Peter Wilson, Sotheby’s Maestro Coverup

In reading the Sotheby’s published commentaries of the life and career of Peter Wilson (Sotheby’s Maestro), there is no denying his creativity and methodology to change an industry.  It was also the start of a time with endless possibilities for a stodgy way of doing business.  The Post-World War II landscape of Europe vs America for taste and money, was wiped clean. His opportunities were in delivering a better product, in a better way with a good bit of PR, which never hurt.

 With all the accolades and anecdotes about his life by the many colleagues and professional acquaintance I found it stunning that no one mentioned his role in the implementation of the buyer’s premium in the mid-1970s.  With all the showmanship attributed to his demeanor and control of an auction room, it all came down to money, and Sotheby’s not going broke or be overextended.  It seemed that he had no shame spending money to do what he wanted. However, Peter Wilson was complicit as anybody in the premium’s creation and operation, having a willing partner with their competitor,  Christie’s.  Why wasn’t this titanic sea change in the auction revenue stream commented and recognize as an achievement in any of these commentaries?

 The buyer’s premium was created to separate the dealers from the retail trade and it has worked magnificently.  It had a build in price increase mechanism that worked flawlessly for over 40 years.  It became the auction industry standard of non-negotiable revenue paid by a buyer, and today, auctioneers wouldn’t have it any other way. Honestly, the reason I bought the book was to learn more about the intrigue and thinking of when the premium was first implemented in London.  From my perspective, the best version of the whole episode was from an incredible account by Peter Spira, in his insightful autobiography, Ladders and Snakes.  As the Chief Financial Officer for Sotheby’s in London, he was careful not to implicate his boss in any collusion with Christie’s; not so for Mr. Taubman unfortunately.

 As an anecdote to the book, I would like to give my one and only meeting of Mr. Wilson.  It must have been in the late 70’s and we were just starting to establish a relationship with Sotheby’s through Robert Woolley, who was the head of Sotheby’s decorative arts division in New York.  Robert was enamored by Newel’s immense size, quality, and diversity of decorative arts and he knew it might be something that Wilson should keep on his radar. I believe Robert also brought Gerald Bland who ran the English department too.  As Wilson walked around our warehouse he remarked, “how did all this incredible stuff end up in New York.”  One piece in particular that caught his attention was a chaise in the form of a crocodile that was vintage Brighton Pavilion; his eyes lit up.  I got the sense that he loved nothing more than to be in his element, decorative and fine arts items.

 To bring the Peter Wilson story to a close, Sotheby’s has continued to advance and reshape the auction house role. Today, irrevocable bidding would be like introducing a secret reserve price.  In the end, the book is very entertaining and a last gasp of how the industry operated, with only a telephone or face to face.  The Internet has now taken on a dominant role as pricing continues to get more transparent.  How things were done, with a purpose, and where they morph has and will kept this industry evolving quite dramatically. In fact, Sotheby’s recently announced that they were getting rid of the buyer’s premium for online sale only; what comes around goes around!

History of Newel: Oliver Smith

Recently, I had been talking about the history of Newel to a group of visitors in our showroom; Kiel Wuellner who head our sales division, suggested to me that I should write a book about Newel and the incredible people and productions associated with the Company. The thought seemed too daunting for me with so many stories to tell, but intriguing to try. With this in mind, Oliver Smith seem like a trans-generational figure in telling Newel’s story. He was a Broadway designer and socially connected New Yorker extraordinaire; he’s a good person to start the journey.

Newel had always been associated with only the top Broadway set designers going back to its founding in 1939 through the 1970s when Broadway evolved away from period productions. But in a time when going to the theater, and especially going to a Broadway production was entertainment in its highest form, Newel’s inventory was in constant display on those stages. “Furniture and furnishing by Newel Art Galleries” was in the credits of every Playbill for any show of merit. The designers were rock stars in their industry. Jo Mielziner, Boris Aronson, Donald Oenslager, Howard Bay, the list goes on and on. Oliver Smith’s credits are on the same plateau as these designers, but he holds a special memory for me.

Thinking of designing the original stages for the My Fair Lady Broadway show was a statement into not only style and taste, but personality and character. Henry Higgins aka Rex Harrison was a powerful individual and the whole tenor of the show required a correctness and formality. It also reflected the social scene in New York in the 1950s too. Mid-Century modern hadn’t been awakened yet and Broadway design was focused on the French, English, and Victorian periods. At that time, who wouldn’t want an apartment designed by Oliver Smith; but he only did it for Broadway.

Oliver Smith is a figure I find connects a lot of dots for Newel. I worked with him at Newel in the 1970s and 80s, but his work from the late 1940s through the 60s was incomparable. With a cigarette constantly dangling from his lips, he would assemble a set in an open space in our warehouse. Casually choosing Newel’s items, he would put the finished product together in an afternoon. But it was a different time and era of live performances. Even radio had only one take and in the 1950s, TV was also all live. Show of Shows, US Steel Hour, Hallmark Hall of Fame, were all one and done live TV productions. Only the movies got a second chance. Perhaps that’s why Saturday Night Live is so near and dear to my heart. They still do it the old fashion way since 1975, and Newel’s still a part of it.

Perhaps it was Oliver Smith’s sense of social grace and demeanor that most impressed me. Always well dressed and exuding a low-key confidence, his cropped white hair gave him the appearance of a connoisseur. He had an aura of the consummate man of taste which anyone in New York’s society would easily recognize. His many escorts of Jacqueline Kennedy to social events in New York are a testament to his stand in society as she was also a long time loyal Newel client. And that’s a story for another chapter of Newel’s history.

The Art and Antiques Fair, Little Has Changed

It was enlightening to read a review of the latest version of the “venerable art fair La Biennale Paris.” In all fairness, I’ve never been to it, but I can only imagine the setting and the aura of walking down the aisles of such an austere event. An article about the fair was written by Ted Loos in the New York Times which also referenced antiques dealers as “now been discarded, least it sound musty and fusty”. Yes, I can agree, but the show must go on and filling booths and attracting fair goers is still the end game.

It’s been a fascinating last decade and a half for antiques dealers, but not so much for the art fair format. The Biennale use to be known as the Biennale des Antiquaires. The antiques dealer of the “musty and fusty” type is long gone, as the effects of style and taste changes, and competition created by the internet have altered the relationship between buyers and sellers in the industry. Art and antiques shows have experienced almost imperceptible variations in form and function. Jewelry and art now dominate the standard booths that use to exhibit 18th and 19th Century decorative arts; contemporary designs draw more interest than the traditional period forms. The events at the marque locations such as the Park Avenue New York Armory, Grosvenor House, Biennale, or Maastricht enjoy the same consistency and purpose as a Triple Pier Show or Brimfield. The show format is all about dealers in large numbers showing a limited amount of their individual inventories at a specifically timed event.

Constant pressures on art and antiques shows are related to the financial overhead and the cost of mounting a fair against the pool of dealers who look to the format to survive. The ultimate success of shows is driven by attendance and sales. If dealers sell and there is growth in gate turnout then the industry can use the results a barometer of the present market. But with the many competitive shows vying for a limited number of dealers, how can you really tell where the market is going?

Shows of the upper strata tend to push the social scene as much as the business at hand, so add the “glitz” factor into the hype. That’s not the formula for attracting a younger, affluent market of consumers, but it’s a tried and true format that is etched in the calendar of social events. Other more mundane shows attract the casual collector who is entertained by the diversity of works to be seen and opportunities to buy.

So now the fall season is upon us and the fair schedule is in place. The likelihood of who exhibits and who attends to look, buy, or be seen hasn’t really changed. You can’t shop the show on the internet like you can an auction catalogue or a dealer web site. If you don’t go the show it’s like missing a baseball game, the experience has moved on to the next game/fair. In baseball, the players on the teams change over the years and rules get modified, but the format is still the same. For fair attendees, dealer participants change as rookies replace veterans. These are incremental changes but the structure and purpose is consistent. Unless there is some new wrinkle in the format, the fair’s predictable process and presentation will always limit its appeal.

Remember The Buyer’s Premium

I guess if you live long enough you can see everything.  I believe I have witnessed in my career in the art and antiques industry the most seminal decision by an auctioneer to voluntarily forgo the buyer’s premium.  Sotheby’s, you not only see the handwriting on the wall, but now realize new potential in how the market can work.  Offering no buyer’s premium to online sales only, is the most significant auction method change since it was first introduced in the mid 1970s.

In the press release, Sotheby’s acknowledged the economics of the decision to test the waters where there is least resistance and the greatest pool of buyer.  Presently, this is not the marketplace for million dollar works of art, those buyer’s premiums are sacrosanct for the milking of billionaires in the live action dramas of the public performance sale.  Cracking the complete abandonment of the buyer’s premium as opposed to reducing it represents a new business model.  Sotheby’s is developing a prototype that relies on the more traditional seller’s commission.

The implications of this are intriguing because their present line up of online only auctions includes Contemporary Art, jewelry and watches, prints and Old Masters.  Where’s the decorative arts?  This is my immediate question as to which areas Sotheby’s sees the potential markets.  In my experience, the buyer’s premium had the most devastating on furniture and decorative arts dealers, who are practically non-existent at the higher end. However, if their little experiment starts to win over consignments and costs are contained with the technology, Sotheby’s could create a competitive ripple effect on buying at auction.

This brings me to the present dealer fee (commission) that is imposed by 1stdibs.  Pressure to create revenue from the seller is the traditional method for most transactions.  If auctioneers like Sotheby’s attempt to rely on seller commissions only, as in their proposed online sales, then 1stdibs is their template for this.  1stdibs, through its technology operates world-wide and sells without ever owning an item.  Buyer’s pay nothing, the sellers (like myself) pay it all.

While 1stdibs is still searching for a healthy bottom line, Sotheby’s makes an enormous profit.  And if the “competition” gets wind of what is going on, Christie’s will have to have an answer (usually match the latest salvo).  What is very interesting in todays present online auction process is the standardization of the present buyer’s premium and extra fees for using online auction services like Invaluable and Live Auctioneer.

It’s an exciting time to be in this business, just when I thought it was never going to improve.  Taste and money are always changing and evolving into different forms and styles.  Great inventory opportunities abound for both dealers, auctioneers, and retail purchasers.  The selections have never been so plentiful, except at the very top, where no one wants to be except perhaps a museum or billionaires. The end of the buyer’s premium is like the fall of Communism; it had its run but it was always flawed.

Antiques, for an Evolving Buyer

Back in the day (the 20th Century), you either bought antiques and decorative arts at auction or from dealers spread throughout the US and Europe. Sourcing merchandise was easy but competitive, with a robust dealer/auction base and a consumer market bursting with demand. Anyone of means could open a shop and be a “dealer” of fine objects in any small or large city. A sense of taste, knowledge, and a little capital for inventory and a shop were the requisite requirements for success. Fast forward to the present and the necessities for survival have a completely different format.

The showroom and shop structure has gone the way of Amazon Prime. It’s not about scholarship and knowledge but design and trends. Passion and appreciation has taken a backseat to form, function, and availability. The need to have it now supersedes the thrill of the find and pursuit of the extraordinary. With these new parameters, the internet offers the only resource to cast the widest net in the need to find, value, and secure items of interest. That interest now fights with travel, food, entertainment, and technology among the many demands for one’s attention.

Interior design and the residential environment has morphed from a space of primacy to one of means to an end. When was the last time you entertained guests (not family) in a dining room; then again when was the last time you had dinner in your dining room? And the living room, does it have any function anymore? We live in a different reality where the home serves a different utility than in the traditional sense. Rooms have been redefined as to purpose and meaning, with an eye on a different approach to space, color, and light. Perhaps the view from the 45th floor takes precedent over the interior décor, or maybe it’s the architectural minimalism that sets the tone. Interior furnishings seem to take a secondary role, but that’s where there is opportunity for the decorative arts.

With the new availability of merchandise through the internet, the means for procurement of interesting items has never been easier. And in the scheme of pricing, there has been such a downdraft in prices over the last decade that overpaying is marginal. Yes, I overpaid for my Mercedes and I know someone got a better price than me, but so what. I’m driving a nice car and I enjoy it as much as the guy who made the better deal. Pricing antiques has a negotiable metric that should also equate to some form of satisfaction and pleasure beyond the cost.

The possibilities for antiques and the decorative arts in the home or office will continue to evolve. Methods of purchase will always be in a state of dynamic change and the internet will be that engine (what’s after 1stdibs). The touch and feel aspect has already made the leap into the digital world. The future demand for these items rests on a change in perception. Today, being a dealer or an auctioneer offers little cache to a sale. Antiques must solely rely on a change in taste and attitude. Everyone can and wants to live in an environment that defines their personality with furnishing that give some meaning and definition of that individual.

Market Pricing for Trading In The Decorative Arts

Back in the day, dealers were the backbone of supporting prices in a market that they not only dominated, but kept the value fluid and sustainable.  Take out the dealer participation in today’s world and along with a precipitative drop in overall consumer demand, pricing seems to have little foundation. Letting the markets forces begin to evolve, you get a structure that is only effective as an internet exchange, where buyers and sellers can and will negotiate and buy.  All terms of the sale are up for discussion.

The idea of a working decorative arts market exchange has been something I’ve dreamed about for 30 years, since the advent of the internet.  It was always this medium that offered the best reach and transparency for all buyers and sellers, including dealers, auctions, consumers and private institutions.  Making an offer is not an insult but a recognition.  An offer price can be rejected, modified, and or accepted. How the results end up is not pre-planned or entirely predictable.  A bit of passion must enter the equation for the buyer while the seller must become detached from the item.

However, trends are hard to fight and creating new ones is easier than reviving existing tastes and styles. The timing to understand when a trend in the arts starts, crests, and replaced with something new is to know how we all evolve as a society.  For the decorative arts, this process has been  practiced for centuries.  By just tracing the French styles from Louis XIV to Art Deco is staggering; American Revolutionary Period furniture to the designs of the Mid-20th Century seem inconceivable. Trends are the elixir for the arts; decorative arts need that recognition as an all-encompassing, creative, and livable media form.

Which gets me back to pricing as a measure of value for the decorative arts.  Just like any form of art, the value should be more than the physical product.  Style, color, form, function, material all are part of an equation of comparison to similar designs. Market pricing is something that the internet has aided in the form of the online market places such as 1stdibs, Invaluable, and eBay.  There will always be a tug between dealers and auctions as to how consumers and collectors recycle their pieces.  The selling function can happen successfully in both formats.  Dealers and auctioneers vie for merchandise where quantity, quality, and style have different stratas.

Pricing has two parts, a starting valuation and a market settlement.  Buying a pair of 19th Century bamboo and lacquered pedestals has more issues involved than the purchase of an Art Deco wall mirror.  If you think moving a sideboard into your home is a problem, try hanging a chandelier.  The decorative arts have additional cost that any seller knows are potential issues and problems that can deter consumers.  This isn’t Amazon and it’s not buying a stock or bond. Reasonableness will win out.  If there is limited demand or that style is so far from the present trend, the price is as low as giving it to charity (if they will even want it).  

As a dealer, the price I offer is a combination of a lot of factors but a selling price also involves a different set of considerations.  It is this fluid feature that competes with the ridged buyer’s premium enhanced auction process.  But the auction process is a very necessary evil, as some formats of the process are presently operating.  It’s unfair to the buyer, but auction fraud has been going on actively in this country for most of the 19th century as well (FRAUD, An American History from Barnum to Madoff, by Ed. Balleisen). Dealers have shown their ability to perpetrate fraud too, but the best advantage that a dealer has is being able to “buy it now” at the right price!

Rustic, the Decorative Arts champion!

The end of the summer is rapidly approaching, and I think it’s a good time to reflect on where the Decorative Arts has a pulse.  From my perspective, good Rustic, of any period or style will sell easier than a French 18th Century commode.  That may sound like a “stretch” but then again, Mid-Century and Contemporary still dominate the taste style du jour. Rustic is a very broad style, that spans American Folk Art to Bavarian and Swiss Black Forest styles.  It cuts a very broad swath of collectors and has interior design appeal.

Rustic as a classification of decorative arts represents a style that in many ways is timeless.  I have always had a secret passion for it.  Oddly enough, my “old” favorite style of Art Nouveau seems almost as the artistic height of the Rustic style, but give me my American wicker, Molesworth, or 18th Century Country English too.  And then there are the materials and texture of the items.  Not only was it made with wood, but skins, antlers, metal, stone, and glass.  So, from my prospective, why is it clearly the most popular area where buyers now focus?

I would be remiss if I said it was my pricing, but I seemed to have not had that valuation skill in all of the other classic periods and styles of antiques.  Perhaps my problem is that I still love all these great examples of decorative arts (that darn emotional connection.)  However, the style that is the easiest to understand can be the one with the simplest design.  Folk Art and French Provincial are related by innocence and purpose.  Then you can go to the other extreme of some of the great 19th and 20th Century homes built in the Adirondacks or Germany and Switzerland.  Rustic is looking interesting again, but it never really faded, like so many other antique styles have over the last decade.

My path to this style has a long and deep connection, which came about by my not being a buyer in Europe in the last quarter of the 20th Century (and up to today.)  Rustic came to me as an option of what would enhance and diversify Newel’s inventory.  Classic European styles were in great demand in the 20th Century, and Post-War Design was being accepted by its original 1st generation owners.  I plead guilty about the Post-War Design domination. With my limited scope of buying merchandise in the Northeast United States I preferred to buy from those dealers who had an inventory.  Quantity and selection is everything to a buyer and I have had the opportunity to buy from the best, people who know much more than I.  As another option I found that Americana at the high end was not where I could compete in price and knowledge of the individual pieces.  My eye wasn’t trained in that specific manor.

So I must confess, Rustic has had my heart by default and with pleasure.  To some extent, I feel quite vindicated in how Newel has such an incredibly deep and unrivaled collection of furniture and accessories in this style, anywhere in the world. Of course I can say I helped diversity it in this area, but the real credit for exposing me to the look of this type of item came from the inventory I grew up around at Newel, created by my grandfather, Meyer Newman.  Yes, there was plenty of 17th through 20th Century English, French, Italian, and every other Decorative Arts style in the store; that’s why the premier prop house in New York would have Rustic.

The Antiques Industry, Captured in Time

Anyone in the decorative arts and specifically the “antiques business” has been overwhelmed by the last decade’s collapse in pricing, glut of supply, and dearth of dealers to create a secondary market.  Yes, Tiffany is holding its own and modern design is still testing its limits but the industry’s many other categories are faring on a different level than has ever been seen in this market’s new re-balancing.  Pricing now is a much more elusive number that tests Adam Smith to his core.

Willing buyers and sellers balance price with knowledge.  The knowledge is a critical component for gauging value, but the value can be altered by an emotional or visual reaction to the object; does it turn you on! The emotional connection and appreciation of the intrinsic quality of the item has an edge, at least for me.  So why can’t the public at large want some of this stuff like I do; to live with and enjoy.  That big $64,000 question is killing the business, and it is all because of how these items are perceived by the public, which does not include being functional, decorative, and moments in time.

Even a Jeff Koons sculpture will be dated, just like Picasso, or Rembrandt. Perhaps Contemporary Design will eternally evolve, with form and functions ever driving innovation. The only salvation for the antiques business is to promote its point in time as a period designed piece.  By all (my) measures an eclectic mixture of decorative arts is the best interpretation of taste, style, and knowledge.  Mixing French with bamboo or Mid-Century with Italian Neo-classic, adding in a little Rustic, it’s the individual pieces that have to compete for your eye.  How much fun is that!  Going to a museum and seeing these things can evoke feelings of fantasy and make believe, so why is it so difficult to make these items appealing to a market that is much bigger than when the industry was thriving 15 years ago?

It’s really all about how these items are marketed. I have yet to see a professionally created analysis of the hard core antiques business.  Trends are one thing, but the generational destruction of the market cannot be blames on 1stdibs and its sort.  The whole image of these items has been hollowed out to Antiques Roadshow pricing.  Sentimental value will get you nothing, and that’s not the kind of value you need as a buyer.  Buyers have given up on this stuff not because it’s not “contemporary” but because our items have lost their ability to attract any emotional interest.  Buying some “disposable” Nike sneakers can get your blood flowing, a cool Art Nouveau bergère in any room would light it up.  

The antiques business is unfortunately in a downward spiral because of a simple problem, we’ve lost our sense of time.  Our potential consumers have other more pressing needs than a slow selective process which requires both time and your attention. Yet there is interest and something of a mystery about the pieces and how they got here.  The potential is there in anyone who likes non-fiction and has a visual sense.  We trade in the real, not make believe.  We should turn the image of these items into owning a piece of time and place, with good modern design pieces, that will get old too. Creating a marketplace that will foster that kind of thinking is daunting but is the best option for a resurgence.

The Antiques Business, Fun If Your Looking for Opportunities

I never have seen such a time for opportunities in the antiques decorative arts world.  The merchandise is certainly available in all periods and styles, as museums have acquired all they need and the final generation of collectors and over-decorated residences is passing on.  With the glut of inventory saturating auctions and little or no demand from consumers (not to mention a dearth of dealers), Adam Smith’s iconic laws of supply and demand have hammered prices. With that, prospects in this industry are now percolating.

Whatever the future holds, the powerful forces of taste, style, function, and knowledge will always be vital components to a valuation.  The one fudge factor is how an items is marketed; does is send an emotional or functional message to a buyer or have an interesting provenance.  The whole image of what these decorative items represent is at a critical point for the future success of this commodity.  Buying at Newel, Sotheby’s, or 1stdibs should really mean nothing, as all three can bring a sense of prestige and cache.  But it’s the actual ownership of the item that should be the important part of the transaction for the buyer.

With the advent and now domination of internet portability and access, antiques and the decorative arts have now shrunk from actual touching to postage stamp size screen presentation.  Color and proportion are digital interpretations; how can you bridge this substantial gap? Digital technologies like 3-D help but the best results today require being in all places, all the time.  A showroom is essential but the next best thing is physical access to the location where the items is to be used.  However, this is not like buying anything else on the internet.  Shipping is the link between the buyer and seller, and these items are not shoes or electronic devices.

Last week, Newel completed the purchase (at auction!) of a large segment of the vast collection build by Maxine Kaplan for her prop company.  The fun and challenge for us will be to absorb the incredible diversity of the merchandise, which is dominated by Vintage and Mid-Century accessories.  Collections like this will never be duplicated in its sheer diversity and quantity, because it was created with the idea of renting not selling the inventory.  In a familiar way that was what build Newel and sustained the Company into a 4th generation.

As opportunity meets preparation (my grandfather’s favorite expression) Newel’s timing to aggressively purchase items in this collection will dovetail into our strategic plan to return to our rental roots.  The selling side of the business involves an industry just now trying to find an equilibrium from a devastatingly long downward trend; it’s something we can’t control.  Having the opportunity to reinvigorate our inventory in one fell swoop while focusing on the rental side of the business is quite a compelling circumstance.  Our preparation for this has been in our DNA but we seemed to have lost our focus on having fun at doing what we do best, creating commercial or residential imagined interiors of any period and style.

What Newel Really Is, and Can Be

When a company is created, it is the DNA of the entrepreneur who puts his substance and skills into the business.  As the environment around that entity evolves and becomes more challenging, the mark of the founder can be disrupted and destroyed by many means.  Succession, competition, and technology come to mind as cause for the demise of a potentially good business; but with those tests can come resourceful opportunities.  


In assessing the history of Newel and its colorful past associations with Broadway, window display, and later with motion pictures and television, the last 60 years of the 20th Century was a gold era for the firm.  Product could be acquired either in Europe or discarded items on the curb of Park Avenue apartments. Inventory was cheap and available, anywhere in the world.  Dealers did fine back then, as selling was more than brisk in a market of home furnishing on steroids.  Antiques, art, and the whole idea of a collector now sounds like an oxymoron compared to today’s market environment.


Newel at that time, reluctantly sold inventory to those who got through the (rental only) door.  I can attest there being a sign saying “closed for inventory” at the end of the summer, when Broadway was pumping itself up for the new fall shows.  But the Babe Paley’s of the world got to go through that door, with the aid of her husband, William Paley.  He owned CBS, which Newel was renting tons of furniture and furnishing for all his and the other network shows being performed live to a national audience in New York City.  If we had to sell and item, we were reluctant to give it up.


Fast forward to the last 15 years and you see a different Newel, one that seems to have lost its direction from its founder.  Selling decorative arts should have been good over that period. However, the hurricane of Mid-20th Century and modern design caught everyone in the industry off guard as to how it became such a dominant social and economic mindset; taste became minimalism. Dealers and dealing were irrepressibly altered, especially with novel auction methods and the advent of websites.


The lesson in all this is that Newel has a young CEO who seems to have inherited his great-grandfathers DNA, and wants to rediscover what made Meyer and Evelyn Newman’s company survive and grow in its formative years.  You might think of Newel are purveyors of fine decorative arts, and we are.  We are also in the fullest sense, a prop house for all periods and styles, from the 17th Century to the present.  If you are looking to recreate a room from the past, chances are we would be your best shot; it’s not too hard to do and a lot of fun to do it in person or online.  


After years of trying fight a market that has successfully shot itself in the foot with the lack of unity and direction as a dealer in the trade, I welcome a transition to happier times and future possibilities. With the prospects budding for a strong dealer association AND an infusion to focus back to rental operations, this next generation is redefining Newel’s allure and spirit.