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
