Discover Antiques

Although filled to the brim inside, the adventure begins simply by gazing through the impressive windows of John Salibello's three antique lighting shops on East 60th. The dazzling chandeliers hanging from the ceiling at No. 211 were only the beginning, for upon entering, I learned that the excitement extends back into an even more inspiring gilded maze where every inch of space is utilized to display the carefully curated collection, both upstairs and down a flight. Lori Gray, the store's manager, spoke to me about John Salibello's origins. It turns out that she is one of the best people to do so, as she has been by John's side for years - ever since he was working in the fashion industry. Lori followed John when he left Benetton, as he had become a close friend and she "deeply respected his taste. " I learned from Lori that John was one of the first people to deal in Mid-Century Modern design, "probably because he opened his business just as it was becoming temporarily distant enough to be desirable. " Breaking new ground, he found his stride and has stayed true to it ever since. John's knowledge of the period is extensive, but he makes a point of not being driven by a particular designer, despite their fame. As Lori explained, "He can "talk that talk, " but in the end, John travels the world searching for beautiful pieces, no matter what their origin. "This is why he has been so successful as a trend-setter, " Lori proudly stated. Most items are vintage, but there are some custom-made objects, such as a row or colorful glass boxes made by an artist from Murano. The employees chimed in during a conversation one day, sharing with me how they enjoyed having input into the color combinations for each one. The staff is a crucial part of this well-oiled machine. As one woman put it, they are in charge of the "visualization of the store - John does the buying and we set it up and then sell it. " They are also meticulous about maintaining the inventory, as every piece is always gleaming, a hard outcome to achieve in a store filled with so much glass. John Salibello's triumph in the furniture world also has a lot to do with its location. Because the store is in the design district, everything is in one place, making it easy for interior designers and their clients. When engaging in conversation with John, himself, one day, he expanded on his concept of three boutiques on one street. "We have a tremendous amount of inventory, as that is what our customers prefer. " He said that he loves 60th, but because he cannot house everything in one location, he has chosen to take over additional retail space, while remaining in the same neighborhood. John explained that just the shear size of the pieces he finds requires more room, and then went on to say that he is pleased that his shops are in demand, as people like what he carries and he is forever finding new things to add. As John expressed, "if you want to be spectacular, this is the only way to do it. "

Kate Rheinstein Brodsky, the creator of KRB, was immersed in the world of design and retail from a young age. Her mother, Suzanne Rheinstein, is an internationally recognized designer. Ever since Kate was a child, her mom has run Hollyhock, a Los Angeles furniture boutique. "I really loved retail, " Kate shared, telling me how she would go to Hollyhock after school and work there over summer breaks. As a teenager, she wanted to open a bookstore, but realized that this might be difficult in the digital age. As a "homebody" and frequent hostess, Kate knew that she enjoyed creating beautiful homes, both for herself and others. As she described it, "I loved the feeling of home, of having a nice place to live in. " Ultimately, her passion for retail manifested itself in a career in the design world. Upon graduating from New York University with a degree in art history, Kate worked for Jeffrey Bilhuber, the interior designer. "I love interior design... but I'm not an interior designer, " she said. Working for Jeffrey, however, she learned a lot of things that would help her later on in the world of retail. She realized the importance of customer service and doing things "correctly, in a thoughtful manner. " Following her time with Jeffrey, she worked at Elle Decor, which taught her discipline and introduced her to new looks. "I was exposed to so many different styles, " she explains. "Sometimes you don't know you like something until you see it. " Kate has maintained a good relationship with Elle Decor – they recently featured her Upper East Side apartment as part of their "House Tour, " which brought a collection of readers, impressed by her style, to Kate's boutique. When I visited KRB, I was taken by the variety of colors, as opposed to the usual browns and golds that dominate antique shops. The salesperson, Fiona, said that adding bold colors to antique pieces is one of Kate's trademarks. She showed me some traditional chairs with bright olive green seats as an example, saying, "Green's a big color for her, " before pointing out Kate's love for French opaline. Fiona went on to say that Kate could be inspired by anything. She spoke of a box of old cameos that Kate found. When Fiona inquired, "What are you going to do with those? " Kate answered matter of factly, "I don't know, but I'll figure it out. " Kate elaborated, "I like to reinterpret old things. " By this, she means both in the pieces, as with the chairs, and in the way they are used. She told me that there are many beautiful finger bowls out there that are no longer used - or at least not as finger bowls. Kate encourages customers to use them in new ways, by putting votive candles in them or a small scoop of strawberry ice cream. "I like taking things out of their original context, " she admitted. As another example, she told me about the tric trac tables, tables used to play a precursor to backgammon. The board is so similar to backgammon that the tables have been able to be repurposed. "I get very attached to furniture, " Kate admitted, likening different pieces to rescue animals. "I want them to have good homes. " She realizes, however, that people have different styles and that she may have to wait a while for the right person to come along. She added that although her mother heavily influenced her, the two women do not always see eye to eye on design. "We have our own taste, " she said. Despite their differences, the store is still inspired by her mother's extraordinary career. "I always love watching her, how she explains to people how to incorporate beauty into their life. "There is the possibility that a third generation of Rheinstein women might enter the world of design. In 2015, Kate was the proud mom of new daughter number three. "I love that my children comprehend what I do, " she told me. When they ask her where she is going, she can answer "to the store" and they know exactly where she will be. Owning the boutique means she has a flexible work schedule and can easily spend a lot of time with her children. She specifically opened on the Upper East Side to be near her family – and other families. She wanted to be in a place where people could stumble upon her and buy a housewarming present, rather than in a design-industry-heavy neighborhood. "I just hope I'm on people's path. I encourage them to come look.... browsers welcome. " As for her daughters and what they think of her boutique, Kate told me that her five-year-old recently told her teacher that when she grows up, she wants to be "a mommy and a shopkeeper. "

Stores like Martine’s Antiques are exactly the kind of businesses I look for on the side streets. Though small, every inch of the shop has some new treasure to discover. There are watches, jewelry, glassware, and various knick knacks decorating the room. Though she has been in New York since 1992, Martine Leventer's lilting French accent added music to her descriptions of each of the pieces that she has hand-selected for her shop. Martine began her career as a journalist in Paris, writing about business and the economy. She occasionally wrote about art, but usually only in terms of auctions and its financial role in society. She told me, however, that she had always had a great love for antiques, “ever since I can remember, in fact. ” She recalled the very first antique she bought as a teenager – a bronze candle holder. Since then, she admits, “I’ve been buying way too much in my life. ” She spent some time between the United States and France, collecting antiques from each location, but when she first went into business in New York, it was as a chocolatier. She had two chocolate shops: one on the Upper East Side, where she lives, and a small shop in Bloomingdale’s. Chocolate, however, was not where her true passion lay: “Having an antique store has been a dream of mine since I was very young, ” she told me. She began selling little pieces at her Bloomingdale’s location, mostly costume jewelry. She then opened an antique store on 82nd Street in 1997, while continuing to operate her chocolate shops. The current location opened in 2012 and she closed her chocolate business a year later. Martine is proud of the fact that her store is a specially curated selection of antiques. “Everyone tells me I have a good eye, ” she said humbly. She does not work in bulk or in estate sales: everything is something that caught her eye. Martine is especially drawn to costume jewelry, old watches - “Old watches have a heart that beats, ” she said poetically - and vintage American glassware. She used to use colorful glass plates and bowls to show off her chocolates. “I look for something that is either beautiful or funny, something that makes my day. It is important to have things in your house that give you happy feelings. ”Though she still has a couple customers who have been with her from the very beginning, many of her original clients have moved away. She has realized that that is a pattern in New York: things are constantly shifting and changing. Though some change may be good, for the most part it means higher rents. “So many small businesses have disappeared. It’s so heartbreaking. ” She elaborated, “Being from France, I don’t like seeing little old buildings being demolished. ” In Martine's view, the city is starting to become too angular, as harsh modern architecture starts to take over from the old world. When she first came to the United States, she was surprised by the variety of antiques. In France, most of the antiques are French, with perhaps a few English or German pieces if you look hard. The United States, on the other hand, is a source of antiques from around the world. Martine had never come in contact with American Vintage before, and immediately took a liking to it. Additionally, costume jewelry was cheaper and more accessible in the U. S. She discovered, however, that New Yorkers were often more interested in European pieces. She explained her frustration to me: In terms of antiques, architecture, and art, Americans will travel hundreds of miles to view masterpieces but will not show any respect towards the beautiful works of art on their own shores. “I hope people wake up soon, ” she said, “and learn to not throw away the beauty of their own heritage. ”

Grab a decorator and come and explore Bijan's amazing antique store. Established in 1965, the owners have amassed a significant collection of furniture, lighting, and accessories that span a number of periods in history and come from all over the globe. Browsing here is a real treat, and they have many props available to rent for movies and shows.

Despite its limited size, one could spend an entire day in George Glazer Gallery and probably still not see everything that the space has to offer. There are fascinating items covering every nook and cranny, from the ceiling to the staircase to the bathroom. Though there are many pieces, as George says, it is “exciting clutter” rather than overwhelming clutter, and a true treasure hunt to look through. I kept finding surprises, such as a column made from the inside of a piano, a set of miniature fire tools, and strings of scorekeeping devices for games of pool dangling high above my head. After years as a corporate attorney, George embraced his love of collecting art and opened his gallery in 1993. He began on the corner of Madison Avenue and 72nd Street, on an upper floor, but recently moved north due to rising rents. As he pointed out, however, the internet has made it so that it is no longer as important to have a prestigious address. According to George, having a well-maintained website and good social media skills is far more crucial to running a successful antique business. He also assured me that he has a strong international client base that reaches out to him online. Even though he has moved away from Madison Avenue, George is very happy to have found his current side street location. He loves the ceilings, which remind him of the original definition of “gallery, ” a room in an English country house with tall ceilings. There is a garden out back that George occasionally uses for storage and events. The biggest change he has encountered, however, is foot traffic. Now that he is on the ground floor, he has more people coming by to stare in the window and occasionally wander in. Though many pieces originate from outside the United States, such as a long Tibetan instrument mounted on the wall and the Venetian glass sconces made in the shape of clowns, most of the items in the gallery were purchased in the States. “There’s a remarkable amount of stuff here already, ” George commented. He not only collects pieces: George is also somewhat of an artist in his own right in the way that he arranges things, along with his gallery manager, Jeffrey. For example, I saw an old employee time card grid covered in various antique ornaments. The result was a visually fascinating display. “We make our own little art, ” George said with a smile, gesturing to a figure of Humpty Dumpty sitting on a bed of coral above the doorway. George’s passion is definitely globes. He has a vast collection, spanning from a rare celestial globe to an enormous thirty-six inch specimen. More generally, George’s taste leans towards items that have a practical or scientific purpose. He also collects judges’ gavels and has a fair number of door knockers. After observing as much as I could upfront, we proceeded to the back of the shop where George puts pieces that he is particularly fond of close to his desk so that he can appreciate them most of the day. My eye went right to a wooden satyr face and an odd madmen-esque desk sign that reads “MISS PARR. ”After showing me the back room where he occasionally fixes things, and telling me about a few prop-rental projects he has taken part in, George became introspective. “This place is an alter ego, ” he admitted. “It’s for sale, but it’s what I like. ” He continued on to say that his very specific style is not for everyone, but at the same time, he is confident that his often minimalist, modern antiques can fit into a wide variety of design schemes. His gallery is purposefully set up so that customers can see how things might look in a lived-in space. “It’s more like a place where people live. ” That is, if the people living there are slightly eccentric. “We have a lot of odd things, ” George confessed laughing.

Since 1901, when Ginsberg and Levy, Inc. began, the Levy family has garnered a distinct reputation specializing in American antiques primarily from the eighteenth and early nineteenth centuries. Though the art world lost a great man in early 2016 when Bernard Levy passed away at the age of ninety-eight, his son and grandson, Dean and Frank, are successfully carrying on the family business that changed its name to Bernard and S. Dean Levy in 1973. Frank, who appeared quite enthusiastic to be continuing the gallery as its fourth generation owner, explained that while the gallery contains a few pieces of English furniture that once lived in American homes, everything else was made right here. This is rare in the antique business, where European works usually have the strongest showing. I was interested to learn that some of Frank's favorite pieces are the framed needlework that decorate the corners of the first floor. He told me that the surviving needlework was mainly done by girls between the ages of eight and fifteen. The nice thing about needlework, Frank pointed out, is that collectors often know who made it, since their names are worked into it, and after a while it is easy to start to recognize different schools and teachers of needlepoint. Frank spoke to me about growing up in the family business. "As a kid, you learn that these things are heavy, " he said with a smile as we walked by a seventeenth century wardrobe. From a young age, Frank found the history of each antique fascinating. "I've always liked American history, " he admitted. He then went on to reflect that as a boy, he and his brother would play football with an antique highboy in his parents' room, which provided "a perfect goal post. " When he was in his twenties, however, he began working for the family business and started to become more interested in the clues that told him when and where something came from. Most of the pieces are from the eastern seaboard - Frank told me that the taller ones usually come from the South, where inhabitants wanted heat to be able to rise, and the shorter furniture comes from the North, where lower ceilings helped keep the heat inside. As for where the impressive collection is found, "Things show up everywhere. " Frank found one piece at an estate three blocks away, whereas a chair from Rhode Island was discovered at an auction in California. In addition to my conversation with Frank, I also had the pleasure of speaking with Melanie, a gallery employee, who shared with me that despite being on a side street, the gallery gets a fair amount of walk-ins. Recently, a man stopped in who commented that he was "taken with the portrait of the sheriff" in the window. Most of the gallery's customers, however, are collectors and frequent visitors. Bernard and S. Dean Levy has helped to build not only private collections, but countless public ones, including those at the Metropolitan Museum of Art and the Museum of Fine Art in Boston. The company is also proud to have helped to furnish a few historical house museums or help them to recover original furniture that was lost over the years. Touring the gallery with Frank, which is vaguely arranged chronologically, we began on the top floor. It is here that I discovered that many of the newest pieces from the nineteenth century are from New York, and made by three primary cabinetmakers - Duncan Phyfe, Michael Allison, and Charles-Honore Lannuier. Frank showed me how he "looks for little clues to find out where something is from and when, " showing me a drum on the leg of a table made by Duncan Phyfe that indicated that it came from a specific phase of his career. He then pointed out an elaborately decorated knife box. When Tom, the Manhattan Sideways photographer, commented that it looked like it could have come from the Art Deco period, Frank agreed, saying, "styles come back. "The fourth floor has furniture from the same period and a bit earlier, but with an emphasis on the country. Much of the furniture came from Connecticut and New Hampshire and was made from birch and maple trees. Frank indicated a dower chest that had a hidden signature from its maker, John Saltzer, etched into a painted urn on the side. We also saw an old lead-lined wine cooler with a stopper at the bottom which let out water. On the third floor, there were even earlier pieces, including one with a completely fictitious historic plaque claiming that it had once belonged to Martha Washington. Laughing, Frank said that if everything attributed to Martha Washington actually belonged to her, she would have needed far more houses to store her collection. The second floor had an impressive array of grandfather clocks as well as a desk with an extraordinary removable hidden compartment that allowed the owner to keep important documents in a safe space that could be removed from the desk in case of fire. When we returned to the first floor, we had traipsed through one hundred years of history, told in the language of furniture. It reminded me that Bernard and S. Dean Levy can boast a more-than-hundred year history of its own. "I'm proud we've been around this long, " Frank concluded.

Evan Blum, owner of Demolition Depot, has been in the business of salvaging and renovating architectural art for forty-two years. He grew up “entrenched in the arts, ” as he put it, since his father was an architect, his uncle was a well-known illustrator, and his grandfather was a craftsman, to name a few of the multiple examples he cited of artistic genes in the family. Evan had always had an interest in architectural artifacts, and upon seeing the beautiful and historic buildings around the city being torn down, he was motivated to save as much of them as he could by collecting worthwhile pieces, repairing them, and then selling them to new owners. “What we do is create art out of the construction waste stream, ” he explained. Sixty percent of what is in landfills comes from demolition, and by saving and re-selling the valuable parts of these buildings, he said he is able to minimize the amount that would otherwise be laid to waste, as well as keep the objects’ history alive. It is his attempt to “‘un-tragedy’ the tragedy of demolition, ” and to find interesting things buried within the mundane. Evan tries to repurpose as many things as he can, hence the eclectic and wide-ranging nature of his merchandise. While walking through the space on 125th Street, we were amazed by the sheer volume of fascinating and beautifully preserved items that we came across - and Evan pointed out that this is only one of his many facilities, so it is difficult to fathom the real scope of his collection. Each of the four floors of the shop housed a labyrinthine assortment of doors, stained glass windows, crucifixes, plumbing fixtures, mirrors, candlesticks, and more. When asked, Evan told us that there is not necessarily a single architectural style or period preferred by his clients. He shared the story of the rise in popularity of Gothic pieces after Cher started her Gothic furniture catalog in the 1990s. It used to be that no one wanted to buy anything salvaged from churches, he remarked, but after the catalog was released, the demand for the previously unpopular Gothic artifacts he had collected over the years surged. This is part of why he stores and saves everything he has found - as it is likely that at some point what was unwanted will become trendy and appealing again. When asked how he selects his pieces, Evan told us that his combined background in architecture, sculpting, manufacturing, and craftsmanship helps him envision which antiques would work well as focal pieces in modern spaces. In fact, a unique and integral aspect of his service is that he acts as “a designer’s designer and architect’s architect, ” giving clients his input on how to improve their projects and best utilize their spaces. While many of his clients are hotels and restaurants looking for distinctive additions to their décor, he also does work with set designers in search of elements for their latest film and TV projects, or celebrities who want to incorporate antiques into their homes. He has also outfitted some pieces in well-known museums, including the American Wing of the Metropolitan Museum of Art. While discussing his plans for the future, Evan mentioned that he will be starting an auction business, Harlem Country Auctions, behind the shop toward the end of the summer of 2017. Doing so will allow him to preserve even more artifacts, since he will be auctioning any art (e. g. paintings, sculptures, lamps, decorations) that are not "architectural, " and therefore do not fall under the purview of Demolition Depot. In the more distant future, he hopes to create his own museum where he will be able to display his salvaged art for the appreciation of the general public.

Nicolo Melissa Antiques & Art is a story that combines a personal relationship with a passion for the arts. Melissa Magid met Nicolo Camisa, originally from Italy, when he was studying English in the United States, and the two fell in love. Nicolo had been trained in the family's antique business since he was sixteen, and so it made perfect sense for Nicolo to open a small antique store in Manhattan with his new bride. Melissa admits that she did not know much about antiques before Nicolo, but when she traveled to Italy to meet his family, and found his home filled with treasured pieces spanning the ages, she recognized the importance of this world that Nicolo had grown up in. And it did not take her long to decide that she wanted to join him as a partner. Though their gallery is completely separate from Nicolo’s family’s business, Melissa told me that they frequently keep in touch with his Italian kin in order to trade secrets and discuss their acquisitions. A favorite story that Melissa enjoys sharing is when her older son, at the age of two, already seemed to have an eye for fine art: When they took him to the Metropolitan Museum of Art, and he was staring up at some of the paintings on the wall, he gestured to his father saying, “Papa, bring this one home! ” Because the young child was so accustomed to accompanying his parents on buying trips, he did not understand the difference between viewing art in a museum and their vast collection that his parents have amassed. Both in their home and at the gallery, Nicolo and Melissa’s two boys are surrounded by Renaissance bronzes, classical sculptures, and micro mosaics. Nicolo quickly added that despite the variety, their collection is carefully curated, and forms a cohesive whole that he hand selects both from travels around the United States and abroad. The gallery specializes in artwork, furniture, and decor from the 19th century and earlier. Melissa showed us some of her favorite pieces, including a Florentine 19th Century ebony cabinet and a pair of Cesare Lapini white marble angels. It became clear rather quickly that Melissa is quite proud to run a local, family-owned gallery. As she so sweetly described the first venture that they embarked on as a couple, "This is our first child. ”

Claude-Noelle Toly came to the United States in 1982 after having received her master's degree in political science. Her original goal was to improve her English, but she could not help but fall in love with Manhattan. "Much to my mother's disappointment, I became a waitress in a tiny restaurant in the Village, ” Claude-Noelle confided. It was there, one day, that she met William Nuckel. They became fast friends and together shared a dream of traveling to the South of France on a regular basis to purchase items for a French shop. Shortly afterwards, a tiny little corner space in the West Village became available... that was also affordable. In 1987, they agreed that it was the perfect location and decided to give it a try. Built in the 1800s with three levels, the building is a perfect fit for the charming French boutique that houses antiques and collectibles. From traditional pottery and earthenware to folk art and colorful crystal chandeliers, everything about the shop is enchanting - and this includes the delightful partners. Over the years, during their trips abroad, the two have discovered many talented artisans who constantly remind Claude-Noelle of French farmers. She explained that "they are in their own little world working and producing special pieces, having very little communication with the outside world. " But, she continued, "They absolutely appreciate the fact that there is a shop in Manhattan that is selling their work. " I then learned that there is nowhere else in the States that carries their pottery. For that matter, the only other place in the world that does so is in France. In addition to the new pottery for which Le Fanion is known, the store also has a limited collection of both pottery and furniture that date back to the early and mid-1700s, alongside a larger number of items from the nineteenth century. When I revisited Claude-Noelle in 2016, she was still gushing about her longevity in the West Village and how she continues to love every minute of being on her special, quiet corner. She disclosed that there are two wonderful aspects of owning Le Fanion - traveling to the south of France several times a year, where she and William are able to interact with so many fascinating people "who have unexploited lifestyles, " and returning with new inventory to share with their customers. Claude-Noelle added that she finds it "kind of funny to think that we are a genuine organic store - we only sell wood and clay. " Who knew that they were so ahead of their time in the 1980s? "Today, everyone either tries or pretends to be organic... but we were doing it before many others, " Claude Noelle commented. After a pause, she said, "Wow, thirty years later, and we are still here - How can that be? " Claude-Noelle answered her own question: "What we sell attracts people who appreciate the quality and the stories behind the pieces. And, it continues to always be a nice moment. "

Angus Wilkie, who describes the location of his semi-hidden gallery, Cove Landing, as "squirreled away on 74th Street, " is no newcomer to the art world. His career had an unexpected beginning: whereas many people hope to one day have a gallery of their own, Angus started with an eponymous gallery on Grand Street. He showed me an artistic photograph of himself as a younger man, gazing out from behind the windows of his gallery with a large dog on the doorstep. During this time, he wrote a book on Biedermeier furniture. This book was part of the reason why he then got a job at Christie's for ten years in the European Furniture Department. Angus told me that his time at the famous auction house allowed him to "sharpen [his] teeth and work on other things. " He continued writing, penning a number of articles on decorative art. He knew, however, that he would one day return to having his own gallery. "I always wanted to be a dealer, " he shared. "Being a dealer is in my blood, somehow. "In 1997, Angus and his partner, architect Len Morgan, bought a building in Lyme, CT, and began renovating it. The town called the old building "Cove Landing, " which Angus decided was a perfect name for a gallery. In 2000, he opened Cove Landing (the art gallery) on Lexington Avenue. In 2013, he moved to 74th Street. Angus claims that most of his knowledge of furniture was learned through osmosis. "It's like learning a language, " he explained. It takes years of looking at different pieces to discover what they are saying - the little signs that furniture shows and the signals that the trained eye can pick up - and then share with a customer. In the anthropomorphic world of furniture, Angus is a true anthropologist. "I have a weird dialogue with objects... they reveal a real character and story to me. " Despite crediting his knowledge to his experience, it quickly became apparent that Angus was an avid reader, and seemed to have the learning of a true academic in addition to the skills gained through many years in the field. He told me stories of exhaustively researching different topics, both for his business and his own curiosity. "I love to know the history of materials, " he said with a smile. For example, he showed me a 1920s box made of shagreen, a material that comes from stingray skin. He was eager to know "What's the story of shagreen? " By reading everything he could get his hands on, Angus discovered that the first mention of shagreen came from the eighteenth century, when Turks would use it on weaponry. It then reached its heyday in the 1920s when Jean Michel Frank, the French interior designer, brought it into style - hence the origin of the box. Angus then wrote an article on the substance. His love of materials is obvious in his collections. Angus showed me around his October 2015 exhibition, called "Treen, " an old English word that means "made of tree. " The gallery was filled with utilitarian items such as snuff boxes, butter tubs, and other functional tools, all made from one piece of wood with no joinery. Some objects' purposes were obvious, while others were more enigmatic. There was an eighteenth century "priest, " a wooden mallet used for hitting fish on the head in order to kill them swiftly. My eye was caught by a beautiful piece that Angus informed me was an Anglo-Indian turban stand, as well as a clever folding swift for winding wool. "I like things that are slightly mechanical, " he commented. The last show at Cove Landing had been cheekily titled "Stoned, " and included work in marble, hard stones, and other geological materials. Although Angus does not get as much footfall on a side street, he relishes the opportunity that the space gives him to create more curated shows. He sends out beautiful cards to his followers for each new exhibit, which then leads to a "captive audience" of Treen collectors, or people who are simply curious about what the gallery is displaying in the next exhibit. Angus appreciates the fact that since the space is truly a little apartment, clients can see how the pieces look in a home setting. The main objective, however, is to sell the furniture underneath the decorative objects. He assured me that the way his gallery was currently set up, with curious Treen covering most surfaces, was not usual. "It is incredibly crowded in here, " he said with a slight frown. "I usually like a very spare, edited look. It is purposefully zen and open. " Despite Angus' disclaimers, I felt a sense of calm. Everything was arranged in a way that best displayed Angus' love, in his own words, of "silhouette of form. "

There is a short distance of 10th Street that has a plethora of antique shops. I was delighted to be able to meet Gerard, himself, on one visit, as he is known as an icon in this business. Maison Gerard has been around since 1974 and can lay claim to being called New York’s first art deco retail shop.