In response to the earlier Gazette on new members several interesting
responses were received. Rather than trying to summarize them I’ll reproduce
most of those responses for what hopefully will be interesting and thoughtful
reading.

From Gerry Eggert who thinks we’re too elitist at $500, and should make it
$200. I agree with both Dean and Steve. There is a lot of good Steuben for under
$200, never mind $500. It depends on where one goes to buy. Just look at our
Club Auction. Add Hawks engraving on Steuben blanks and you get a whole new
genre. I just attended the auction of the decade in Scio, NY last month. At least
50 pieces of Carter Steuben that had been packed away for 25 years. I bought
several pieces of Steuben and 2 nice VDS compote with Hawks etching. Several
Club members were there, including Ruth deLorraine. Al Bradtke left several
bids and got on nice, multi handled, VDS vase. No damage to any of the pieces. I
bought the only Tiffany piece, most of the decorated European pieces, and got
off a large ACB Steuben vase @ $1,999.
Carol Ketchum also feels we should remember that for $200 or less you could
find a piece of art glass designed by one of the greatest 20th century glass
artist.
Alan- I’m a penny pinching Scot, I think suggesting $500 as a figure is an
intimidating to many new would be collectors as $10,000. It’s the reason so
many things are available at ??????? many “affordable payments” of $29.95 plus
shipping and handling. I think it would be easy to suggest folks bring a picture
or the real thing to brag about their “bargain” acquisition this year.
David & Elissa Goldstein shows some pessimism on the subject of attracting new
collectors.
As a collector-dealer we share your concern about new collectors. They are
getting their “knowledge” from ebay. They are not going to and buying at shows
in any meaningful number. The problem is not unique to Steuben collecting but is
effecting most of the traditional areas of collecting.
Part of the problem is generational, part of it is time and part of it is the
competition for disposable income. Strange as it may seem to us, some people do
not consider glass to be a necessity like food, clothing or shelter.
It has become harder for beginning collectors to learn. There are fewer shows
and fewer knowledgeable dealers who are willing to take the time to teach a
beginning collector. Although there is a lot of Carder Steuben at what we think
of as moderate prices (500 or less), unfortunately most of the good stuff is
more expensive, so mistakes are more costly and there are more opportunities to
make mistakes (misattributions, repros, concealed condition problems,
repairs, etc.)
Notwithstanding Marshall Ketchum’s efforts, there are still too many bad
“Carder Steuben” pieces listed on ebay and this is where beginning collectors
start out; and once they get burned they become overly cautious or drop out
altogether.
I wish I could be more optimistic but I’m not. I’m glad I don’t depend on
antiquing for the necessities of our lives
Finally, from the viewpoint of paperweight glass artist, Debbie Tarsitano:
I read about your dilemma concerning new collectors. This has happened in
paperweights as well as other art fields. I think your friend who says you are
intimidating new collectors by your high level of collecting is incorrect. You are an
example of a collector who is knowledgeable and has good taste for quality. Collectors
like yourself are essential to the health of a collecting field as examples of how to be a
serious collector, and build an important collection.
I think most new collectors would look up to you and admire your interest and
knowledge. There is no proof that collectors like yourself intimidate and frankly I think
that is a fantasy explanation to a more complex problem.
Arthur Rubloff (who built the Miracle Mile in Chicago) and Paul Jokelson single
handedly brought attention to fine glass paperweights and led the field forward for
many years. They both were high level collectors and had museum quality extensive
collections which they shared. They interested me at the age of 18 and I have been in
it ever since. At the time I had about $600.00 to my name. (Birthday money et).
It is essential to have high level knowledgeable collectors involved. They educate and
validate the field for new collectors. Without their example collectors run around using
a flea market mentality buying on price creating collections of poor quality. They often
have 10 inexpensive pieces instead of one good one. This is the result of thinking
cheaper draws. More experienced collectors need to educate new collectors about
this.
I enjoyed seeing your collection and listening to you and it actually turned me on to the
better Carder glass. It showed me how important Carder glass is.
The real reason there are fewer new collectors is global and happening in all
collectors fields today.
1. We no longer teach art appreciation in the schools.
2.Younger people like new styles and have a hard time relating to the classical styles
of the past.
3. Younger people have little time for hobbies today. Just a few examples
that are impacting all collecting fields and collectors organizations.
So what can you do to create new interest? One way is to encourage artists who
make work today. If you can find a way to honor Carder while encouraging a group of
new artists you will find a way to interest new collectors by merging the past with the
future. Carder left many wonderful techniques which some artists use today to
create fantastic works of art. You may be able to develop new interest through their
work linking the past with the future.
Thanks to these four thoughtful responses. They make for interesting reading.