While the mania for mid-century modern design may be somewhat in abeyance, it has by no means gone away. I am put in mind of this in light of the second running of the SF20 Show running at the Herbst Pavilion at San Francisco’s Fort Mason this coming weekend. With most of the participating dealers having come from outside the local area, I certainly hope the show proves worthwhile. Whilst we normally gauge our own success at a show by reviewing sales up to six months after the show is over, times being the way they are, some significant at-show sales for the participants would not, I’d venture, be found amiss.
Given that modern material is sort of off the boil, I don’t believe that will actually result in slow sales. Selective sales, more likely, as what we’ve noticed is a pronounced movement back toward the center amongst both collectors and interior designers, with the simultaneous and eclectic utilization of the best modern, contemporary, and period material. The show preview will benefit the San Francisco Museum of Modern Art, but as I review the list of show underwriters, some very significant local names stand out, including a client of two of ours, who we know for certain are broadly eclectic in their taste. And why shouldn’t they be? Certainly in the decorative arts, good design is good design, regardless of period.
That’s certainly what I look forward to seeing at any show, good design. Cutting edge? Well, possibly, but the show is really geared, or should be, to be accessible to those who may not be familiar with the material on offer. Mind you, I’m not suggesting the show should be composed of 1950’s kitsch, although a smattering makes for some fun, but excellent quality Italian and northern European design from the same period would not be amiss. Who’s not going to understand or be put off by Wegner and Gio Ponti? Eileen Gray? Well, possibly, but we’ve all seen too many knockoff Bibendum chairs.
What I’m saying is that there is nothing wrong with material that allows the early-stage collector to sort of ease into the acquisitions mode. Too often the presumption is that price alone is what determines a willingness to purchase. I suspect that pitching the note a bit too high up the collecting scale might with as much frequency also function to de-incent sales. It only stands to reason, doesn’t it?, the more arcane the design and designer, the more commensurately rarified become the buyers.