San Francisco Fall Show: Art | Antiques | Design

San Francisco, California

The San Francisco Fall Show: Art | Antiques | Design has become a mostly paintings and photography show. Neither English and Continental antique furniture specialist Daniel Stein (“just taking it easier these days”) nor mid-century modern maven Michael De Angelis (a date conflict) had booths this year. In their place, art and photography dealers and some antiques show stalwarts had eye-catching displays. Show chair Suzanne Tucker said, “Forty-two exhibitors participated in the 2024 show, fewer than in the past, but only because they wanted larger booths.” M.A.D. attended on the last day of the October 16-20 show.

“Swan Lake,” a black-and-white-themed vignette, in the lobby leading to the show. Designer Mark D. Sikes of Los Angeles credited de Gournay for the wallpaper and Heather Levine Ceramics, Los Angeles, for the antiques and furniture, among others.

The show’s theme was black and white—“the timeless appeal and elegant contrast...at once chic and bold.” Tucker, who has been the show chair for ten years, said, “Many exhibitors showcased items that illustrated our theme perfectly: a large black-and-white work on paper by the late Richard Serra at Berggruen Gallery; a selection of Art Deco jewelry with black onyx and diamonds at Kentshire; a mid-century modern bench by Hans Wegner upholstered in black-and-white stripes at Chris Howard Antiques and Modern; and, of course, the outstanding black-and-white photography selection at Peter Fetterman Gallery. Others paid homage to the theme by decorating their booth with large black-and-white stripes, a black-and-white checkerboard floor, et cetera. It all made for a bold visual impact and a very chic shopping experience!”

As for attendees, Tucker told M.A.D., “The turnout was fantastic. We were sold out and welcomed well over 1800 attendees to our opening night gala (a record-breaker). The show itself saw over 10,000 visitors over four days.”

From Emerson Bailey, Bozeman, Montana; Denver, Colorado; and Sweden, this 1930s Danish oak sofa by Frits Henningsen (1889-1965), upholstered in Niger leather, 28¾" high x 78¾" wide x nearly 30" deep, was priced at $38,000. Was it a good show? “The biggest treat was meeting so many designers. This is a great connection for us. It’s nice to be found.”

Leighton Fine Art Ltd., Marlow, U.K., specializes in Impressionist and Post-Impressionist paintings, and Fleurs et Papillons by Raoul Dufy (1877-1953), circa 1920, watercolor and gouache on paper, 10" x 20", was right in their wheelhouse. It was priced at $14,500. The show was “a great first year, meeting new people, new collectors, and we were happy to sell a painting by Bohemian Club member Jules Pages.”

Aerena Galleries & Gardens, with outposts in Mill Valley, Healdsburg, Napa, and St. Helena, California, and more, had a “really good first year” at the show. Its offerings included this 1969 Italian Baffo Groupo leather and chrome chair, 35" x 31" x 38", for $12,000.

What about first-time exhibitors? “We welcomed four new exhibitors to the 2024 show: Emerson Bailey from Colorado (exquisite Swedish antiques), Leighton Fine Art from the U.K. (Impressionist and Post-Impressionist paintings), Barry Lawrence Ruderman from California (fine and rare original antique maps, sea charts, and atlases from all parts of the world), and Aerena Galleries from California (unique contemporary art and sculpture).We have a discerning internal committee vetting prospective dealers. Many aspects are considered, including references from other dealers and/or professional organizations, the need for a specific category to be represented at the show, et cetera. New dealers are often referred to us by existing dealers, though in a few cases we hear of a distant dealer and invite them to exhibit.”

One of a pair of Georgian giltwood sofas, one attributed to John Cobb (c. 1710-1778), circa 1760, and the other made to match in the 19th century, $85,000 for the pair from Yew Tree House Antiques, Greenwich, Connecticut. “Our favorite show, but half the sales as in past shows.”

Chris Howard Antiques & Modern, Berkeley, California, was asking $18,500 for this circa 1942 Aarhus Radhus bar cabinet by Hans Wegner. Executed by Axel Sorensen, it was made for the mayor’s office in Aarhus Radhus, the Aarhus, Denmark, city hall. This was year two for Howard, who said the show was “very good, very fun.”

Does Tucker think there is a market for old and/or new furniture? “Oh yes, there definitely is! Just ask dealers such as Maison and Company, epoca, James Sansum, or Philip Stites—all of whom made significant furniture sales this year. Rodman Primack, designer, former executive director of Design Miami, and one of this year’s lecture participants, said it best when asked what he recommended buying at the show. His response: ‘Buy brown furniture! It is often made by expert craftsmen/cabinetmakers and will last for hundreds of years. It is the best way to add a layer of history and texture to your home.’”

How were sales? “Several dealers sold the majority of their booths. And Sunday was a major buying/selling day, so we can certainly say that the show was an overall success sales-wise.”

We asked about the dates and theme for 2025. “Our opening night gala will take place on October 15, 2025, and the show days are October 16 to 19. I pick the show theme, in collaboration with our show director and marketing director, and we are already brainstorming ideas for 2025. Sometimes the theme ties in directly to a significant anniversary; sometimes it’s just something that ‘feels right.’ We always want to make sure the theme can be interpreted in a variety of ways and is applicable to a wide range of items, from art to accessories, furniture to jewelry. And last but not least, the theme needs to make for a strong visual impact. We are in the decorative arts and design industry after all, and the theme is meant to be uplifting and inspirational to all!”

For more information, go to the website (http://sffallshow.org).

The view from the show is San Francisco Bay, one of the reasons out-of-town exhibitors love this show. London exhibitor Henry Saywell, who was offering a pair of chairs by Bay Area favorite John Dickinson, said the show was “good and fun, with high quality but humble dealers.”

The Russian school gouache and pen-and-ink of Catherine the Great’s imperial coach, circa 1780, in “superb” condition, 19" x 26", was priced at $12,000 by Charles Plante Fine Arts, London. How was the show? “We sold sixty-five paintings and maybe more!”

A San Francisco treat. The John Dickinson (1919-1982) Etruscan side chair originally from Gump’s, in untouched original condition, was $45,000 for a pair (one shown). To the left of the chair is Jack Scott’s ONE, circa 1976, charcoal on unstretched canvas, 120" x 150", $45,000 from Henry Saywell Works of Art, London.

San Francisco Fall Show veteran dealer Rainforest Baskets, Albuquerque, New Mexico, was asking $225 each for Hummingbirds, each approximately 6" x 10", woven by Embera weaver Erenia, “one of the best mask weavers we work with.” How was business? “Approximately on a par with last year, as long as I get a little bump at the end.”

Ginkgo leaf cloisonné vase, Ando Cloisonné Company, circa 1925, 16" high, $5300 from Eocene Arts, Kyoto, Japan.

From Peter Fetterman Gallery, Santa Monica, California, two photographs by “the greatest living fashion photographer,” Sarah Moon (b. 1941). Left, Yohji Yamamoto, 1996, number 2 of an edition of 15, 17¾" x 22 3/8" (sight size), was $30,000; and right, John Galliano for Dior, number 4 of 15, 19½" x 15½" (sight size), was $40,000. “She [Moon] is 83 and still working.” Fetterman said the show had been “glamorous, good, given the state of the real world; everyone is nervous in this election year.”

From bottom to top: a 19th-century Italian specimen marble straight edge, 10½" long, $750; a 19th-century Italian specimen marble straight edge, 9½" long, $750; and an early 19th-century Italian Grand Tour specimen marble paperweight, 5½" wide x 4" deep, with an inlaid pietre dure butterfly, $1250, all from Cove Landing, New York City. The show was “very good, a good show with new people. I’ve sold to Texas, New York, California....”

Tony Kitz Gallery, San Francisco, had this 10'8" x 8'2" Khoton/Samarkand carpet that was $27,000. How was the show? “Good, really good, really great this year. Whatever different they did for marketing, they should do again.”

Philip Stites of Los Angeles was asking $85,000 for this 18th-century Russian and Japanese gilt-bronze-mounted Imari jardinière incense burner, 50" long with its chain x 16" diameter.

Veteran show exhibitor and dealer Galen Lowe of Seattle, Washington, displayed this black-lacquered table screen with a nightingale and blooming plum tree. These table screens were often put on a scholar’s desk as objects of appreciation. From the late Edo period (late 19th century), the 19½" high x 14½" wide screen was $2600.

Antonio’s Bella Casa, Newport Beach and Los Angeles, California, priced this large faience wine jug, Italy, circa 1880s, 32½" high x 20½" wide x 16" deep, at $16,500. It sits atop a 10th-century French marble-top table.

Berggruen Gallery, San Francisco, was asking $675,000 for this untitled pastel on paper by Joan Mitchell (1925-1992), 47" x 32". John Berggruen said the show was “quieter than in previous years, but we had lots of nice conversations.”

Gladwell & Patterson, “London’s oldest galley,” offered Winter’s Gentle Cloak, “an ethereal landscape” by Raymond Thibésart (French, 1874-1968), 31" x 24¾", priced at $69,000. How was the show? “A little slow.”