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Practice : Fall 2008
northwestern Connecticut. “We’ d been told to be wary of the Boston market. We found that people were indeed cautious, but they were sensible, a nd they know quality, and they bought, and they a re continuing to buy. Kraus said she gave out over 500 business cards. On the basis of that alone, she would consider it “a very successful show.” But her sales were more than strong. “ We sold everything from a four-hundred- dollar Yves Saint Laurent bracelet to sixty-thousand- a nd eighty- thousand-dollar items. We sold David Webb. We sold Van Cleef. And we sold some unsigned eighteen-karat French pieces from the 1940’s. But mostly we sold signed pieces, bec ause that’s what we’re known for.” Some of the special pieces Kraus brought were by René Boivin (1864–1917) or by his wife, Je anne (1871–1959), w ho c ontinued the business after his death. She also had two pieces by Paul Flato (1900 – 1999), one signed, one unsigned. “A first of anything is always tricky,” K raus said, spe aking more generally about the show. “I think the promoters did a bang-up job. We met a lot of internation al people, artistic people, old-guard Boston—they were all there. It was a n e clectic audience and an intrigu- ing one. And I think once [Fusco and Four] do this repeatedly, there’s going to be quite a following.” Greg Nana mura sold some at the show, a nd there may be a big interior design job in his f uture as a result of his appearance there. He also made a significant deal before the show even opened. “As you know, we used his little silver Josef Hoffmann va se for a lot of our advertising,” Fusc o said. “Because of that, he had an inquiry from an important Art Deco collec- tor and ended up selling it to him. This is not a n impulsive city we live in, a nd it’s not an impulsive market either, Fusco went on. “It requires somebody who takes the long vie w.” Normand Mainville of Machine Age, South Boston, ha s that perspective. He wa s pleased enough to rec onnect with former clients at this first-ever show for him. “For many years we were on Congress Street. People we are seeing here have discovered our new location on Summer Street and are realizing that we are much more upscale,” he said. “We’ve had very good fe edback. People keep taking pict ures of the booth. We feel we have been getting a lot of respect. It’s a l l very positive.” Richard J. Baiano of Childs Gallery, Boston, had a good show. Beyond that, he said, the week- end’s true value was enabling him to introduce the gallery’s 2 0th- century inventory to clients. “We’re being rediscovered by Bostonians,” he said. Chris Mizeski of Christopher Anthony, Ltd., Boston, used to be part of Gallagher-Christopher. The shop was at the foot of Beacon Hill. Now he is in the same spot on his own, sel ling traditional a ntiques and 20th century. A s for his re sults here, he sold “quite a bit-mostly furniture and a bit of accessories-a nd mostly post-1950’s.” Savvy promoters understand that free lectures can be a draw, a nd Fusco and Four offered ones left to right: Lanque Fine Art booth; Helfried Kodré (1940), brooch, 2008. Courtesy of The David Collection (NY); Karin Rosenthal, Squiggle Nude, (1996). Courtesy of Panopticon Gallery (MA). feaTURe ] MoDeRnisT RelaTionshiPs by Design PRaCTiCe 62