how come
when I went to three big San Francisco furniture collectives yesterday, I saw almost NO Eames, or high quality mid century pieces? The only thing that doesn't last at these places is Eames, Nelson, and on down the list.
In three HUGE such collectives with about 40 dealers in each, I saw exactly 5 Eames pieces and 6 Nelson pieces all day. Hardly any McCobb at all, and on down the line. Doesn't seem like a slowdown to me.
Then, visiting a high end SF mid century dealer on the same day, I saw three Eames pieces in poor shape- but ALL had already been sold to another dealer. No other Eames pieces available. Lots of Scandinavian pieces, and a couple of very pricey Luther Conover pieces, and one Nelson Clock.
Just sayin'.
Ebay and a couple of other large venues have indeed altered the MCM landscape. That part is pretty clear. The bricks and mortar dealer prices now seem to reflect the prices achieved on ebay. But the advantage of seeing a piece first hand cannot be overstated.
As I mentioned...I think this...
As I mentioned...I think this is part of it. The market might be slowing down a little because there is so little out there...no stuff to sell means a slow market. The good stuff in good condition is getting harder and harder to find and good stuff in good condition was what was attracting some buyers into shops. The people that are really into it...are really into it and will pay good money for things in good shape. I believe that some of the lesser stuff that beginners would have bought has been replaced by retailers offering "the look" without the hassle. It's getting harder for people to source the good stuff. The pros still have connections and can do it though.
As for the Danish stuff....there is more of it around. It never really went "out" in Europe so there is plenty of it to import. You have to really be focused when you're buying that genre..imho. Arne Vodder/Sibast pieces, Omann Jun and such.
I think 30 year olds will be into it for a while. I'm betting that for 20 year olds it's not going to be there thing, but that is just anecdotal evidence from the 20 year olds I know.
Eameshead,
I am from San...
Eameshead,
I am from San Francisco and my husband sells out of two of the larger collectives in the city as well as the Alameda once a month.
It's funny you mention the lack of Eames and Nelson around here as it is something that has been discussed by my husband and his colleagues.
Selling at these types of venues can be expensive for dealers. The limited space we have to work with has to be carefully managed to maximize turnaround. When a piece sits there and does not sell, you lose money. Which brings us to the lack of Eames and Nelson you mentioned.
A few years ago it became increasingly difficult to move anything Eames or Nelson. There was still some interest, but seemingly overnight buyers were avoiding the ticket prices and making very low offers. Eventually many of the dealers responded by stocking less and less Eames and Nelson pieces.
Scandinavian and many of the local California mid-century designers remained strong (admittedly not as stong as 5-6 years ago) but I think you'll find that most dealers in the bay area do not stock Eames designed pieces unless they are exceptional and rare examples, which unfortunately are still relatively difficult to move.
I am not sure why people moved away from George Nelson, but I suspect the lack of interest in the Eames pieces is due to the relatively cheap clones you can buy from china and a general oversaturation of the market.
Thanks grassyhill
Hard to argue otherwise, if that is your first hand experience. (I hate to think that the clones could have had that much of an impact though.)
I am more inclined to think ebay. Mostly because of the constant and wide variety of choices available, and a low price is at least a possibility now and then. I have seen some Eames stuff take longer to sell there, but still see plenty of strong final sales prices.
Perhaps ebay is another reason so little Eames makes it to the collectives. It seems like a logical choice for a seller if what you say is true.
Well, that's evidently an...
Well, that's evidently an American "problem", here in Europe the MCM market is still running well, basically with Danish and German Bauhaus stuff, Eames and Nelson are down, if you see an Eames lounge chair somewhere you immediately begin to yawn and think: oh no!
It's easy to differ between real connoisseurs and no-connoisseurs: you'll never find any Eames stuff in flats of real connoisseurs, but in nearly each mainstream TV-production.
Have a nice day.
.
"It's easy to differ between real connoisseurs and no-connoisseurs: you'll never find any Eames stuff in flats of real connoisseurs, but in nearly each mainstream TV-production."
No, actually a real connoisseur won't be afraid to show his or her real taste, regardless of where the item may appear in popular culture; however, the poser might care.
(About the photo, that's Peter Zumthor, widely considered one of the most accomplished architects practicing today, with one of his co-workers in his home. (start sarcasm) Oh no, look, he has an Eames lounge, what poor taste.(end sarcasm))
leif
I agree with you about Nelson's specific design contributions being a little harder to nail down. But I find it hard to see his stature or importance falling much, as he is one of the giants of American mid century design. He was at the center of everything.
Almost all great artists have assistants and contributors. Do you think that the learning curve has risen to the point where that is a real concern among collectors? If so, why have we not seen the next level of awareness, and more information about all of the artists that worked under his name?
But you make a good point, and that might also be the reason for his designs being a little more hit and miss. Many strike me as uninspired also.
I do love the slat bench. I have one from '48.
(I don't even think of his clocks as "his" really. And I have burned though many ups and downs on the clocks. But after 25 years, they still persist for me. Love those "icons of optimism")
um
Is it not obvious that mass-produced products made by corporations will be the result of collaborative efforts?
and is it not also obvious that the truly cool shit is often not going to be that which sells the most or appeals most to mainstream culture; think about the relationship between what is cool and what is obscure
[rusty old cowboy lunchbox found in a musty basement at a rural estate sale]
[new imitation "fifties style" lunchbox/gift set manufactured for restaurant chain]
Find the right market or innovate?
Thanks jw468, well done, I...
Thanks jw468, well done, I suppose you intended to do the opposite but you are confirming exactly that what I mean, you are picturing an architect office which is exemplary for hundred other achitect offices, they all look the same, no individual style, just furnished with mainstream stuff, thanks a lot for this example.
And you are absolutely right, Zumthor is one of the "most accomplished architects" practicing today, because he is repeting and repeting and repeting the boring post-modern style which is still appreciated all over the world.
Have a look at the "modern" architecture in the cities all over the world, everywhere the same non-individual bulshit, absolutely interchangeably, and made by so called "star-architects".
Zumthor is just one of them.
rubytuesday
I still think jw468 made a telling point about you.
You ARE the trendoid who is paying more attention to trends rather than exhibiting an authentic interest in anything specific (or individual)
I am thinking that you are probably just bent because Eames stuff is much harder to come by for dealers in Europe, and so you play it down (since you can't get any anyway)
On the other hand, I am in the process of continuing to collect Eames and other MCM as we go through at least the SECOND supposed "waning" of interest in this stuff.
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