This interview is with Heather Karlie Vieira, Art and Antique Dealer, HKFA.
To start, for Featured readers meeting you for the first time, how do you describe your role as an art and antique dealer in the furniture world, including the lens you bring to appraisal and authentication?
Folks will often ask me how I know what to buy. The short answer is that I don’t. But the long answer is that I do. Contradiction? Not at all. You see, I don’t know what to buy when it comes to guarantees on sales. But I always know what to buy when it comes to what resonates with me. I buy what I like. I buy those pieces that move me, spark curiosity, and are truly unique.
Being an art and antique dealer for over 24 years, I feel that I am just starting to get the hang of this business. Like patina on objects, this takes time. Developing my eye and learning to go with my gut come from the experiences, successes, and failures over the past 24 years as a dealer.
The spark of curiosity is also what drives my love of research, authorship, and provenance. Learning the backstory of both the object and the artist, understanding the period in which it was created, and appreciating that history allow me to further enjoy the piece.
Perhaps most thrilling is seeing how antique pieces can be incorporated into modern and contemporary interiors. The flow and the juxtaposition between the object and the interior create an unforgettable dialogue within the home. I like to think of myself as part of this dialogue, as the person helping to connect the dots and bring pieces from the past into the present, preparing them for a future many generations ahead.
Sharing the backstory and the provenance with my customers is so important to me. Plus, it makes for a great story when they’re entertaining at home and want to share the history of the objects!
How did launching HKFA in New York City and later relocating to Atlanta shape your path into fine art, vintage furniture, and collector’s items?
Starting HKFA in New York City was akin to jumping in the deep end and then asking myself if I knew how to swim. So swim I did! It all began on that cold February morning way back in 2002 when I went to the Chelsea Flea Market well before dawn. The activity among the vendors and shoppers was electrifying—even in those predawn hours! I went there hoping to figure out what kind of dealer I would be and what I would buy. I was waiting for inspiration to strike. That moment is perhaps best summed up by this quote from Picasso: “Inspiration exists, but it has to find you working.” New York City offered me the opportunity; all I needed to do was work for it.
I became a specialist in antique and period picture frames, building relationships with top galleries and working with interior designers. This taught me to always strive for excellence by acquiring the best that I could. Living in Manhattan all those years emboldened my love of hustle, that constant desire to do! Remember, inspiration has to find you working, so I was constantly inspired!
Broadening my scope, while keeping my love of research and appreciation for provenance strong, I started to buy and sell in a variety of categories. Testing out the waters and learning from successes and failures, twenty-four years later, here I am—in a new city but still the same me; still with a love for the hustle and buying the things that spark my curiosity.
Living in Atlanta has afforded me different opportunities, and I’m always staying inspired. HKFA is now a regular dealer at antique shows in Round Top, Texas; High Point, North Carolina; and Nashville, Tennessee. Perhaps it was the proximity that opened the doors to these great antique shows: Marburger Farm, Chelsea on Green, and the Nashville Show. With roots in the Northeast and now in the Southeast, I’m feeling more grounded than ever in this business.
Building on that foundation, can you walk us through a recent appraisal where your art history background and furniture expertise materially changed the valuation?
I suppose context is everything. Or maybe perspective. Let’s say it’s a combination of the two. Recently, I was afforded a very rare opportunity. There was a collection of paintings by one artist that had sat in storage for close to six decades. Covered in plastic sheeting with a few layers of dust, these forgotten canvases did not say much. They had languished in a dimly lit room behind a caged door. Seeing them there, one would certainly not be inspired.
However, taking each painting out from this context and seeing it in a new light, both literally and figuratively, made a significant difference. By digging into the research, the history, and the provenance, I encountered truly inspirational moments. I was able to give a long-lost collection of works by a forgotten artist a new lease on life. It found a new voice and an appreciation from a new audience.
Presenting this collection at art and antique shows has been a true joy and honor. Sharing the story of the artist and introducing her work to collectors, designers, and gallerists has been a thrilling experience. In many ways, I still feel like that newbie dealer at the Chelsea Flea Market all those years ago. The same sense of wonder and gratitude is now combined with experience.
On authentication, what single hands-on test or tool has saved you most often when separating the genuine from the cleverly restored or outright fake?
Ah, this one has a funny story that I’d like to share. When I first started in the business, I was only buying and selling antique and period picture frames. At the beginning, I didn’t know anything about antique and period picture frames. It was a pile of them at the Chelsea Flea Market that started the journey of HKFA. Each time I bought and sold a frame, I would immediately take the proceeds and buy a resource book on frames to learn a little more about what I was doing.
In short order, I had a few strong successes. This feeling of confidence turned to cockiness. This is where it gets funny (in hindsight). One early morning, I was at the flea market, and a vendor offered me a picture frame. I took a look at it and asked the price. They replied with a long story and then a high price: $750. I was so puffed up by my few successes that I figured I knew it all. So, I bought the frame, feeling confident that I had just taken a major leap. Only at the time, I didn’t know that leap would be backwards.
After presenting the frame to my client, I received an education served with a big slice of humble pie. I had bought a reproduction frame. In other words, a fake. Looking closer at the piece, thanks to his expertise, he pointed out the sloppiness in the details, the manufactured finish, and the poor construction. All things I should have seen but was too proud to notice because I thought I knew it all already.
So, what saves me today from buying fakes? That lesson from all those years ago. I look at the details, the finish, and the construction. I also inspect the size and scale of the piece, wondering if it is in the proper proportions. And finally, if it’s too good to be true… well, you know the rest.
For new collectors working in compact spaces, what is one practical method you recommend to balance display, preservation, and rock-solid provenance documentation?
When I was a kid, there was this television commercial for a men’s clothing store. The owner of the store would look into the camera and say, “An educated consumer is our best customer.” So right now, I’m looking at you.
When folks ask about the state of the business today, I always tell them that it’s the best it’s ever been. My customers and clients are educated, savvy shoppers. They are looking for quality in workmanship, craftsmanship, and artisanship. Because savvy shoppers have a deep appreciation of quality, they are well-versed in the differences between price and value. This appreciation for merit takes into account that age, wear, and patina are factors in buying antique and vintage pieces. The right amount of age, wear, and patina adds to the piece.
Savvy shoppers are looking for appropriate wear on edges; they are examining surfaces front and back, as well as top and bottom. I like to say that the back of a painting can tell you almost as much as the front. They also want to know the backstory of the object—whether it’s a signed piece or not, the history of the object, as well as the provenance. All of this information rounds out the experience of antique shopping and makes for a great story they can share with friends when showing off their latest finds. Shopping for antique and vintage pieces should be a total experience, one that develops into a strong relationship with the dealer.
This also leads to a true empowerment of the customer. They have shown the dealer that they too are doing their due diligence in regard to research and knowledge of a genre. It is at this point where customers become clients who then become collectors. These folks are buying the best they can. They are considering scale and proportion; they are taking into account the labels, signatures, and markings. They are examining restoration and repairs, looking for age-appropriate wear and patina. Most importantly, they are shopping for the best examples of the genre, style, or period they have become obsessed with as collectors.
Find your latest obsession. Visit local antique shops and shows. Get to know dealers. Become the collector you’ve always dreamed about being.
At the fairs you curate across different states, what strategy reliably helps you explain condition and value to buyers in a way that feels like storytelling rather than sales?
Every show starts the same way. I’ve sourced and curated a selection of art and antiques, packed and loaded the rental truck, set up the booth (which usually involves moving everything a few times), and then the waiting begins. Waiting for the opening day, waiting to see the familiar faces of my customers and clients, and waiting to see their reactions to my curation.
For me, the best way to keep relationships feeling authentic with my customers is to buy what I like. It sounds simple enough, but it’s actually quite a bold move. I’m leading with my heart on each and every piece I offer for sale. I’ve done the research and know the history. I’ve collected the specific pieces on offer solely for this show, each and every one being unique—just like my clients and customers. Each is truly one of one.
To hold that relationship in high regard, to know what might resonate with a client, and to speak with pure emotion about it is the only way I know how to do business. There are trends and waves, styles that become hot and sought after, and then there are the pieces I buy: individual, eclectic, full of personality. That’s how I see my relationship with my business, my customers, and even with the pieces I buy and sell.
I like to think of myself as a voice for the object, telling its story so the next owner can continue it, making the piece part of their story for future generations to hear. And so it goes. I will be moving on to the next show with a whole new curated selection of finds, sharing stories with clients and customers, deepening those relationships, and developing new ones. There isn’t always a sale involved, because sometimes all we need is to hear a good story.
Drawing from your early lessons with antique picture frames, what is one red flag that most often signals a fake or misattribution?
We’ve all said it before, but I’ll shout this one from the rooftops: ‘if it looks too good to be true, it probably is.’ So go with your gut. Trust your eye. Look for the details and the clues that mark a true masterpiece.
What are those, you ask? Well, that’s your due diligence. Learning your craft and understanding what makes a quality example involves:
- Researching and reading on the topic.
- Looking for scale and proportion in an antique frame.
- Ensuring the frame has not been cut down or sized.
Handling the object will also impart a world of clues. Consider the following:
- How does the finish feel?
- Do the edges have age-appropriate wear, or are they sharp?
- Are the details in the piece crisp or sloppy?
- When it comes to those details, are they carved from the wood or molded from composition?
Additionally, I always check the back of the frame to look for the construction in the joints, as well as the finish and patina on the back. Everything should come together to be age appropriate for the period. Therefore, there wouldn’t be just one red flag, but a multitude of little ones. Pay attention to all those details when you’re looking at the big picture (frame).
When a vintage furniture piece needs attention, how do you decide between restoration, conservation, or leaving it as found to best protect both integrity and market value?
I like to leave things as I find them as much as possible. For me, restoration and conservation actually start when I either buy or pass on an object. Rebuilding a piece of furniture or completely re-gilding an antique frame does little for a serious collector who is looking for the best examples of the period.
Light cleaning and small repairs to strengthen the integrity of the piece should all be handled by professionals who are well-versed in the care of that object. Any work done should always be reversible if needed. For me, this is the mark of a true conservator—one who adds as little as possible while making the biggest impact. Serious collectors are always looking for examples in original condition. Yes, age-appropriate patina would be permissible, whereas refinishing would not.
When buying something, the end use as well as the user must be considered. Is the piece purely decorative, where restoration or refinishing would enhance the value? Or does the piece have historical importance, where only documented conservation would be acceptable? It’s important to me to always be true to the work of art.
Looking ahead, what current market shift in fine art or vintage furniture do you think collectors are underestimating right now?
Some folks want to buy back their childhood, so waves and trends can be seen as cyclical. As generations grow older, they look back with rose-colored glasses on their youth. Wanting to recapture those moments often leads to falling in love with the art and furniture of that period. I’d say that unique pieces should always be in demand; those works with strong history and provenance.
I see customers and clients today feeling more empowered than ever to make individual choices. By that, I mean buying those unique pieces. So what’s underestimated these days? That’s the $64,000 question. I will tell you what’s always in style: buying what you like. I’ve been selling more art than ever. Pairing modern and contemporary works with antique and period picture frames has shown my client base that two things can be true.
Bringing the past to the present and showing the connections between them adds a new appreciation to the market: uniqueness. This is the future of the business for me and my clients.
Thanks for sharing your knowledge and expertise. Is there anything else you’d like to add?
Thank you. A very big thank you from the bottom of my heart. I hope that my thoughts, words, and experiences bring us a bit closer. I hope that one day we can meet and share a good story or two about some of our favorite finds. And I hope that I’ve inspired you to follow your bliss, buy what you like, and jump in the deep end!