Marketing

A collector of American antiques is probably so used to it she doesn’t even question anymore. It is as common as iron, oxygen, or helium in the physical world. I speak of marketing – advertisements in trade publications, use of social media including videos of show booths, email blasts to listservs of customers, whispers in show hallways. There may be a photo or two or three, typically in color to show off the antiques at their best. Sometimes it is done the old-fashioned way, via use of the US Mail, even flyers put on telephone poles and bulletin boards. 

On a quiet day with my schedule more empty than usual, I began to wonder about the purpose and psychology of all this information. After all, aren’t most collectors aware of dealers who handle the genres they collect; of upcoming shows they have attended in the past or plan to attend? Don’t most collectors sign up for notifications from auction houses to be reminded of upcoming events? Things don’t turn out to be a simple and straightforward as you might think.

Let’s leave the world of antiques for a minute. Coca Cola sells two billion(!) cokes a day. Yet their marketing is unremitting. They want to keep in the public’s eye; someone may be coming after them.

I learned that a dealer, auction house or show may market for a broad variety of reasons. For some the goal is to build, enhance or maintain “brand awareness:” “Psst! remember me. I am still here.” They want collectors to be aware of the antiques they sell and new arrivals (turnover in inventory). They hope to be more visible, more memorable. A collector with dollars to spend will think of them, or so they hope. On the flip side it is not unusual for a dealer to let it be known “this is what I have sold in the past and I welcome pieces of this quality or genre to purchase or for consignment.” 

Such collector consciousness is important, for new and existing competitors lurk around every corner. Auction houses spring up with some regularity, surprisingly. Newcomers strive to dislodge a favorite dealer, a cherished and oft-visited show, or a firmly established auction establishment in a collector’s mind. The buzz of an effective marketing campaign may draw bees to the nectar.

A common marketing goal is to increase sales and revenue. A few months ago, I received an email from a dealer whom I had dealt with in the past. Several color photos with descriptions of items he was bringing to a well-known show were attached. I could not attend the show, but his marketing displayed one piece that I liked, not yet pictured on his website. One thing led to another, and I purchased it. Mission accomplished for this dealer; he had a sale. And the email marketing message and the well-handled exchange helped strengthen our relationship. Such marketing is low cost in both time and dollars, and easy to do. And like me, I am sure many collectors appreciate it.

Another goal of marketing is to build demand for a product or service: a part of this effort is image building. A wise dealer reinforces the idea that he cares for his customers, is rock-solid dependable, and has the in that lets him get the best goods. You may not be able to attend a show that his marketing shows has wonderful pieces, but perhaps the next time you can. An item you truly desire may already be sold, but a dealer with an enticing inventory surely will find a “special antique” to capture your interest, passion, and dollars. 

Follow-up to marketing with exceptional service is a must. This is not something put on paper or sent as an email but a necessary effort on the part of the seller. It does the dealer, show, or auction house no good to attract potential or actual customers and then offer them an awful experience. Good relationships with buyers (actual and potential) are important. If successful, with the loyalty built in part by wonderful service, collectors may purchase again and again from the dealer, attend the same show, or consign or purchase from the same auction house. The dealer who sent me the email and sold me a wonderful antique mentioned above followed up to see how much I liked it, with a full-page photo of the item, and a detailed description – a sterling example. Dealers do that sort of thing because they know it pays off in the long run. Some enjoy the happiness in a collector’s voice they have created.

In the competitive American antiques’ market, marketing can help differentiate one dealer, show or auction house from its competitors. It helps the dealer or house stand out. That is why some auction houses work so hard to acquire first-class collections. Maybe it is the dealer’s price, her reputation for standing behind the antique, the entire experience, but no matter: what is important is whether the seller-customer connection rings true, chimes sweetly and lingers in memory. A good word about a transaction to other collectors, a compliment regarding courtesy and care; these are the lifeblood of successful antique dealers, shows, and auction houses. 

Besides awareness, interest, and forming positive relationships, marketing also can inspire anticipation. Auction houses and shows want collectors psychologically involved, eagerly looking forward to the event, with plans to add to their collections.

A dealer or auction house may also be trying to expand into new markets. Auction houses typically let people know when they open an office in a new location. I know of at least one dealer who may be the only American antique dealer at one show he takes part in each year. I have been told he does quite well. 

Wouldn’t you want to do business with an industry leader, all things being equal? Marketing can attempt to establish, promote (and sometimes allege) leaders in the American antique universe. Thus, some auction houses show pieces in ads and publicize the high prices they brought. The message is simple: we can get the most for the good pieces we put on the market. Some dealers on their websites have a button for “prior sales,” doing the same. Full page ads in trade publications, especially in prestigious locations (inside front cover, near the front) communicate that this is an important dealer. Perception is after all, reality. If you believe the dealer handles only the “best,” you are more likely to upgrade your collection by working with him. Running ads in the same location time after time is an example of “consistent branding.” The dealer’s logo, typography and photo placement create a visual identity.

Providing important information either through very detailed catalogues (dealer or auction house), blogs, webinars or in-person forums on specific topics is another way to demonstrate knowledge and expertise, thus (hopefully) gaining trust and credibility with the target audience. One well-known dealer who has had a shop for decades every so often offers collectors the opportunity to learn about a specific topic. These forums bring collectors to the shop, allowing the dealer to sharpen the knowledge of collectors who may then appreciate (even more) the wares offered, while letting the dealer share his love for his craft, the area he loves so, and the pieces he cherishes. 

Marketing also allows dealers, shows, and auction houses to adapt to and read changing customer preferences. Letting it be known that “I (we) now handle mid-century modern or Asian pieces, adding these genres to our expertise and wares,” can shift the buyer base and expand it. The Winter Show in New York City that used to have many dealers in American antiques now has only a few, because trends, interests and buyer commitments are always subtly shifting. To survive, the show had to adapt and change. Marketing brings these changes to collectors’ attention.

Marketing in all its forms needs engaging content. I recently reread a year’s worth of Maine Antique Digest with an eye towards finding interesting and inviting advertisements and frequently found them. It is one reason, I believe, MAD is so much fun to read. (Full disclose – I may be biased because of my sunk costs. I have been a subscriber almost since MAD first appeared.) I find that the ads are visually appealing and match the color photos of auctions and shows in quality and interest.

Some in the American antique world probably market too little. The collector finds herself saying, “Why didn’t I know of him or them before?” Some may market too much, leading to what is called “fatiguing your audience.” “Enough already,” the collector says. Just like Goldilocks and the Three Bears, dealers, auction houses and shows strive for the sweet spot, not too little and not too much. 

A common marketing mistake is to mislead the intended audience. The goods look wonderful in the color ad in a trade publication but most of the pieces up for auction aren’t that good or aren’t even Americana at all. 

Anyone who markets in the American antique world must understand his target audience. Failing to understand the preferences, tastes, and interests of it may lead to campaigns that do not connect with the intended buyers. 

Many do a stellar job marketing, serving the collector or consignor. Let us not underestimate the marketing of American antiques in assisting collectors in building their collections. We acquire knowledge and understanding about the market, train our eyes, and know what is for sale and coming up for sale to name just three.

Learning about marketing made me appreciate the various reasons, dealers, shows, and auction houses go about their business . . . and why some, already highly prestigious and known to all (or almost all) keep their name prominently in the collector’s eye. If I was such a dealer, for example, I would take great pleasure in tasteful ads with wonderful antiques bearing the name of my shop. I would take pride in letting the world know of a wonderful piece I have in my possession or have sold in the past.