by Judith Gura
In its fifth year of operation, Miami Modernism seems to be hitting its stride. The show has become the latest fixture in that city’s event-packed January schedule, following on the heels of the city’s annual art deco celebration.This year, 65 dealers offered a broad but well-focused presentation that was, with only a few exceptions, strictly twentieth century and overwhelmingly American. The exceptions were some choice pieces of Scandinavian and French furniture and objects, and some fine Italian glass, giving the event an international flavor.
Exhibits were evenly balanced between furniture, accessories, artworks, and jewelry, with objects for serious collectors as well as shoppers looking to furnish their homes. Miami Modernism’s subtitle, ‘‘At Home in the Twentieth Century,’’ was an apt one, since pieces were generally affordable, with even big-ticket items rarely over $10,000, and most well under that. One of the benefits of collecting twentieth century design is the fact that prices have not yet reached the stratospheric highs of the antiques market.
As is usual at this event, buying was brisk even before the preview. With dealers shuttling back and forth in frantic efforts to set up their own booths while shopping everyone else’s, much of the liveliest selling action took place before the doors opened. There was more than enough left, however, for preview guests to choose from, though serious collectors were wise to come early—some of the choicest treasures were scooped up in the first half-hour.
The opening party drew from several areas of the Miami community, including civic leaders, designers, and preservationists, in addition to dealers, curators, and art and design collectors from around the area and fields afar. A number of twentieth century specialists flew down from northern cities for the event, as did a number of European dealers looking for artwork made in their countries in the ’50s and ’60s and purchased for the American market. (“We were the only ones spending money then,” one dealer explained. “Now they're all looking to bring things back for collectors back home.”)
Most of the dealers stocked their booths with quality objects, focusing on things people could use rather than objects for collectors. There were, however, a few genuine treasures to be found, along with some excellent pieces at generally good prices, which may have accounted for the number of northern dealers shopping the show.
As usual at every twentieth century show, there was a good selection of stalwart Heywood Wakefield furniture. Early buyers showed little interest, but weekend shoppers wanted it to furnish their homes. “It will never stop selling,” said The Modernist’s Alex Chronis. “It’s well made, and there’s just too much of it around.”
Jewelry at Miami Modernism was a well-edited selection, from modestly priced costume pieces to artist-made items worthy of museums. In Florida, bakelite is a year-round bestseller.
The Miami market is becoming more sophisticated in its appreciation of good twentieth century design, although some objects that would have disappeared immediately up north took longer to sell at this show. Go they did, however, as dealers reported sales that ranged from steady to spectacular, from a growing clientele of “regulars,” including many from out of town.