for many years been considered utilitarian craft items. Today they have
begun to be appreciated as the fine art that they are. Values are finally
beginning to take off, but there is still plenty of room for investment.
For us, business is steady and dramatically increasing. It hasn’t
been cyclical at all.
STELLA RUBIN: I see business here definitely as cyclical. There are many
fads and fashions in antiques just like anything else, and if you buy
something that is currently out of fashion and of good quality, it will
inevitably rise in value. This comes up in my book, Treasure or Not? How
to Compare and Value American Quilts.
HENRY CALLAN: From a buyer’s point of view, especially a collector’s,
nothing is seasonal or cyclical in my market. If people have the funds
and the interest as well as the knowledge and experience behind them,
they buy. They know what they are doing. As far as valuation goes, it’s
more difficult to find or offer bargains to collectors. But as high as
prices seem, there’s still a lot of room for growth. A year from
now, values will go up, and today’s high prices will seem less so.
This is why insurance companies ask that collectors have their things
re-appraised.
NEAJ: How are people using antique textiles in their homes today? Are
there new uses for old textiles?
STELLA RUBIN: Since the Whitney in the 1970s was the first museum to hang
quilts as art on the wall, people have been awakened to the possibilities
of quilts as works of art. To this day, they remain an excellent value
in comparison to paintings and other art forms.
HENRY CALLAN: Samplers add a sense of warmth and a focal point to any
room. They are universal in that they are beautiful in bedrooms, halls,
living rooms, or kitchens. As far as new uses go, I don’t feel that
this applies to samplers. Samplers are more traditional in their appeal
and uses.
LASZLO ZONGOR: It’s a very hard question to answer. The first coverlet
purchase usually ends up on a bed, but the second, third, and fourth become
a different display challenge. Many people display them on racks or folded
on shelves. Or they can be hung as you might treat a piece of art. If
so many people compliment us on how nice our booths at shows look, we’d
advise customers and collectors to use their coverlets for visible display.
COLETTE DONOVAN: Early textiles should be used in their original context
(on beds and floors) in protected areas like guest rooms where they get
less use. As to new uses, rugs, particularly, are mounted for wall hanging,
so that they can be enjoyed as art. In an early interior, fabrics can
be used draped over a chair or sofa as an accent piece. Textiles create
a soft, serene look in any American home.
NEAJ: Let’s talk about distinctions between American and Non-American
pieces within your field. Is one more important than the other for your
client base?
HENRY CALLAN: I find that my clients are more interested in American than
English or European examples. If my customers were British or French,
they would prefer samplers from their own nations. However, I have also
found that the needlework on English samplers can be superior to American
examples, so I often encourage my clientele not to overlook them as part
of their collections.
LASZLO ZONGOR: Coverlets are an American phenomenon. They were developed
in this country from European weaving traditions, but America made them
their own. Our focus is entirely on American examples.
COLETTE DONOVAN: I try to get things that were made in America. Sometimes,
however, the fabrics used were manufactured in England or Europe. Because
my field is American textiles, I stick to the needlework done here.
STELLA RUBIN: Traditionally, people think of quilts as an American phenomenon,
but in reality the quilt started in Europe two hundred years before people
came to this country. Most people don’t take this into account because
we as a country have expanded the European tradition. Most of my clients
prefer American quilts because of the historical connection they have
to what they collect.
NEAJ: Can you offer advice to our readers regarding the care of their
antique textiles?
MELINDA ZONGOR: Certainly. There are more don’ts than do’s.
My standard answer is to avoid strong sunlight for prolonged periods of
time, hand wash by somebody who knows what they are doing, air dry them
flat, and do not dry clean. Generally speaking, if the piece is clean,
you won’t have a moth problem. Don’t store them in plastic,
and keep your textiles away from heat. Do air them out periodically, and
fold them in different ways periodically to avoid creasing. If storing
in a blanket chest, wrap your coverlet in a pillowcase or acid free tissue
to avoid direct contact with the wood.
STELLA RUBIN: My first advice is not to be afraid to use your quilts.
They were made as utilitarian objects and they should be seen and enjoyed.
However, they need to be protected from direct sunlight, moisture, and
bugs. I would also say categorically that cotton quilts should never be
dry-cleaned. As far as wet-cleaning a quilt, you need to consult an expert
on a case-by-case basis.
HENRY CALLAN: I’d say that you want to buy samplers without holes
and stains. Once framed, they should be out of direct sunlight to avoid
fading. When it comes to framing, the sampler should be stitched to acid-free
board on all four sides, so that it will hang well. Spacers should prevent
the glass from pressing against the sampler. UV resistant glass is advised,
and make certain that the back is sealed to keep out moths and dust.
COLETTE DONOVAN: Well, if they are in wonderful condition, you should
try to keep them that way by not exposing them to unnecessary wear. Avoid
strong light and direct sun. Other than that, I’d say just let them
warm your home and soften everyday living!
What People Are Saying
Dealer's Selling at Brimfield - Sept
04
by Randall Decoteau
Dealers come from all over the country both to shop and sell at Brimfield.
NEAJ took some time to scour the fields in May to see how the merchants
were doing. These are all veterans who show in May, July, and September.
Brenda Hinckley, Transamerica Antiques
5600 Hatteras Road
Virginia Beach, VA 23462
(757) 473-3001 usnbear2@cox.net
(New England Motel)
Trudy Madore
4220 Lucerne Villa Lane
Lake Worth, FL 33467
trudymadore@aol.com (Sturtevant’s)
Bob Sheldon Antiques
Sandy Hook, CT 06482 (The Meadows)
Colleen Vagnini & Phil Steiner
Weather or Knot Antiques
P.O. Box 1421
DesPlaines, IL 60017
(847) 502-1768
(Faxon’s Midway)
NEAJ: What kind of things do you sell? How is it going today?
PHIL STEINER: Our specialty is lightening memorabilia, but every year
we branch into a new topic. We always carry lots of vintage tin picnic
baskets, lunch boxes, breadboxes, and we love souvenir items. We’ve
found business tough for the past two years, but it’s really beginning
to rebound. We’ve never seen traffic like this in our lives. We’re
doing very well.
TRUDY MADORE: I’m doing excellent business! I have good quality high-end
antiques, and that’s what they’re looking for – bronzes,
art pottery, silver, chandeliers, jewelry, and dolls – I have a nice
variety.
BOB SHELDON: I’m known as the ‘Majolica Man,’ but I also
sell period furniture and mid-range 19th century art glass and Victoriana.
The show is going very well. You know, I have a lot of regular buyers.
You treat people well, and they come back. The formula works for me.
BRENDA HINCKLEY: We sell a little bit of everything – militaria,
folk art, transportation items, early American pottery and country collectibles,
USN China, Zippo lighters, steamship memorabilia. We carry a wide range
of interesting items. Opening day is usually the best, and then selling
levels off to slow and steady, which is where it is now.
NEAJ: How long have you been coming to Brimfield? Have you seen many
changes over the years?
BOB SHELDON: This is my 20th year I think. I was one of the first dealers
on this field. The biggest change at Brimfield was when we went to a five-day
show instead of ten. The schedule used to give us two weekends. That hurt
business. Another thing I notice is that we have more reproductions on
the field these days, and I’m a bit of a purist and worry that people
are being taken for a ride.
BRENDA HINCKLEY: We’ve been coming to the New England Motel for five
years now, and we cover all three markets here. There have been a lot
of improvements to the field during the time we’ve been coming. That’s
always a bonus!
COLLEEN VAGNINI: We used to be teachers. This is our fifth summer here
and the second year that we will do all three shows. We’re seeing
more energy this year. Look – there are no parking spaces left! The
fields are full of dealers and people are really spending. We personally
enjoy the increasing retail traffic. Our business builds as the week goes
on, and we do the best on the weekend.
TRUDY MADORE: This is 13 years for me, and the changes have all been for
the better. I think Mrs. Sturtevant is the best. She really bends over
backwards for her dealers. The business has changed a lot in terms of
pricing. Today, we have to pay higher dollar for quality, and it has affected
the market considerably. There’s that old saying – You get what
you pay for!
NEAJ: Do you shop as well as sell? How many days do you spend here?
Do you have a favorite field?
BRENDA HINCKLEY: We sure do – We always shop J&J’s field
when it opens on Friday. Another good field for variety is May’s.
Both are dealer friendly. We are able to buy inventory here. Even though
we sell, we still come home with a truckload. We’re here for a full
ten days. We come in the Friday before the show opens, and shop the area.
Then we do the show.
PHIL STEINER: I shop every minute of every day. Sometimes I buy more than
I sell, because this is a great place to buy. That is especially true
of lightening rod balls and weathervanes. We come here a week early and
shop both postcard shows as well. My favorite field is this one. Dealers
are very friendly. Thievery in the night doesn’t happen here. We
stay on the field for eight days – two days of setup and six days
of selling. From here we go to the Elephant’s Trunk and then on to
Burton, Ohio.
TRUDY MADORE: I’m too busy in my booth to shop, so I have to tell
you no I don’t. I’m here all seven days, and I love Diane Sturtevant’s
field. What more can I say?
BOB SHELDON: I tend to business and rarely do any shopping. I believe
that if you’re set up here you have an obligation to be open and
available to the public. This is my field and my favorite. I set up for
all five days.
NEAJ: Are there any advantages or disadvantages to your selling experience
here that you’d care to talk about?
TRUDY MADORE: People here are great. I get lots of repeat business. I’ve
never had trouble with bad checks, and folks from all over the world make
it good for me. I’m in a tent, so the weather doesn’t matter.
People come here rain or shine to shop. It’s the best antiques show
in the world!
BOB SHELDON: The volume of people here include buyers for the rare and
unusual. No matter how crazy and unusual, there is somebody looking for
it. This is not the cheap date crowd, as I say it. They are serious buyers
and they are here to find stuff.
COLLEEN VAGNINI: I think it’s the best place in the nation to shop.
Weather is always a factor because sometimes it snows; sometimes it’s
hot; but we love it anyway. Here’s the chuck wagon lunch box that
you asked about. See, it has the flaming arrows in the side. Is it the
same one you carried to school? (It was, and it was priced at $200).
BRENDA HINCKLEY: The biggest advantage here is the quantity of people
we see. Disadvantages might be that the venue is so huge that it’s
overwhelming, but I say that in a good sense. You get your money’s
worth whether you sell or buy. If you want it, it’s going to be in
Brimfield. Otherwise, it was never made.
Americana's Enduring Popularity - August
04
by Randall Decoteau
America as an emerging nation was proud of its lands, of its accomplishments,
and even of its utilitarian objects. Evidence of this pride emerges at
every antiques show through parade hats, hooked rugs, flags, formal and
country furniture, folk paintings, whirligigs, and magnificent quilts.
NEAJ spoke to four dealers in Americana at the Southport Westport Antiques
Show in June to get their opinions on this interesting field.
Jeff R. Bridgman American Antiques, Historic York County, Pennsylvania, (717) 676-0545, (717) 502-1281, www.jeffbridgman.com.
Judd Gregory, Early American Antiques, P.O. Box 65, Dorset, VT 05251, (802) 325-2400.
Stephen and Alice Shapiro, SAJE Americana, Federal Period Furniture and Accessories, P.O. Box 186, Short Hills, NJ 07078, (973) 379-1423.
George and Debbie Spiecker, Fine Americana, P.O. Box 40, North Hampton, NH 03862, (603) 964-4738.
NEAJ: How long have you been handling Americana? What sorts of things do you sell?
JUDD GREGORY: I’ve been at this for 15 years now – I started
primarily with American country furniture and gradually worked my way
up to Queen Anne and Chippendale American furniture. I like 19th century
American paintings, and occasionally a nice piece of folk art. I’m
bringing a wonderful large landscape by John McDougal Hart to the Midweek
at New Hampshire Show.
GEORGE SPIECKER: We’re at 22 years now, and still going strong –
just got a new truck, so we’re here to stay. We carry 18th century
Queen Anne and Chippendale period American furniture, folk art, and nautical
accessories. We like formal finishes rather than painted pieces.
JEFF BRIDGMAN: I’ve been in business for 15 years, but I’ve
been a collector since I was 20 or so. Painted American furniture is a
specialty of mine, and early American flags and folk art is always in
stock. I like American textiles and American folk paintings as well. It’s
important to note that I’m also an avid collector of all of these
things.
ALICE SHAPIRO: We’ve been doing this since 1987, and we handle high
country Federal Period and American Chippendale furniture, some 18th and
19th century painted furniture, quilts, hooked rugs, paintings, and folk
art.
NEAJ: How do you explain the enduring popularity of Americana over
the last hundred years?
JEFF BRIDGMAN: I think just about everybody is proud of his heritage and
that explains the popularity of Americana. We as a country have more love
for our flag than any country that comes to my mind. Remember that the
flag has changed with the addition of each state, and as a collectible,
it’s a pretty exciting field. Only recently have people shown respect
for their flag as an antique and collectible.
STEPHEN SHAPIRO: This whole market is more and more being driven by designers
touting decorative items. New buyers, young people buying large homes,
don’t seem to have the knowledge or sense of history that would lead
them to include the aesthetic of the American period interior. They seem
to simply accept what their decorators provide for them. Yet, there are
exceptions, people who make this business worthwhile for all of us.
DEBBIE SPIECKER: America has had a short history, and we’re proud
of our heritage. Remember how popular the 1876 Centennial was, and don’t
forget the 1976 Bicentennial. People love Americana. It holds its value
over new furniture and accessories, whether modest or upper end.
JUDD GREGORY: I can only speak from my perspective. I grew up in an early
home environment, and have always been a history buff. Once people are
exposed to Americana, and understand the value base behind items, they
will want to acquire pieces of America. It has been so since the 1876
Centennial.
NEAJ: Weathervanes and textiles seem to be ‘hot’ right now.
Are there any other categories that are particularly popular at the moment?
Can you see any collecting trends?
GEORGE SPIECKER: Anything to do with eagles or nautical elements sells
quickly. It’s an extension of the patriotic feeling that is strong
right now. In terms of forms, card tables sell very well. It’s the
one thing that collectors can fit anywhere in the house. We earn our living
selling furniture. The whole building boom is driving the furniture business
today.
STEPHEN SHAPIRO: Good paint is selling, and well-priced refinished American
furniture is popular now. Tea tables and corner chairs are strong for
us. When we see something special or unique or best of kind, we buy it.
This is what collectors want.
JUDD GREGORY: As for collecting trends, I’ve seen a resurgence in
interest in American furniture over the last four years. The better the
quality, the quicker potential for sale. I don’t think there has
been the same up and down for American paintings and folk art. They seem
to have remained much more stable.
JEFF BRIDGMAN: Quilts are on the upswing again and are showing strong
prices lately. Old paint is scarce, and unmolested examples really sell
well in today’s market. The sustained popularity and strong selling
over the past ten years of painted furniture has had a profound effect
on the market. Look at a jelly cupboard that might have been $800 15 years
ago. Today a good example can easily price at $4,500 or more.
NEAJ: Let’s talk about pricing for a moment. Can you think of
any areas of collecting that represent good ‘buys?’ Are there
areas where costs inhibit collecting?
ALICE SHAPIRO: We try to keep everything under market price. Good card
tables and hooked rugs can be good buys today. More and more we want one-of-a-kind
types of things. We find that auction prices are so expensive lately that
it’s hard for either collectors or dealers to buy there. It’s
not so much which area of collecting, but where you try to buy Americana.
JEFF BRIDGMAN: I think there are excellent buys in quilts in today’s
market. Considering the workmanship and strength of visual imagery, I
don’t think there is a better buy in folk art. Weathervanes have
been expensive for a while now, and they can be tough to buy. Folk portraits
by known artisans are also not easy to buy – and whirligigs have
prices that seem to be getting out of hand. I’m able to buy fewer
and fewer of them.
JUDD GREGORY: I think that as items become more expensive, it definitely
kicks some collectors out of the market. But, I also think that people
are better served buying the best that they can afford. I think that American
furniture is still a good buy. Though not inexpensive, it will appreciate
in value.
DEBBIE SPEICKER: If you want to collect great paint and fine folk art,
you’d better bring along a big checkbook. That’s the toughest
thing for collectors! Prices have gone crazy with weathervanes, but I
think good refinished American furniture is a great value today, like
nice card tables and bow front chests.
NEAJ: Is Americana here to stay? Do you have any advice for its collectors?
JUDD GREGORY: Sure it’s here to stay! Spend the time to be out in
the market place, because there is an established price range that collectors
should know. The more exposure to the market, the more you understand,
and the more comfortable you will be about buying Americana.
JEFF BRIDGMAN: Americana is a part of our history, and it’s going
to remain strong. Every collector buys a piece of our heritage. Unless
the customer is extremely educated about what he is buying and is able
to view the objects in person, there could be trouble. I would advise
that the neophyte stay away from auctions and Internet houses. It’s
best to buy from reputable dealers who will stand behind what they sell.
Remember that there are a lot of fakes in this market.
GEORGE SPIECKER: It’s about supply and demand. We’d advise that
you find a dealer who has the same eye that you do, and who will stand
behind what he sells. I did a lecture at the Hartford show on the value
of a good dealer. Ethical dealers are essential to a collector. Some of
the best collections were established under the guidance of great dealers.
STEPHEN SHAPIRO: It has to be; we’re in America! It’s an area
of collecting that is going to appreciate greatly. This is a good time
to buy because the market is slightly down. I would advise that you buy
Americana from reputable dealers. And I would also suggest that to handle
and have objects that were extant when the country was formed is a real
pleasure. It is important to share in the creation of our country through
collecting its artifacts. We all share a unified identity of immigrant
origins, and think about that when you contemplate buying this card table.
Somebody in Portsmouth played cards at this very table 200 years ago.
We need to appreciate that.
Funky to functional - Brimfield has
it all! – July 04
by Randall Decoteau
We spent some time in May talking to shoppers while they took a break
from antiquing at one of the food courts on the Brimfield strip. Collectors
all, their insights into their shopping experience are pretty exciting.
Judith Kamber and Dennis Flynn, Byfield, Massachusetts
Suzanne Kurtis, Florence, Massachusetts
Sharon Martin, Plainfield, Vermont
June Rineer, Harrisburg, Pennsylvania
NEAJ: What kind of things do you buy or collect? How is the shopping going today?
SUZANNE KURTIS: Today I bought a decorative corner shelf. The decoration
is done in a pyrography technique (wood-burning), which was popular in
the late 1800s. This one has several mice having some sort of party. It
looks like they are eating a large piece of cheese. I like things that
are both decorative and functional, and this morning I’ve only just
started.
SHARON MARTIN: I love dishes, plates especially. We like to furnish our
whole house with antiques, but unfortunately, I didn’t bring a vehicle
large enough to cart much back to Vermont. We got here at 6:30 a.m. and
bought some linens and a wrought iron towel holder already. We are looking
for things for a new house we will build, but if we don’t find anything,
there is always jewelry (big smile).
DENNIS FLYNN: We’re looking for unusual rugs and cushion covers as
well as metal garden furniture. We’ve found several Afghani bag face
carpets, which we’ll use for cushions, and some wonderful metal chairs
from Marvin Gardens, a dealer over at Quaker Acres. Now, we’re just
hanging out.
JUNE RINEER: I’m always looking for china, glass, and American primitives.
I love blue and try to buy as much Dresden as I can. I haven’t bought
much yet, but I’m on my way over to May’s field at 9 a.m. I
found some nice tablecloths already. One is white with flowers, and I
got a butter bowl with fruit on it as well.
NEAJ: How long have you been coming to Brimfield? Have you seen many
changes over the years?
JUDITH KAMBER: This is only our third year coming to Brimfield. On our
first trip we refurnished our whole house after we lost everything in
a fire. That’s when we met Marvin Gardens and bought a great dining
table from them. Actually, I see little change. I’m astounded that
we can shop with the same dealers year after year. It’s part of what
I like about Brimfield.
JUNE RINEER: I’ve been coming up here for about ten years and it
always seems pretty much the same to me. The variety and strange people
are great fun and the whole experience is educational for me. I learn
something about everything I see and soak it up like a sponge.
SUZANNE KURTIS: I’ve been coming here for about 15 years. It seems
bigger today and the prices have gone up. Every year, it seems that people
carry something that’s popular for the moment and trendy. One that
I remember is the year that there were a lot of stuffed chickens for sale.
This year there is a lot more Chinese import furniture and new wire garden
furniture.
SHARON MARTIN: This is my first time here and its almost overwhelming.
I think we’ll make this a yearly venture. I traveled with two other
women today. As to changes, I’ll tell you next year!
NEAJ: Brimfield is a pretty big place. Do you shop the whole thing,
and do you have a favorite field? How many days do you spend here?
JUNE RINEER: I shop about three-quarters of the show. Yesterday we stayed
until about 6 p.m. It was a hot day, so we stopped for a cold drink several
times to rest. It gets us through the day. We spend three days up here
because it’s a long way to drive from Harrisburg and my sister and
I want to make it worth our while. I like May’s best because of the
quality.
SUZANNE KURTIS: I never go through the whole thing. I shop maybe two days
total if I can work it into my schedule, and usually everything is based
on the weather. Often I come on Friday for the J&J show. It’s
a good field for pricey collectibles. If you want something special, you’re
likely to find it there first. That’s my favorite field.
SHARON MARTIN: We’re going to try to catch absolutely everything.
That way we’ll know where to start next year. We are spending two
days at Brimfield this time. We found a room at the Super8 in Sturbridge.
I don’t know the fields well enough to note a favorite, but so far,
I’m inclined to enjoy the smaller fields the most.
JUDITH KAMBER: No way! It would take an overnight stay to do it all. For
us, this is a one-day thing and a fun day out. We don’t have that
much stamina. We like Quaker Acres best. It’s the one with the garden
shop with fountains out front. Our favorite dealer, Marvin Gardens is
there.
NEAJ: Are there any advantages or disadvantages to your shopping experience
here that you’d care to talk about?
SHARON MARTIN: Dealers here are very friendly, and I like that. This is
a perfectly gorgeous day and we couldn’t ask for better. However,
I would think that bad weather is a problem. We read about the shows before
we came, so we knew to bring cash instead of checks and are doing ok.
JUNE RINEER: We’ve never had any trouble whatsoever. The variety
here is great, the major advantage for shopping, but I think that lately
there is too much wire garden stuff.
JUDITH KAMBER: If you forget your wagon, it’s a mistake (she laughs).
The best advantage is lots of funky stuff that’s fun to look at.
It’s a flea marketer’s dream!
SUZANNE KURTIS: The biggest advantage is that I get to see and handle
what I’m buying. Also, I like the human contact. I get to meet the
person I’m buying from here, and I like that. It’s not so on
the Internet.
Broadening the Vision for Museum Education
- June 2004
by Randall Decoteau
Museum Education Directors work behind the scenes to create programs
that enrich the experience of those who pay a visit. Their work exhibits
itself through lecture series, website development, gallery talks, children’s
programs, performances, film, and field trips. NEAJ spoke to three Directors
about their
educational philosophies.
Deborah Gibbs, Head of Public Programs, Currier Museum of Art, 201 Myrtle Way, Manchester, NH 03104, (603) 669-6144, www.currier.org
Vas Prabhu, Deputy Director for Interpretation and Education, Peabody Essex Museum, East India Square, Salem, MA 01970, (978) 745-9500, www.pem.org
Honee Hess, Director of Education, Worcester Art Museum, 55 Salisbury Street, Worcester, MA 01609, (508) 799-4406, www.worcesterart.org
NEAJ: Traditional thinking has linked museum education programs with school-age children. How do you define your mission today?
HONEE HESS: Our mission is to interpret art in the museum’s collection
to the broadest possible audience. Ever since our founding, our programs
have been designed to appeal to all ages. Because our mission is so broad,
we have put our energies to work to discover the most engaging way to
reach each age group. We do it both in terms of our galleries and the
way that the supporting programs interface with them. One of our philosophies
is to Ignite the Thought. This is more important to us than simply giving
answers.
DEBORAH GIBBS: We are making efforts to span the gap from toddlers through
seniors. Much of our school day programming is still designed for elementary
through high school students and their teachers; but, like many other
institutions, we pay increasing attention to events beyond school time.
We have also increased our contact with home school audiences. We believe
that every educational program helps to develop our future attendance.
VAS PRABHU: Today we integrate the exhibition experience with the education
experience. That means it’s for everyone. We don’t compartmentalize
our thinking and relegate education just to children. I feel that learning
about art begins the minute you enter the building. The museum experience
is inspired by the works of art; but the bigger message is that there
is a transforming experience to be had with works of art if the visitor
wishes. The more we can involve the process of art and artisan, the better
job we do.
NEAJ: Do you feel that educational programs can boost attendance? What
sort of activities or areas of interest get your best response?
DEBORAH GIBBS: Of course! We make an effort for all of our school visitors
to know that their first visit here is really only an introduction. We
give each of them a pass so that they can return with their families.
We also distribute brochures to our major school visitors that detail
activities throughout the coming months. We find that many chaperones
accompanying school groups are also on their first visits. We find them
returning all the time. We also have a very popular long-standing Sunday
afternoon classical music program with strong attendance. We’ve promoted
very positive traffic during school vacation weeks when we give free admission
to all. Our in-gallery drawing classes are also well attended.
VAS PRABHU: Programs provide another avenue for the viewer to appreciate
the works of art. We try to engage art forms that connect to the exhibit,
and bring in other discourse to enliven and expand a concept. By doing
that, your hope is that the viewer will soak up more. They will come back
again and again, thus boosting attendance. Each time you come to a museum,
you focus on it in a different way. All of the exhibits are so rich and
deep that activities surrounding them make the educational experience
different for each person. We have to offer a wide variety of activities
to encompass different audiences.
HONEE HESS: Absolutely! The educational programs generate a large percentage
of attendance, whether they are coming to learn a specific artistic skill,
or to hear somebody talk about particular ideas. The programs that elicit
the best response are those where the audience, regardless of age, can
feel the passion of the presenter for their subject. Having said that,
what really makes the difference is people being allowed to discover meaning
for themselves. That can happen on a tour, on a family day, at an archeological
lecture, or other program – But it happens when a teacher uses methods
that personalize the experience for the participants.
NEAJ: People want to touch things. How does your museum handle those
who prefer a ‘hands on’ experience and how important is it to
work with real objects?
VAS PRABHU: Very good questions! We have many places where this can happen:
When going into Yin Yu Tang (the Chinese merchants’ house), we’ve
set it up just as it was when the last resident left. Obviously, you can’t
touch the artifacts, but in an adjoining gallery, there are lots of items
made to coordinate with the exhibit. Here you can sit on the furniture,
you can handle ceramics, examine books, etcetera. Our docents have touchable
artifacts to show while giving tours. Having seating at various locations
throughout the museum is another way. It conveys a sense of relaxation.
Books at these locations help to bring additional voices into play about
works of art. You can learn more through other connections to the subject
matter. Art studio is another way, and lastly, our Art and Nature Center
makes an art-to-nature connection.
HONEE HESS: As far as touching goes, in an art museum, the practice is
discouraged. Our discovery room, however, allows people to get a more
tactile experience with mosaics and archeology. In this gallery, we commissioned
a contemporary mosaic for the floor. We encourage visitors to stand on
it, so that they physically understand how the ancient Romans felt when
standing on theirs. We also have a small pit that resembles an archeological
dig where people can play at brushing away sand to discover objects.
DEBORAH GIBBS: We feel that working with real objects is very important,
but we don’t touch. Because children are tactile learners, we’ve
done a couple of things. We have a drop-in room where puzzles, gallery
bags, card games, etcetera that relate to the exhibitions can be used.
We have a very active Currier Art Center, which offers classes within
its fully functioning art curriculum as well.
NEAJ: Information technology is on everybody’s minds today. How
has the computer and the Internet impacted your day-to-day business?
HONEE HESS: Our day-to-day business in terms of office sense has been
impacted enormously. In terms of our collection, the Internet has made
our art more accessible. In terms of interpretation, more viewpoints are
offered to visitors through the website. For example, we offer a multi-media
program in our Discovery Gallery that offers paths such as Food and Entertainment,
Women, Stories, and Discoveries.
DEBORAH GIBBS: We’ve recently created an online database of our collection.
We are nearly finished with this project encompassing more than 10,000
objects. We just received a two-year grant from the Institute of Museum
and Library Services to fund the development of online curriculum materials
for teachers related to our collections. Our first project tells New Hampshire’s
story through the visual arts. From the standpoint of people getting information
about museums, the Internet is invaluable.
VAS PRABHU: It’s enormous – We at Peabody Essex Museum have
taken a very pro-active role. More people visit our website than visit
our museum. It’s more than an electronic brochure, however. People
out there have a direct relationship with us because of the way we present
ourselves. The youngest member of the Huang family, for example, never
lived in Yin Yu Tang. Yet she found out about her whole family and history
of the house from our website. You could never put all this information
in one room. It has incredible reach. I love the fact that we are extending
the museum experience into the home.
NEAJ: Do you see any trends for future museum educational programs?
VAS PRABHU: We did a program entitled Sight and Sounds of the Silk Road
that helped create a sense of exchange between art and culture. Both were
taken hand in hand for twelve consecutive days. We offered a performance
by Yo-Yo Ma, dance, exhibitions, film, etcetera. We were able to build
an energy level and helped to make a connection between art and culture.
It helped people to see that this is the way to participate in culture.
I see this as a future trend. The more we can involve the process of art
and artisan, the better job we do.
DEBORAH GIBBS: A trend that concerns us is that we feel that teens are
an audience that we could serve better. We have started an open studio
program for high school students to help expose them to careers in the
arts. People need to learn that museums are not elitist. They are a vital
part of their communities.
HONEE HESS: I feel that the challenge in the future will be how to meaningfully
integrate the technical world with the experience of the original object,
which of course is at the core of the museum experience. We want to see
the objects speak, and train people to discover things from the actual
object as well as learn about them on the website.
Dealers Buying Online - May 2004
by Randall Decoteau
In last month’s column, we talked to managers of four online
group shops to discover insights into their businesses. In this issue,
NEAJ asked dealers exhibiting at the Wilton Historical Society Antiques
Show about their online shopping habits.
John Hunt Marshall, 254 Reservoir Road, Westhampton, MA 01027, (413) 529-9995.
William R. and Theresa F. Kurau, P.O. Box 457, Lampeter, PA 17537,
(717) 464-0731,
www.historicalchina.com.
Rick Russack, F. Russack Books, 20 Beach Plain Road,
Danville, N.H. 03819, www.booksaboutantiques.com.
Robert Lloyd, P.O. Box 185, Albertson, NY, (212) 337-8000, rlloydinc@aol.com.
NEAJ: Have you had any experience buying online? Specify which venues and why.
RICK RUSSACK: Yes, the book world is well organized on the Internet and
there are multiple sites that offer potentially good shopping. In addition
to book-specific sites, I buy and sell on eBay. It is interesting to note
that even a Google search for an author will turn up multiple listings,
so there are plenty of opportunities.
ROBERT LLOYD: I’ve had most of my experience buying online through
Internet auctions. I also use websites and Internet sites as a tool to
contact dealers when I want to indicate interest in a certain type of
merchandise. I’ve shopped the online group shops from time to time,
but when searching for specific 17th and 18th century silver, I don’t
find their search engines to be overly friendly.
BILL KURAU: Of course, but eBay is also a particularly good selling tool
for us – it’s like doing a show without ever leaving home. We
buy as well, but our focus is on selling. I bought from a dealer at Ruby
Lane once, but only because a search link brought me there. I’m afraid
I don’t often take the time to search too many sites.
JOHN HUNT MARSHALL: The only venue I use is eBay. My experience is quite
good overall and the best part of it for me is the variety I find. I get
to see stuff that is not often available locally.
NEAJ: What kind of merchandise do you buy on the Internet? How often?
BILL KURAU: We buy historical blue Staffordshire, Liverpool wares, and
Currier & Ives prints. In certain specialist fields, collectors are
tuned in and very aware that things in their category can be found on
eBay especially. Good examples are ABC plates, creamware, American lacy
glass, and other narrow fields. Sometimes we buy things specifically to
sell on eBay that we don’t bring to shows, like trade catalogues
and other paper items.
JOHN HUNT MARSHALL: I buy English and continental accessories. I like
early bottles and glass, Delft, early tiles, and I also buy continental
tin glazed ceramics that you really have a hard time buying in this country.
RICK RUSSACK: It won’t surprise you to learn that I’m buying
books, and usually I find a couple of books per week. It’s handy
to buy on the Internet from the comfort of my own home. It gives me the
opportunity to fill in holes in my inventory with titles that I get requests
for.
ROBERT LLOYD: 17th and 18th century silver, both American and English
is my main focus. I buy between six and ten pieces per month online.
NEAJ: Have you had problems with anything you bought online? How were
the problems resolved?
ROBERT LLOYD: In three years, the only problem I have had is one that
is in dispute right now. This is a situation where the item’s condition
was misrepresented. One pet peeve regarding Internet sites is when an
online dealer doesn’t have their site kept up to date. As a dealer,
it is annoying when I’ve bought an item, and the piece hasn’t
been removed from the seller’s website.
RICK RUSSACK: Nothing that I can recall – condition might be the
only issue for a book dealer. It’s not like buying ceramics and glass.
JOHN HUNT MARSHALL: When I buy from England and Europe, returns are a
problem. Perfect condition is not always a deciding factor for me, because
some chips and cracks in Delft I can live with. I can accept certain flaws,
but I want to know the exact condition when I’m buying. A lot of
sellers’ condition reports are lacking in my experience. Generally,
I don’t bother to return items that aren’t right unless I really
feel ripped off.
BILL KURAU: I’ve bought reproduction Currier & Ives prints that
looked great in the photos and were guaranteed by the owners. One time
in particular, the seller wasn’t a businessperson and I never got
my money back. But, I have to say that 99 percent of the folks I have
dealt with are honest people. When we sell on eBay, we offer a 100 percent
money-back guarantee. We want satisfied customers every time.
NEAJ: Do you find online sources user friendly?
JOHN HUNT MARSHALL: I don’t find the idea of buying by computer particularly
appealing, but I find many dealers on eBay that make it easy for me. Some
it has to do with feedback. Dealers who have good feedback, have that
for a reason – they’re good dealers who make the shopping experience
positive. We’ve gone to visit some of the dealers we’ve bought
from in Europe. EBay helps to put them on the map for us.
ROBERT LLOYD: EBay is the most user friendly of all. I’m able to
search in very specific ways – by date, by price, by seller. It’s
endless. They are very on top of it in terms of being quicker, safer,
and very innovative. And they operate like a very sophisticated Internet
business. I sometimes think that the online group shops operate like antique
dealers. No more needs to be said.
RICK RUSSACK: EBay particularly is less user-friendly than the book world,
particularly regarding the issue of payment. Many eBay vendors insist
on payment through Paypal or by money order. When I haven’t bounced
a check in forty years of business, there’s no reason for me to buy
a money order. I just pass these dealers by.
THERESA KURAU: Generally, yes – If Bill can learn how to use the
computer to buy online, anybody can!
NEAJ: What kind of potential do you think the Internet holds as a source
of merchandise for the future?
RICK RUSSACK: I think the potential is enormous. It could change our entire
way of doing business, so we need to watch it carefully to not miss anything.
The Internet makes it easier to find specific hard-to-find titles because
the inventory pool is so much bigger.
JOHN HUNT MARSHALL: I’m not sure we’ll see much of a change.
Perhaps the numbers of objects will increase, but we’ll run into
the same issues that we experience now. Once I have a personal relationship
with a seller, I am immediately more comfortable. Buying antiques is a
tactile sport. It doesn’t work that way on the Internet; you need
to bond with your antiques.
ROBERT LLOYD: I think as an advertising tool for antiques dealers, it’s
the best. I feel that the advertising angle is more important than the
marketing aspect. EBay has been a good advertising tool for me because
it introduces me to new buyers as well as repeat clients.
BILL KURAU: Neat stuff always turns up, especially if you’re willing
to put the time and energy into the search. Sometimes, you think you are
the only person whose found an obscure item, and in the last two seconds
the bidding goes wild. This is part of the power of the Internet. The
assortment is endless, you can buy worldwide, and you can find stuff from
all over the world that you might not find in a lifetime of travel. n
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