New Name, Same Focus
October 30th, 2016
San Francisco Fall Art & Antiques Show, San Francisco, California
Changing the name of the San Francisco Fall Antiques Show (SFFAAS) to add “Art &” was a complicated process to reach a natural conclusion. “Art was always a primary part of the show,” said show director Ariane Trimuschat. “Everything in the show is a work of art. But we heard from a number of dealers who wanted to add the word to our name.” The name change didn’t change the focus of the show, held October 27-30, 2016; rather, it more closely defined it. “We’ve added art dealers through the years, so this is not a dramatic change, and we are still an antique show.”
There was another change for 2016. “For the first time, we moved the time line of exhibits from 50 years prior to encouraging contemporary work. But the show is still curated and vetted, and now we can focus on many different eras.”
Jeff R. Bridgman American Antiques, York County, Pennsylvania, asked $28,000 for this 30" long horse and hoop weathervane by J.W. Fiske, New York City, 1875-93. This was antique flag specialist Jeff Bridgman’s ninth year at the show; he said he’d been selling “patriotic stuff.”
It was the first year as exhibitors for Rainforest Baskets, Portland, Oregon, which specializes in one-of-a-kind handwoven baskets from Panama. They were asking (top) $19,993 for the 24" tall x 23" wide polychrome basket that took Miriam Negria 26 months to weave; (left) $9300 for the 20" tall x 18" wide basket that took Eva Ginguima three-plus years to make; and (right) $12,500 for Pasida Membache’s 22-months-in-the-making 20" tall x 20" wide basket.
The new show layout was another change—a “scary change after 35 years,” said Trimuschat—but she said the change “added dimension” and that dealers were “so pleased that attendees could work their way through the show in a new way.” Making the middle aisle “loose” gave attendees the opportunity to cut across from booth to booth, and it gave the exhibitors a chance to be “more creative with their booths,” deciding on the number of walls and where they’d be placed.
For example, Trimuschat mentioned postwar paintings and sculpture specialist Hackett | Mill, which created diagonal walls, and Lawrence Jeffrey, who showed his jewelry to great effect with only one wall, so showgoers “could walk all the way around” his jewelry cases. The new floor plan also allowed exhibitors to design larger booths because there were slightly fewer exhibitors this year, 52. Paint and wallpaper company Farrow & Ball supplied the paint for the booth walls, with each exhibitor choosing his/her own color. “The colors popped, adding to the look of the show,” Trimuschat remarked.
Witherell’s, Sacramento, California, was selling antiques and exhibiting coming attractions for future auctions and the May 2017 Grass Valley Old West Antiques Show. This 19" high hammered copper lamp, made and signed by Dirk van Erp, cost $16,500 at the show. First-time exhibitor Brian Witherell said, “It’s an attractive show in a great location with an impressive group of diverse dealers. The opening night gala was exceptional, and attendance was steady. We hope to be back next year.”
At the booth of Almond + Company, San Francisco, this 1930s Swedish dining table by Axel Einar Hjorth (1888-1959), made from Oregon pine with a matte finish, 28½" high x 65" wide x 29½" deep, cost $15,000. The 1930s Swedish chairs of Oregon pine with matte finish, also by Hjorth, were priced at $50,000 for the set; each chair measures 38" high. Hjorth’s 1930s root-wood veneered “Birka” sideboard for NK (Nordiska Kompaniet), Sweden, 29.5" high x 65" wide x 18.9" deep, cost $46,500. This was the gallery’s fourth year at the show, and Gio Ponti upholstered furniture was selling.
The traditional Thursday preshow collectors’ luncheon honored Toby Rose, the creator and for many years the producer of the show.
The 2017 SFFAAS theme has yet to be chosen, but Trimuschat is delighted that Suzanne Tucker will return as show chair. The dates will be October 26 to 29, and the opening night gala is scheduled for October 25. For more information, see the website (www.sffas.org) or call (415) 989-9019.
While looking for something for us to photograph for this story, Michael Ogle of American Garage, Los Angeles, said on the third day of the show, “So much is gone now.” His choice was the late 19th-century wood sign in “an unusual tombstone form” with original paint, surface, and condition, 4½' high x 20" wide, priced at $9000. American Garage has been exhibiting at the show for nine years, and Ogle said he is “immensely proud to be part of such a great show; it is one of the few vetted shows in the country, and all of us as exhibitors and vettors take seriously our responsibility for the integrity of the show.”
And the preview party? “The show kicks off the fall social season in San Francisco. The patrons that support the charity [Enterprise for High School Students], which is the beneficiary of preview night as well as the entire show, are always in strong force and do all they can to ensure the success of the show. People were there certainly to have fun, but they were there to purchase items and support the dealers. Attendance throughout the entire show was very good, and sales were very good for us, as we sold across the board of Americana and folk art, such as shooting gallery targets, signage, game boards, as well as industrial, nautical, and small items.”
These 1968 “Halberd” (a 14th-/15th-century axe-like weapon) sconces with original shades by Félix Agostini are made of nickeled bronze, measure 44" high, and cost $22,000 the pair from Antonio’s Bella Casa, Newport Beach, California.
This Leeds 1820-30 pearlware horse, 16¾" high x 14¾" long, had been made as a shop display for a dealer in horse equipment and cost $40,000 from Earle D. Vandekar of Knightsbridge, Inc. Maryknoll, New York.
Gallery 925, San Francisco, was asking $48,000 for this 7' tall hand-wrought copper fireplace hood by Peer Smed of Brooklyn, New York, signed and dated 1919. The gallery’s Rachel Prater said the gallery had been doing the “wonderful” show for four years.
Originally published in the January 2017 issue of Maine Antique Digest. © 2016 Maine Antique Digest
