For nearly half a century, the name Macklowe has been a beacon in the world of decorative arts and antique jewelry. Macklowe Gallery, founded by Lloyd and Barbara Macklowe in 1971, stands as a testament to their passion for preserving and promoting the beauty of art nouveau furniture and objects, Tiffany lamps, and fine estate jewelry. Now, guided by their son, Benjamin Macklowe, the gallery continues to uphold its legacy of excellence and expertise.
With a wealth of experience and a keen eye for detail, Benjamin navigates the intricate world of decorative and wearable art, guiding collectors with insights honed over years of handling some of history's most remarkable pieces. Join me as I uncover the untold stories and wisdom of Benjamin Macklowe.
Quick note: This post is a bit lengthy (lots of great content!), so if you're reading via email, click through to the web version or view it on the Substack app to see the full post.
This interview has been edited for clarity and length.
Veronica Valentine: It is so good to sit down with you! Thank you again for hosting me. Can you start by telling us about the history of the gallery and how you got involved?
Benjamin Macklowe: People say to me, “How did you get into this?” And the truth of it is, I was born after my parents. These businesses are very idiosyncratic, and they are very much family businesses because they aren't really logical. From a purely business point of view, this is a crazy business. We have to own all of our inventory. There's no consistent form of revenue. There's no way to know what you're going to sell and when you're going to sell it. It's an irrational business, but somehow it's successful. My parents started with $150.
VV: I’m sorry, say again?
BM: Yeah. $150. When they got married, they were too poor for a fancy wedding, so they married in the rabbi's study. They furnished their first home by scouring apartment sales advertised in the New York Times merchandise offerings page (think Craigslist), using a roll of dimes to make calls from a diner payphone. This experience taught them to value secondhand items. My upbringing was profoundly influenced by my mother's childhood hobby of collecting. From preserving autumn leaves in books to mastering marbles, her enthusiasm for collecting greatly shaped my perspective. On the other hand, my dad's straightforward business mindset provided the foundation for our business. His no-nonsense approach to decision-making and problem-solving became the guiding principle behind our endeavors.
BM: My mom, a schoolteacher, and my dad were invited to dinner by a fellow teacher, whose mother-in-law happened to be Minna Rosenblatt. Minna was part of a vanguard generation of Jewish women in the forties, fifties, and sixties, dedicated to reviving the reputation of Louis Comfort Tiffany and Art Nouveau and Art Deco in America. My parents were captivated by Minna's beautiful collection, showcased at an antique show in the old Madison Square Garden, where Worldwide Plaza stands today.
BM: They started their business with a $35 purchase from Minna, paying her $5 a week for seven weeks. Over time, they expanded into buying American art pottery like Rookwood and Van Brigel. Antiquing along Route Seven in Connecticut, they became known for their finds, eventually supplying established figures like Minna (Rosenblatt) and participating in antique shows. The jewelry aspect arose from the bustling environment of antique shows, where their booth drew crowds eager for fresh finds. Recognizing the constant demand for jewelry, and fueled by her own passion for it, my mother spearheaded their venture into this market. She persuaded my dad to consider it as a new addition to their product line. However, he set a rule that everything had to be sold for $25 or less, which was quite challenging even in 1966.
VV: Was the focus on jewelry from specific historical periods when your parents started?
BM: One of the remarkable aspects of Art Nouveau, Victorian, and Georgian jewelry is that much of it was originally made for the emerging middle class, making it more affordable. For every rare museum-worthy piece like those by René Lalique, there are numerous examples of charming, yet more accessible, art nouveau jewelry. These include delicately crafted dye-stamped brooches, enameled pieces, and German silver pieces, often adorned with intricate plique-à-jour enamel work. Despite being considerably more affordable, these pieces are equally exquisite and offer an opportunity to appreciate the beauty of the era without the hefty price tag.
BM: So people with modest budgets can still acquire excellent items; they just need to broaden their perspectives. This principle was fundamental to my parents' approach when starting the jewelry business. They sought out not only the standout pieces but also lesser-known treasures that exemplified quality. This inclusive mindset propelled their venture forward.
VV: And when did you come along? Where do you fall into all of this?
BM: I was a teacher, but a terrible one. After leaving teaching, I found myself searching for a new direction. One day, the flu hit the office while my dad was away on a business trip. My mom called me, asking if I could come in and help out, even if it meant just putting on a suit, as we were short-staffed and she couldn't open the door without more people. And so I did, and I just fell in love with it. That was 30 years ago. I love every day that I work, even the frustrating ones. I love it.
VV: What motivated you to focus on Art Nouveau?
BM: I've always been drawn to Art Nouveau in a way that other periods haven't quite captured for me. In the world of jewelry, our tastes are diverse; we (at Macklowe Gallery) appreciate pieces from various periods, ranging from Georgian to more contemporary styles.
BM: In terms of pure artistry, I find Art Nouveau and Art Deco to be particularly captivating. Despite facing criticism at the time, especially Art Nouveau, I admire its daring nature. Many critics despised its incorporation of dragonflies, gorgons, and medusas, deeming it weird. However, what fascinated me was how this jewelry reflected the societal changes occurring during that era. It was a time when women were leaving their rural lives and parental homes to pursue careers, not just marriage. Consequently, jewelry of that period often depicted women in a state of transformation, symbolizing this societal evolution. Interestingly, the French coined a derogatory term, 'Les Amazons,' for women who chose work over marriage, reflecting the prevailing societal attitudes. This shift reminds me of the transformation of negative terms like 'impressionism' into positive ones, signifying the strength and empowerment of these women.
VV: What is it that sets this gallery apart from others, despite similarities?
BM: First and foremost, we distinguish ourselves by offering a unique specialization in three major areas, making us the sole gallery in New York City to do so extensively. Our expertise lies in jewelry, particularly the artworks of Louis Comfort Tiffany, and French Art Nouveau and Art Deco furniture and decorative arts. While other galleries focus primarily on jewelry and jeweled objects, we embrace a broader perspective rooted in material culture. For us, jewelry, furniture, lamps, and other decorative pieces are all integral parts of this cultural landscape.
VV: Oh, I love that, “material culture”…
BM: Yeah. How do we live? What do we choose to surround ourselves with? What do we choose to adorn ourselves with? So that's why we've always had this multifarious perspective, and for me, it's made it much more fun. So that's what separates us. Regardless of anything else. I think everyone has to find their happy place. You know, one of the things that's special about us is even though we have things that are really expensive, we're incredibly welcoming to everybody.
VV: Yes, I felt warmth walking in. It felt good.
BM: Everybody should feel good. I want people to be able to be comfortable walking in here. And we do have jewelry, as little as $1,500 specifically, so that somebody can come in here and say, you know, I've only got $2,500 to spend, but I like your taste. And I'd say, look, I've got 15 pieces for you to choose from. I might not have 150 pieces, but I have 15 really beautiful pieces that are different time periods, different styles. Let's look at them together and see if anything works for you.
VV: I love that. I love that so much. A big part of why I started the newsletter is because there's a lot of content out there related to fashion and the business of fashion, which I enjoy. But my true passion is jewelry, and when I looked for jewelry content to read, I couldn't find anything. So my husband said, 'Why don't you just do it yourself?' At first, I hesitated, thinking I'm not a writer, but then I realized I could make a difference. The jewelry industry can seem insular and intimidating to outsiders. I want to change that perception, to make it feel approachable and accessible to everyone.
BM: I think that, you know, look, if you have a business background, you know that opacity equals profits. You know, it doesn't matter what industry it is. A lack of transparency gives people the opportunity to make greater profits. And so that's always been part of this industry. As a result of that, also, the extremely high value and portability of the things has made it very insular, because who can you trust? So that's, you know, those are things. I mean, I'm a Jewish person, so there is also the fact that so much of this has been Jewish people who have been very oppressed in every country we've ever been in. So there's always been an insularity about that as well. I feel like in America in 2024, we have not just a right, but also a great gift to be able to open that up to everybody and to be much more open. We're passionate about spreading information, which is why our website is packed with deeply curated content.
BM: Even if you gather all the best research from my competitors, it still wouldn't compare to what we've achieved collectively. I say that with pride, not ego because it's not just me—it's our incredible team. I used to handle everything myself, but now we have even better people who handle it all. I love empowering my team. My three newest employees are 22, 23, and 24 years old. I find that fantastic. I'm all about lifting them up and putting them in the spotlight.
VV: Absolutely, let's delve into the acquisition and authentication process if you don't mind.
BM: For us, we have to own everything that we sell. Acquisition is a continuous process for us, unlike in contemporary jewelry businesses where they have their line, manufacture it, and sell it. So, there's always a tension for us when buying something: are we purchasing based on our own taste, or for its marketability?
BM: And in that Venn diagram, the overlap isn't significant. The reason being is that we, as professionals in this industry, naturally gravitate towards the rarest, most unusual pieces. However, buyers are often hesitant, making it challenging for them to purchase daring pieces. This is why every woman tends to have a Van Cleef Alhambra piece or a Cartier Love bracelet—pieces that are widely recognized and serve as status symbols. But artistic pieces are more daring. So as we buy, we're always considering not just our own pleasure and curatorial excellence but also who the potential customer might be. We never buy with a specific customer in mind. But we want to at least feel like, psychographically, there's somebody out there who's been buying from us that this fits into their box.
BM: Regarding acquisitions, the majority of our inventory comes from buying back items from previous customers, a practice that stems from our nearly 60 years in the business. Over time, as people's tastes change and generations evolve, we've cultivated close relationships with our customers. This trust extends not only to selling to them but also buying from them, making it our primary source for inventory.
BM: Simultaneously, I meticulously track auctions worldwide for items we specialize in, such as Tiffany and Art Nouveau. While we act as market makers in these niches, we're one of many in the broader jewelry market. However, our network includes other dealers, who often become valued customers due to their understanding of unique pieces.
BM: Despite lucrative offers from dealers, I prioritize presenting our collection to the public, fostering a deeper connection with our customers. Our acquisition channels include previous customers, dealers, and the auction world.
BM: Authenticity and condition are paramount in our selection process. With years of experience, any deviation from the norm raises concerns. Collaborating with our inhouse experts in gemology and art history enhances our evaluation process, ensuring the integrity of our offerings.
VV: What criteria define museum-quality pieces, and why do you think they're significant in the art world?
BM: That's a great question. In the realm of museum acquisitions, there are typically two primary categories: representative pieces and standout masterworks. Representative pieces serve an educational purpose, offering insights into various styles and periods. However, museums have historically overlooked jewelry, with some exceptions such as the MFA Boston, the Toledo Museum, and the Newark Museum, while others have shown less interest due to commercial considerations and the perceived value of gemstones. Despite New York City's prominence in the jewelry world, museums here have often displayed a certain reluctance towards jewelry acquisitions, even in the face of potential multimillion-dollar donations. Nonetheless, museums do seek out exceptional pieces to dazzle visitors, and selling to them is prestigious. Yet, for me as a seller, there's a twinge of melancholy in parting with these pieces, knowing they may never return to circulation and might only be displayed sparingly. Despite this, we have had the privilege of selling to museums worldwide and will continue to do so, although parting with a truly special piece always leaves me a bit regretful.
VV: Can you speak to common misconceptions about collecting estate or antique jewelry?
BM: I think there's something about common misconceptions. Yeah, because these things cost money. People are always hoping that they can find a diamond in the rough. Your readers should know there are none.
BM: If there were exceptional pieces available, experts in the field would have likely already acquired them. Instead, consider investing your resources wisely by working with a trusted dealer whose taste aligns with yours. This approach ensures that you acquire authentic, well-selected items curated by the dealer, saving you time and effort spent on exhaustive searches.
**More information about the (above) bracelet and a guide to the various motifs here!**
VV: Shifting the conversation, I'm less inclined to delve into trends and more intrigued by cultural shifts, specifically how the landscape of antique and vintage jewelry collecting is adapting in response to digitalization and evolving consumer preferences. Could you provide some insights on this topic?
BM: The onset of COVID prompted us to rethink our business model. We've transitioned into a digital-first luxury marketing organization, specializing in Art Nouveau, Art Deco, Tiffany, and jewelry. Despite lacking extensive data points like companies that sell multiple products, I've observed a significant shift in consumer behavior. Our focus on educational content and aesthetic presentation on our website has successfully attracted new collectors however there is no question that the casualization of society has made jewelry a much harder sell. A common concern we frequently encounter is, 'Where will I wear this?
VV: Yes, and “Am comfortable going out with or wearing this?”
BM: This is why, in my opinion, David Yurman is currently the most successful jeweler worldwide. Their pieces seamlessly integrate into a woman's everyday attire, becoming a part of her personal style. Recently, I passed by David Yurman's store on a quiet Sunday morning, and to my surprise, it was bustling with customers at noon, while other luxury stores remained empty. Although I admire their success, their jewelry doesn't resonate with me personally. This dilemma highlights the tension between acquiring unique pieces and ensuring they appeal to potential buyers, providing both exclusivity and wearability.
VV: What’s the last thing you bought for the gallery?
BM: A rare Renee Lalique glass panel. I bought it this morning with one of my pickers in Europe. A glass panel of blackbirds and grapes. It's incredible. There's only two we've ever seen.
VV: What's the last thing you discovered?
BM: Same as the purchase. It was a real discovery.
VV: What does having taste mean to you?
BM: Being willing to make mistakes, making decisions, not making. Not allowing other people to make decisions for you. That's what having taste means to me.
VV: That was perfection. Thank you so much!
All of the pieces featured in this post are my highlights, each exceptionally rare, uniquely crafted, and stunning. I feel privileged to have handled them and learned their stories, as they capture historical significance and exquisite craftsmanship, appealing to both past and present. While details can be found on the website, I encourage you to visit Benjamin and the team at Macklowe Gallery if you are in New York to experience them firsthand.
A very insightful interview and so informative. You are fantastic!