The short history of an antiques dealer!

In 1955, holding a business degree from New York's City College, an honorable discharge from the Army and the recent memory of a stint in Japan with the Army Finance Corps, Lewis Robinson joined his father-in-law's thriving antiques business in Manhattan.
It was the start of his love affair--still going strong--with a fascinating profession that made him part of a select group of colorful individualists and uniquely skilled experts in the craftsmanship and art of past centuries.
Lewis soon became the owner, president of Midtown Antiques, Inc.--which he quickly grew into one of the largest and most prestigious, wholesale antiques and art dealerships in the United States--and a respected member of a small, elite group of experts, through whose hands flowed tens of thousands of household heirlooms and artistic treasures from around the globe. His hands-on experience is quite different than that of many appraisers who learned their trade from books and courses.
In 1986, when Lewis sold Midtown Antiques, Inc., and relocated to La Jolla, California, his reputation as a dealer and expertise as an appraiser attracted an offer from the West Coast's leading, San Francisco-based auction house, Butterfield & Butterfield, to become its Southern California representative.
"It was interesting to be on the other side of the business, for a change," confides Robinson, who for over three decades was one of the most valued bidders of the top auction houses of Europe and the U.S. "It also helped me to get acquainted with the West Coast market and the very different way in which the antiques and art business is conducted here."
Lessons learned, a year later, Lewis resigned his position at B&B and re-established himself in business as a dealer, appraiser, consultant and expert witness in estate disputes.....and here he still is, 30 years later, still very active in his most interesting profession.

Lewis' Services as an Appraiser

I am a long-time accredited member of the top rated Appraisers’ Association of America, I follow its ethical and professional guidelines—which coincide with my own philosophy.

Since 1986 I have been providing appraisal, consulting and expert witness services throughout the Southern Californian region. Since I have acquired my expertise during 57 years of hands-on experience, continuous study and research, I produce work that is thorough and accurate. As a generalist whose expertise ranges from museum-quality antiques and fine art, to contemporary and decorative furnishings, utilitarian items and everything in between, I am usually called in to evaluate the entire contents of homes and businesses. My clients include insurance companies, attorneys, government agencies, banks, realtors, as well as families protecting their possessions, retirees providing for their heirs and couples struggling with divorce.

Following the ethical guidelines of the Appraisers Association of America, I do not buy what I appraise (it would be a conflict of interest), albeit I do counsel and assist clients if there is a need to sell their possessions. By the same guidelines, I charge hourly fees, based on the time I spend viewing and listing the items to be evaluated, researching obscure or controversial pieces and preparing the written appraisal. (Basing fees on the values of items being appraised is not considered ethical or fair practice.)

I make allowances for seniors, members of the armed forces and all those who might need a helping hand. Email me or phone (858-459-9479) and you will find someone who will be willing to listen and work through your concerns.

APPRAISALS -- What Makes Them So Indispensable?

We have all heard the horror stories. About friends or relatives who lost prized possessions to burglars, fires or careless movers. Many had their misfortune compounded when--unable to prove the value of their damaged or destroyed possessions--they were refused compensation by balking insurance companies, or were offered arbitrary and unreasonably low reimbursement.

Often, following the time-honored system of closing the barn door after the horse is gone, the victims call in The Appraiser. They hope, of course, that s/he would somehow divine--from oral descriptions, family photographs, charred or broken remains--the true value of their once-upon-a-time treasures, and thus force the insurance companies to pay up.

Alas, in most such cases, short of some serious talent for clairvoyance, even the most knowledgeable and experienced appraiser would have trouble coming up with the correct information.

It really doesn't matter if one has antiques, or just good, custom-made furniture, decorative accessories, art or rugs. A written appraisal by a certified appraiser who is a member of one of the top national appraisers' associations is the best insurance against such heartbreaking losses.

Most reputable appraisers base their fees on the time they spend on the job--not on the value of items they are asked to appraise. The latter system can lend itself to a conflict of interest.

Recommendations are always a good way to find a knowledgeable and ethical appraiser. If a referral is not available, however, it is a good idea to interview several appraisers before hiring one. Then, it is important to remember the following:
• Ask the appraiser about his/her experience. Dealer-appraisers who have
actually handled (i.e., bought and sold) the type of home furnishings
you want appraised, are better qualified than appraisers who learned
their profession from books and auction catalogues. It is one thing to
look at a photograph of an item, and another to have hands-on
familiarity with it.
• Ask about the appraiser's background and experience. Although some
appraisers are generalists, others specialize--in rugs, paintings, jewelry,
etc.--but still may accept the job, thinking they could compensate for
their lack of expertise in other areas by winging it, or doing a bit of
research.
• The fee size is not indicative of the appraiser's competence and honesty.
A low fee doesn't always mean you will save money. Nor is it a
certainty that the appraiser charging the highest fee is the one most
knowledgeable. Polite fee negotiations are appropriate--though they
may not succeed when the appraiser's fee schedule is set to industry
standards.

Internet Appraisals

With the convenience of these wonderful personal computers we can communicate with each other globally. Thus, I believe that I can be of help to folks from areas outside of my home base, Southern California. Using digital photos transmitted via email many people have been helped to appraise and identify their possessions.
Just contact me and, if I am able to help you we can work out a fee that would meet your satisfaction, or I can direct you to the appropriate source.

Tips on Buying Antiques

Are you looking for value as you furnish a new home, or redecorate a tired interior? Consider using antiques instead of new furniture, fixtures and display items--rather than new things, which often cost as much, or more, and lose two-thirds of their resale value the moment they leave the store.
You need not deprive yourself of the pleasure of living with fine antique furniture. Not only does it come in all price ranges, but you can easily learn where to find it and how to select wisely.
Many potential buyers are deterred by their lack of knowledge, some bad experience they, or their friends, may have had in the past with dealers, or by an impulsive and costly choice.
Here are ten basic guidelines to becoming a confident collector. Each starts with a question that buyers who want to prevent being taken need to ask, and reputable dealers should be happy to answer. If a dealer will not, or cannot provide clear answers, don't buy from him/her.

1. Does this antique fit my purpose?

When a buyer is considering a particular piece, s/he should ask the dealer if the piece is appropriate for his/her purpose. For example: Antiques can be bought for investment, for daily family use, or for decorative purposes. A piece which has had major restoration may not qualify as an investment. A set of delicate, museum-quality Hepplewhite chairs, for instance, might not be the best choice for a family with active, young children. If the piece is primarily decorative, then age will be less important than high style and fine craftsmanship.

2. How does this antique rate in terms of quality of design, color and finish?

The range of quality is limitless and will directly affect price. For example: You are about to buy a Chippendale chair. The dealer should be willing and able to tell you how this chair rates on the wide spectrum of workmanship, styling and condition--and why.
When looking at an antique, the first thing we notice is its lines. Design is of greater importance than age or condition, because it gives the piece the harmony and beauty that elevates it from mere furniture to art. Stand back and look at it as a whole, to evaluate the success of its design.
The next most important attribute of an antique is its color. A fine piece should have a lovely, warm, mellow color, with the depth of a patina that only comes with years of natural aging. Here, too, you have a wide range of choices--from some depth of color and texture, to the truly fine patina a well crafted antique acquires after two centuries.
Stripping can ruin an antique--although a professionally done refinishing may enhance it. A fine antique is generally French-polished--a procedure of applying shellac and alcohol with a pad which must be done by a professional. When done properly, with careful removal of old wax and dirt first, this procedure will not spoil the patina, which comes from the wood itself. Find out what kind of finish is on the piece you are considering.

3. How is the piece constructed and from what woods is it made?

Learn to recognize the basic woods, as identification is important in determining quality of construction and age. The open grain of oak has a very different look from the close grain of mahogany. Knowing the difference will help you to spot a drawer, for example, made in 1900 from one made in 1800.
Typically, English antiques with drawers have sides and bottoms of oak or pine and are constructed with small, even dovetails to join the four sides. The use of mahogany for drawer linings didn't come into common practice until late in the 19th century.
Sometimes you will even see a drawer with a plywood bottom being passed off as 18th century!! If the drawer has been stained inside, be wary (see Q. 4). American pieces generally have drawer linings of pine, a wood also used in England. But larger, cruder dovetails and chamfered drawer bottoms may help identify the piece as American and not English. Open the drawers of the piece you are thinking of buying, to make sure that all the drawers are made the same way-- and ask the dealer to show you how they are put together.

4. How do I know I am looking at an authentic period antique, or at a 19th or 20th century reproduction?

If, for example, a piece was made during the reign of Queen Anne, or shortly thereafter, it should be referred to as Queen Anne Period. If it was made at any other (later) date--be it 1820, or 1980--but still made according to the Queen Anne design, it is a Queen Anne Style piece. So, when you see or hear the word "style," know that it indicates a reproduction--even if it is 100 years old. Be even more careful of the dealer who doesn't bother to include the word at all--the piece may be described simply as "Queen Anne, circa 1840," which is an incorrect and deceptive description.
Identifying the age of a piece requires years of experience, but one element you should look for that is very hard to simulate is patination. Not to be confused with patina (i.e., the rich color created by the natural aging of polished surfaces), patination is the natural discoloration of wood in the areas which have not been polished--such as the back, drawer linings, or the flyrails on tables. Areas exposed to air will be dark with the dust, dirt and oxidation of time. The sides of a drawer in the upper fitted section of a desk will be relatively clean because air and dirt do not reach them. The sides of a drawer in a chest which was opened daily, will show dirt and oil stains from the repeated touch of fingers, as will the ends of flyrails.
Beware of stained wood. If a drawer is stained, ask why. Stain is often used to cover up lack of age. Turn a drawer which has been stained upside down and look for a telltale line of new wood which will become evident as the bottom begins to shrink away from the ends.

5. What repairs and restoration has it had?

Nearly every 18th century piece of furniture surviving today has had some repair work. Inlay pops out as it shrinks, chair legs dragged over dirt and stone floors wear down, pieces of molding come loose when old glue gives out, etc. You need to be aware, however, that some repairs can have a profound effect upon the value of a piece. For example, has a leg been replaced? Look for a splice, or a difference in color. Turn the piece upside down and look for newer wood, patches, screws, modern nails. If the surface is too perfect, be wary.
Many pieces have been re-veneered and passed off as original. It is fine to buy a piece which has had work done on it, but you should know what has been done before you buy--and your dealer should point out these repairs to you.
If the piece you want to buy needs to have something done to it before you will be happy with it, tell the dealer you want the work done by a reputable craftsman--and make sure you have a solid agreement on who will pay for the polishing or repairs.

6. How do I know if it is a made-up piece, a marriage,
a cut-down or expanded original, or an out-and-out fake?

A reputable and knowledgeable dealer is your best protection against unwittingly purchasing such a piece.
However, you should be aware that a whole industry has been at work in England manufacturing or "improving" antiques--converting large chests-on-chests, for example, into more desirable and saleable small bachelors' chests; changing (fireplace) pole-screens into candlestands; adding upper bookcase sections to secretaries; converting chests of drawers into kneehole desks, etc.
Careful examination may reveal many alterations. On a piece with an upper and lower section, look at the sides to be sure that the graining and color are the same. The back will tell all, as color and method of construction must be the same on both halves, or it may be a "marriage"--the combining of two elements that did not start out life together. Look for evidence of the use of machine tools, such as band-saw marks on the bottoms of drawers, as these will date the piece, or part of it, after 1850.
Watch out for the use of stain or aniline dye to simulate age.

7. Is this antique guaranteed to be as represented?

Every piece in a reputable shop should be clearly described, dated and priced.
But what if you buy a piece, believing it to be 1790, and a subsequent appraiser points out to you that the piece is a later reproduction?
The answer is, you should have recourse. A dealer should refund your money if the piece was misrepresented to you--whether deliberately or by error.
Before you purchase an antique, ask for a guarantee that the dealer will stand behind his/her description and dating of it. If a dispute arises later, have two qualified, objective professionals appraise the piece in writing. Take the appraisal, the piece and your invoice to the dealer and ask for your money back.
Ignorance on the part of the dealer is as much a sin as is dishonesty.

8. How do I care for my antiques?

Extremes of humidity are as hard on wood as they are on people. A humidifier in winter and air-conditioning in summer will help to equalize climatological extremes.
Surfaces should be dusted with a clean, soft cloth or a feather-duster. Wax should be applied no more than every six months. Oils and sprays should never be used.
Ask your dealer if any special care is necessary for your piece(s). More care must be taken, for example, with a veneered dining table than with a solid-top one, since veneer is more susceptible to heat damage.

9. May I take the piece home on approval?
May I return it at a future date?
Under what conditions?

Some dealers will hold your check for a day or two, while you try the piece(s) to be sure that you are happy with it/them. Seek a dealer who has this policy. Remember that even the most beautiful antique could, at times, look inappropriate when placed in different surroundings.
Be aware, however, that rarely will a dealer take back an antique a long time after it was purchased--say when you are moving, redecorating, or upgrading your collection.
A return policy, when offered, will allow you future flexibility. Ask if you may return the piece for store credit, or cash? If a dealer never wants to see his/her merchandise again, be suspicious--ask 'why?'

Choose your dealer as carefully as you select your antiques. If your dealer has a reputation for integrity, knowledge and good taste, you are on your way to enriching your life with fine antiques.

The Major English Periods and Designers

English antique furniture is often referred to in general terms as "Georgian," after the three King Georges who ruled the British Isles for more than a century. This era breaks down into the following periods. (Dates are approximate.)

William and Mary --- Last decade of the 17th century
Characterized by the use of walnut and oak, spiral turned and "S"
scroll legs, bun feet, and elaborate veneers--with the introduction to
England of Dutch marquetry.

Queen Anne --- 1700 to 1720
Age of Walnut; characterized by simpler lines, chairs with
solid shaped back splats, cabriolet legs, pad or ball-and-claw feet,
and graceful curves.

Chippendale --- 1735 to 1765
Characterized by the predominant use of mahogany, with elaborate
carving, rococo, Gothic and Chinese elements, ball-and-claw feet, and
impressive proportions.

Hepplewhite --- 1765 to 1790
Characterized by elegant, refined lines and neoclassical elements
--such as carved swags of drapery, oval medallions, shield backs
to chairs, square tapering legs and spade feet.

Sheraton --- 1780 to 1800
Characterized by the wide use of satinwood for inlay and for whole
pieces of furniture; chairs with straight lines; the full development of
the sideboard; and the square, turned, or reeded leg.

Regency --- 1800 to 1820
Characterized by the use of classical and Egyptian elements,
brass inlay, use of rosewood, gilding, saber legs, and smaller
proportions.

William IV -- also known as English Empire --- 1825 to 1840
Characterized by heavier treatment to turned legs; substantial bases for
tables; and beading, and reeding for decoration--leading the way to the
Victorian design, which dominated the balance of the 19th century.

American furniture followed much the same course of development, though lagging a decade or more behind England. In both countries, during the last quarter of the 19th century, there was a revival of the furniture styles of the 18th century. These "Centennial" reproductions were made in great numbers and are often passed off as "Period" pieces. Some of them may be technically antiques now, since they are over 100 years old, but there is a vast difference in value between such a piece and the genuine article.