The Philadelphia Show 2021

2021

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ADA Celebrating 36 Years Antiques Dealers’ Association of America, Inc.

AUTHENTICITY • INTEGRITY • ETHICAL CONDUCT

A Bird in Hand • Charles & Barbara Adams

Artemis Gallery • James R. Bakker Antiques

Hollis Brodrick • Jeff R. Bridgman

Cooley Gallery • Jeffrey Tillou • Charles Clark

Aarne Anton • Linda Decoste • Axtell Antiques Colette Donovan • American Sampler

HL Chalfant • David Good • Cora Ginsberg

Samuel Herrup Antiques • Michael Hingston

Scott Bassoff, Sandy Jacobs • Jewett-Berdan

Derik Pulito • Joe Kindig & Jennifer Kindig

Bettina Krainin • Kelly Kinzle • Greg Kramer Langenbach’s Fine Arts • Polly Latham Asian Art Sheridan Loyd • Brant Mackley Gallery

At Home Antiques • Newson & Berdan Antiques Olde Hope Antiques • Daniel & Karen Olson

James L. Price • Garvey Rita Art & Antiques J.B. Richardson • John H. Rogers

John Keith Russell Antiques • SAJE

Elliot & Grace Snyder • Don Olson

George Spiecker • Clifton Anderson Antiques

Taylor Thistlethwaite • Jonathan Trace

Earle D. Vandekar of Knightsbridge • Bell and Bird Natalie M. Curley • JK Nevin Antiques

American Garage • American Spirit Antiques

Carswell Rush Berlin • Philip H. Bradley Co.

Marcy Burns American Indian Arts • John Chaski Clarke Gallery • Bette & Melvyn Wolf

Dennis & Dad Antiques • Clive Devenish

M. Finkel & Daughter • Samuel Forsythe

Russ & Karen Goldberger • Mark Keily

Stephen & Carol Huber • Barbara Israel Garden Antiques

Jordan Antiques & Antiquarian Books • R. Jorgensen Noonmark Antiques • David & Donna Kmetz

William R. & Teresa F. Kurau • Steven S. Powers Bernard & S. Dean Levy • Nathan Liverant and Son Mad River Antiques • John Hunt Marshall

Hilary & Paulette Nolan • Christopher Settle

Oriental Rugs, Ltd • Frank & Barbara Pollack

Quadrifoglio Gallery • Resser-Thorner Antiques Russack & Loto Books • AJ Warren

Lincoln & Jean Sander • Schwarz Gallery

Spencer Marks, Ltd • Thomas Schwenke

Stephen-Douglas Antiques • Steven F. Still Antiques Van Tassel/Baumann • Lisa McAllister Mellin’s Antiques • Withington & Co. Members as of 1/1/2021

LOOK FOR THE LOGO

ANTIQUES DEALERS’ ASSOCIATION OF AMERICA, INC. PO BOX 218, NORTHWOOD, NH 03261 • 603-942-6498

TA B L E of C O N T E N T S

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Welcome

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20

Acknowledgments

82

Calendar of Events

Loan Exhibit All Creatures Great and Small

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107

Corporate Sponsors

Dealers’ First Years at the Show

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108

Individual Sponsors

Chairs, Loan Exhibitions and Beneficiaries

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112

Committees

Exhibitor Index

W E L C O M E to THE PHILADELPHIA SHOW 2021

DEAR FRIENDS We are delighted to welcome you to The Philadelphia Show, presented during a year like no other in its history. Now in its 59th year, it is a venerable tradition. Offering an exceptional array of painting, sculpture, works on paper, furniture, jewelry, and the decorative arts, it is a high point of the year for those who love the arts and find the lure of collecting to be irresistible.

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Presenting our 59 th A N N UA L S H O W CA S E of A N T I Q U E S , A R T and D E S I G N

If the pandemic has forced us to deal with some very challenging obstacles, it has also provided new opportunities. At least that is the way we looked at the suggestion to create a virtual version of The Philadelphia Show. Thanks to the ingenuity and perseverance of the museum’s staff and our wonderful partners, The Women’s Committee, as well as the commitment of the many dealers who participate in the show, we have turned the promise of something special into a reality and can say with confidence that you will enjoy this year’s virtual edition. To be sure, it is different, but it will be as engaging as it has been in the past; and it will keep us connected during a time when we have been forced to stay apart.

To all those who have helped—the many members of The Philadelphia Show committee, The Women’s Committee and the staff of The Philadelphia Museum of Art especially Public Programs, Development and Membership—we owe a great debt of thanks. Of special note is the advice and encouragement given by Honorary Chair, Anne Hamilton, whose knowledge of all aspects of the show has been invaluable. That this virtual version of The Philadelphia Show has been organized so effectively is due in large measure to their hard work, dedication, and willingness to do things differently. Leadership matters as well, this year more than ever before. For this reason, we would like to single out for special mention the exemplary efforts made by our Manager of The Philadelphia Show, Huntley Platt, to bring us all together in support of this enterprise and make a success of it when the easiest (but not the best) choice would have been to wait another year.

An important goal of The Philadelphia Show is to provide much needed financial support for a number of activities at the Philadelphia Museum of Art that help us fulfill our mission to bring the very best in the arts to a growing and increasingly diverse audience. Given the devastating impact that the pandemic has had on this institution during the past year, we are deeply grateful for the opportunity to utilize the proceeds generated by the show to sustain the museum’s education and community engagement activities during the ongoing pandemic. Accordingly, we would like to express our deepest gratitude for the remarkable generosity of our donors, individual as well as corporate, including the show’s Principal Sponsor, Justi Group, Inc. Other generous sponsors include American International Group, Inc., Cozen O’ Connor, Freedom Mortgage Corporation, Hub/Flather & Perkins, Inc., LAGOS and Morgan Lewis.

We are pleased to present the 2021 Philadelphia Show and we hope you enjoy exploring the show.

Eleanore H. Gadsden Chair, The Philadelphia Show

Laura Rothrock President, The Women’s Committee

Timothy Rub The George D. Widener Director and Chief Executive Officer, Philadelphia Museum of Art

THE PHILADELPHIA SHOW

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C A L E N D A R of E V E N T S

THURSDAY, APRIL 22

7PM

Preview Party The Preview Party is your opportunity for a first look at the finest art and antiques offered at this year’s virtual edition of The Philadelphia Show: Antiques, Art & Design. Preview Party attendees receive exclusive early access to the best selections in fine art, Americana, period furniture, folk art, ceramics, porcelain, silver, jewelry, textiles, and decorative accessories from over 50 galleries and antiques dealers.

Highlights of the evening will include a welcome from Timothy Rub, the museum’s George D. Widener Director and Chief Executive Officer, and a panel discussion about the Loan Exhibition All Creatures Great and Small with Robert McCracken Peck, Senior Fellow at the Academy of Natural Sciences of Drexel University; Alexandra Kirtley, the museum’s Montgomery-Garvan Curator of American Decorative Arts; and Joan Johnson, renowned collector, philanthropist, and Chair of the museum’s American Art Committee.

Proceeds of The Philadelphia Show benefit the museum’s education and community engagement activities during the ongoing pandemic.

2021 LOAN EXHIBITION

APRIL 23–30

All Creatures Great and Small This year’s loan exhibition highlights The Philadelphia Show’s dealers, who will share their personal collections of works of art that feature animals in all of their glorious varieties. Through a broad range of works spanning several centuries, “All Creatures Great and Small” will showcase the various and charming ways our fellow members of the animal kingdom have been depicted and honored. The loan exhibit is curated by the Philadelphia Museum of Art’s Montgomery-Garvan Curator of American Decorative Arts, Alexandra Kirtley, and longtime supporter of the show, Joan Johnson.

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CA L E N DA R O F E V E N T S

C A L E N D A R of E V E N T S

Dealer Talks on Instagram Live @thephiladelphiashow These casual conversations will be held throughout the show on Instagram live. Eleven show dealers will share their expertise in their respective fields:

FRIDAY, APRIL 23

Barbara Israel of Barbara Israel Garden Antiques 12PM The Use of Ornaments in the Garden

4PM Richard Rossello of Avery Galleries

From Collector to Dealer: Mistakes I Have Made Along the Way

SATURDAY, APRIL 24

Arthur Liverant of Nathan Liverant and son 12PM

Go Figure! Sexiest Woods, from Birds’ Eye to Tiger

4PM Allison Tolman of The Tolman Collection of New York

Making Excellent Impressions: Contemporary Japanese Printmakers

SUNDAY, APRIL 25

Jasmine and Thierry Doussiene of Silver Art by D and R 12PM Of Sugar and Antique French Silver, A Sweet Alliance Throughout the Centuries

4PM Paul Vandekar of Earle D. Vandekar of Knightsbridge

Sailors’ Woolworks – Who, Why & What

THE PHILADELPHIA SHOW

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C A L E N D A R of E V E N T S continued

MONDAY, APRIL 26

Arlie Sulka of Lillian Nassau 4PM

The Genius Behind the Tiffany Lamps: Clara Driscoll

TUESDAY, APRIL 27

Vickie Manning of Somerville Manning Gallery 4PM

The Wyeth Family in Context to 20th Century American Art

WEDNESDAY, APRIL 28

Ron Rumford and Jon Eckel of Dolan/Maxwell 4PM

From Line to Light: Modern and Contemporary Art

THURSDAY, APRIL 29

Chris Lane of Philadelphia Print Shop West 4PM Mapping of Colonial America

FRIDAY, APRIL 30

Steven Weiss of Gemini Antiques 4PM

Antique Toys and Banks from Philadelphia Area

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CA L E N DA R O F E V E N T S

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William Chadwick (1879-1962), Path to the Beach (detail). Image courtesy of Betty Krulik Fine Art. Ltd.

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We proudly continue our support of the Philadelphia Museum of Art through its Corporate Partners Program and sponsorship of The Philadelphia Show: Antiques, Art & Design.

Michael J. Heller Executive Chairman & CEO (215) 665-4141 | mheller@cozen.com

Vincent R. McGuinness President & Managing Partner (215) 665-2097 | vmcguinness@cozen.com

Meredith C. Slawe Co-Chair, Class Actions Co-Chair, Retail (215) 665-4175 | mslawe@cozen.com 775 attorneys | 30 offices

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C O R P O R AT E S P O N S O R S

PRINCIPAL SPONSOR Justi Group, Inc.

SPONSORS American International Group (AIG)

Hub/Flather & Perkins, Inc.

Cozen O’Connor

LAGOS

Freedom Mortgage Corporation

Morgan Lewis

MEDIA SPONSORS

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American Fine Art Magazine

Incollect

Antiques and Fine Art Magazine

The Magazine Antiques

C O R P O R AT E S P O N S O R S

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Proudly supporting the Philadelphia Show benefitting the Philadelphia Museum of Art.

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Auctions and Appraisals

Items coming up in the May 21st, 2021 Americana & International Auction

Pook & Pook, Inc. provides expert appraisal and auction services for estates, individual and corporate collections, and museums. At auction, we sell a variety of period furniture, fine art, Native American and ethnographic material, toys, coins, jewelry, textiles, pottery, decorative accessories, militaria, ephemera, and real estate.

Commission rates as low as 0% are available on qualifying high end consignments.

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I N D I V I D UA L S P O N S O R S

PENNSYLVANIAN Edith R. Dixon

Leslie Miller and Richard Worley

Stephen and Dolores* Smith

Robert and Julie J. Bryan

Mr. and Mrs. S. Matthews V. Hamilton, Jr.

Bonnie and Peter McCausland

Dr. Sankey W. Williams and Constance H. Williams

Ellen and Ron Caplan

Hannah L. Henderson

Leigh P. and John S. Middleton

Mr. and Mrs. Jeffrey S. Yass

Martha Hamilton and I. Wistar Morris III

Sally Sharkey

Ann and Jerry Calvert

Amy A. Fox and Daniel H. Wheeler

BENEFACTOR

KEYSTONE Sarah Miller Coulson

PHILADELPHIAN Affleck Family Charitable Fund Anonymous Lois G. and Julian A. Brodsky Bill and Laura Buck Mr. and Mrs. R. Kent Cadwalader

*Deceased List as of April 1, 2021

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INDIVIDUAL SPONSORS

Zoë S. Pappas

Robert and Penny Fox

Marsha and Jeffrey Perelman

Amy and R. Putnam Coes III

Annette Y. Friedland

Kirk and Laura C. Rothrock

Katharine and Bill Eyre

Mr. and Mrs. Christopher H. Gadsden

Anne and Steve Rubin

Mr.* and Mrs. Tristram C. Colket, Jr.

Julia and David Fleischner

The Mandell Family

Boo and Morris Stroud Dr. and Mrs. Gerald Williams

PATRIOT Anonymous

Michele and Jeff Brotman

Dr. and Mrs. Jess H. Lonner

Katherine Sachs

Franny and Franny Abbott

Lloyd and Thacher Brown

Katie and Tony Schaeffer

Barbara and Todd Albert

Peggy Cooke

Mr. and Mrs. Wade L. McDevitt

Mr. and Mrs. James Alexandre

Marianne Dean

Cathy and Larry Altman

Romy Diaz and Dennis J. Bann

Jill and Paul Aschkenasy

Kathy and Ted Fernberger

David and Pat Atkinson

Mr. and Mrs. Frederick C. Fiechter, III

Carol and Horace Barsh Mr. and Mrs. Thomas L. Bennett Lawrence H. and Julie C. Berger Joanne M. Berwind

Gwen Goodwill Bianchi Grete Greenacre Terry and Ann Marie Homer Joseph and Louise Huber

Mr. and Mrs. John S. Schmader

Mr. and Mrs. Robert D. McNeil Mr. and Mrs. Peter C. Morse

Mr. and Mrs. Samuel R. Shipley III

Britt and Janice Murdoch

Stephanie F. Simmerman

Barbara Gisel and Albert C. Oehrle

Ellen and Mickey Simon

Dr. and Mrs. Louis Padulo David and Linda Scribner Paskin Peter and Eileen Quinn Louise and Alan* Reed

Mr. and Mrs. James B. Straw Mr. and Mrs. Paul Thompson III Mr. and Mrs. Donald Tober Mr. and Mrs. Lars Williamson

Don and Laura Besecker

Sharon and Joseph Kestenbaum

Frederick Bissinger

Judy and Peter Leone

Dr. and Mrs. Robert E. Booth, Jr.

Michele and Paul Lockwood

Mr. and Mrs. Mark E. Rubenstein

Anonymous

Janet Kardon

Sandra L. Nesbitt

Susan Vitale

Sandra L. Cadwalader

Mr. and Mrs. William Landman

Aleni Pappas

Bill and Eve Walker

Caroline B. Rogers

Beverly M. Wilde

Barbara Podell and Mark Singer

Susan and Peter Wilmerding

Lyn M. Ross Marsha W. Rothman

Barbara Eberlein and Jerry Wind Peter Zimmerman Architects

LIBERTY

Sara Cerato Veronica M. Connor Mr. and Mrs. Joseph Fenkel Hollie and Jamie Holt Ms. Andrea Johnson and Mr. Charles Ziccardi Joan M. Johnson

Mr. and Mrs. D. Christopher Le Vine Anja and Matthew Levitties Mr. and Mrs. Harve Lewis Maxine de S. Lewis Dr. Karen P. Nagel

Dr. Lynn Schucter and Mr. John Broaddur Robin Blumenfeld Switzenbaum

THE PHILADELPHIA SHOW

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2021 COMMITTEES

SHOW COMMIT TEE Veronica M. Connor

Linda McCarthy

Sally Sharkey*

Edie Dixon

Bonnie F. McCausland

Stephanie Simmerman

Sam Ehlinger

Leslie Miller

Ellen B. Simon*

Margo Eremus

Joan R. Momjian

Chris Smith

Katharine Eyre

Martha H. Morris*

Keith Straw

Evelyn Fell

Karyn Mullen

Boo Stroud

Penny Fox

Liz Murray

Margot Sullivan

Amy A. Fox*

Karen R. Nagel

Annette Y. Friedland

Carolyn Bedrosian Nagy

Robin Blumenfeld Switzenbaum

Linda Fuller

Arlene Olson

Grete Greenacre

Katharine A.S. Padulo

Hannah Henderson*

Zoe Pappas*

Cynthia B. Holstad

Barbara Podell

Angela Hudson*

Judy C. Pote

Suzanne C. Jacobs

Olivia Rabe

Joan Johnson*

Gretchen Riley

Carol W. Jones

Ann Dee Rome

Anja Levitties

Marsha W. Rothman

Ami Lonner

Anne Rubin*

Michele Lockwood

Susanna T. Saunders

Ed Hild, Chair

Betty Krulik

Richard Rosello

Margo Dolan

Arthur Liverant

Arlie Sulka

Anne Hamilton,* Honorary Chair Eleanore H. Gadsden,* Chair Laura Rothrock,* President, The Women’s Committee Marta Adelson Cathy Altman* Jill Aschkenasy Carol Blank Barsh* Julie Berger Gwen Goodwill Bianchi Janice Block Reid N. Bodek Michele Brotman Ann Calvert Ellen Caplan* Susan Charleston Melissa Clark Amy Coes Candace Coleman

DEALER’S COMMIT TEE

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2021 COMMITTEES

Nancy Taylor Elissa G. Topol Susan Vitale Eve Walker Beverly M. Wilde Robin Williams* Lisa Williamson* Lisa Woolbert Pam Yih Susan Zelouf *Steering Committee

FORTUNE FAVORS FINE WRITING An Indispensable Resource For Collectors and Dealers of Historic American Art

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Adver tising: (866) 619-0841

ACKNOWLED GMENTS

The Philadelphia Show gratefully acknowledges the following individuals and businesses who have given their time, energy and resources to support the 2021 Show. Our continued success is due in large measure to their considerable generosity.

VOLUNTEERS

LECTURE SERIES & PREVIEW PARTY PANEL

Eleanore H. Gadsden, Chair

The Women’s Committee

Justina Barrett

Robert McCracken Peck

Anne Hamilton, Honorary Chair

Dealer’s Committee

Lucia Bay

Timothy Rub

Park House Guides

Kathy Foster

Gwendolyn Dubois Shaw

Eleanore H. Gadsden

Jessica T. Smith

Joan Johnson

Carol Soltis

Steven Keever

Brandon Straus

Alexandra Kirtley

Mark Tucker

Debra Myers

John Vick

Lindsey Nevin

Kate Virdone

The Philadelphia Show Committee

MUSEUM STAFF Kayla Ackelson

Nancy O’Meara

Katie Costello

William Petersen

Elizabeth Freeburg

Jonathan Peterson

Gail Harrity

Timothy Rub

Mary-Jean Huntley

Kelsey Rhodes

Alexandra Kirtley

Nathan Schultz

Regine Metellus

Angela Thompson

Caroline New

Kate Virdone

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AC K N OW L E D G M E N T S

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ANTIQUES & FINE ART

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We Invite You to Auction in New York Doyle Specialists are currently evaluating Jewelry, Fine Watches, Paintings, Silver and other property for upcoming auctions in New York. Please contact us to schedule a private appointment.

Jill Bowers, PA Representative Jill@Doyle.com 212-427-4141, ext 225

Mary Elizabeth Price Flower Border (a pair) Sold for $306,250 Bulgari Cabochon Amethyst Flower Earrings Sold for $10,625

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SCAN TO LEARN MORE

STEPHEN WESTFALL (American, b. 1953) Treasure, 2019, oil and alkyd on canvas, 31 x 31 inches

We are pleased to announce our new location at 25 East 73rd Street 25 East 73rd Street New York 10021 212.755.2828 alexandregallery.com

A Glorious Selection of Rare Maps & Atlases, Color-plate Books, Audubon Prints, Natural History Engravings & Watercolors.

John James Audubon (1785-1851) American White Pelican, Plate CCCXI

From: The Birds of America Published: London, 1827-1838 Engraving with aquatint and etching with original hand-coloring Sheet size: 39 1/2 x26 1/4 in.

Frame size: 49 3/8 x 37 in.

Arader Galleries

1 3 0 8 Wa l n u t S t r e e t P h i l a d e l p h i a , P A 1 91 0 7 ( 2 1 5 ) 7 3 5 - 8 8 11 w w w. a r a d e r g a l l e r i e s . c o m loricohen@aradergalleries.com

Leon Dabo (1864–1960) The Harbor, c. 1907, Oil on canvas, 30 7/8 x 40 7/8 inches (78.4 x 103.8 cm) Monogrammed and signed lower left of center: Leon Dabo, Titled on verso

100 Chetwynd Drive, Bryn Mawr, Pennsylvania 19010 (610) 896-0680 www.averygalleries.com info@averygalleries.com 32

DIANA H. BITTEL Adam Naming the Animals

This is one of six known “Adam Naming The Animals” oil paintings on tin.

All six have differing compositions with Adam on the different sides and a mixture of varied animals.

All have a stenciled borders of different designs and very similar dimensions. This is 29" x 21" and framed 35" x 26½".

These are England’s answer to Edward Hicks, circa 1840.

510 Fishers Road, Bryn Mawr, PA 19010 Tel / Fax: 610.525.1160 Cell: 610.715.1595 dianahbittel.com dhbantique@aol.com 33

Philip Bradley Antiques has moved!

Photo: Gavin Ashworth

Visit our new gallery in Sumneytown, located about an hour northwest of Philadelphia along Route 63, just 15 minutes west from the Lansdale exit of the PA Turnpike Northeast Extension.

PHILIP BRADLEY ANTIQUES P.O. Box 405, Sumneytown, PA 18084 610-269-0427 bradleyantiques@gmail.com Preview our inventory at Incollect.com

Please visit our website at www.marcyburns.com

Rare Havasupai Figural Basket 7" diameter x 4" high Ex: Green Sale, Parke Bernet, Sale 2, May 25, 1971 Marcy Burns Collection

MARCY BURNS American Indian Arts, LLC

Quality American Indian basketry, pottery, textiles and jewelry

520 E. 72nd St., 2C, New York, N. Y. 10021 Tel/Fax: 212.439.9257 info@marcyburns.com www.marcyburns.com By appointment only

celebrating our 111th anniversary!

Ralph M. Chait GalleRies, inC . works of art

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chinese art

16 East 52nd Street, 10th Floor, New York, NY 10022 Tel: 212-397-2818 • www.rmchait.com • E-mail: info@rmchaitgal.net

RARE CHINESE AUBERGINE GLAZED BISCUIT PORCELAIN MONKEY EWER

Kangxi period, AD 1662–1722 Height: 6⅛ inches (15.5 cm) Similar Examples: Historic Collection of Augustus the Strong; Lady Ward Collection (England, early 1900s); Anthony de Rothschild Collection; and another in the Jie Rui Tang Collection (United States).

Related Examples: Copeland Collection now at the Peabody Essex Museum.

Philadelphia Mahogany Chippendale High Chest.

Circa 1770–1775.

1352 Paoli Pike West Chester, PA 19380 610.696.1862 hlchalfant.com

CHARLES CLARK American Antiques of the Classical Period

www.clarkclassical.com

William S. Robinson (American, 1861–1945)

Evening, 1894. Signed lower left. Oil on canvas, 30 x 50 inches.

THE COOLEY GALLERY Fine American Art

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ARTHUR BEECHER CARLES (1882–1952)

Modernist Seated Nude Circa 1929 Oil on canvas 29 × 20 inches Provenance: Estate of the artist; Vendo Nubes Gallery, Philadelphia; Private Philadelphia Collection, ca. 1975 This painting has been authenticated

by Barbara A.Wolanin, Ph.D.

130 Potters Pond Drive Phoenixville, PA 19460 610.935.2570 dixonhall@verizon.net dixonhallfineart.com

Dolan/Maxwell

Romare Bearden American, 1912-1988 Caribbean Song c. 1980 watercolor & collage, image/sheet 12 1/8 x 17” signed recto; titled verso

Distinguished Modern & Contemporary Art American, European, the New York School, Atelier 17, WPA, art by African Americans

2046 Rittenhouse Square Philadelphia Pennsylvania usa 19103 215,732.7787 www.DolanMaxwell.com Margo Dolan Ron Rumford, Director Jonathan Eckel by appointment only, please

HYDE PARK ANTIQUES, LTD.

FINEST ENGLISH 18TH AND EARLY 19TH CENTURY FURNITURE

A Japanese Lacquer and Gilt-Copper-Mounted Chest on a George II Giltwood Stand Third-quarter 18th century. The stand, circa 1730.

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ANDREW WYETH (1917

to

2009)

Late Corn (1949), watercolor on paper, 19 ½ by 27 inches Late Corn, by Andrew Wyeth 1949 watercolor on paper © 2019 Andrew Wyeth/Artists Rights Society (ARS), New York.

Dennis Gleason is a Certified Member of the Appraisers Association of America.

31 Townsend Ave., PO Box 540 Boothbay Harbor, ME 04538 207. 633.6849 info@gleasonfineart.com gleasonfineart.com

E x c e p t i o n a l 1 9 th t h r o u g h 2 1 st C e n t u r y F i n e A r t o n t h e C o a s t o f M a i n e s i n c e 1 9 8 5 .

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“Broadway & 5th Avenue” Omnibus by the George Brown Company - Forestville, Ct. - Circa 1875 - 14” Long “Boston” Live Steam Fire Pumper by Schoener - Germany - Circa 1895 - 15” Long

P.O. Box 635, Oldwick, NJ 08858 Leon Weiss: 917-991-7352 or leonweiss@me.com Steven Weiss: 212-729-0011 or sweiss57@me.com

FRANK B. A . LINTON (1871-1943)

Still Life With Peaches And Cookware , Oil On Masonite, 36 X 48 Inches, Signed Lower Left EXHIBITIONS: Philadelphia Art Week, 1924 [partial label on verso]

This painting is a rare still life by a prolific portrait painter and student of Thomas Eakins (1844-1916)

135 East 57th Street, 14th Floor, New York, NY 10022 (By Advanced Appointment Only) 212.731.0550 • info@hawthornefineart.com • www.hawthornefineart.com

BUYING AND SELLING FINE AMERICAN ART

Ernest Lawson, Moonlit Landscape, Oil on Canvas, 20” x 24”, 1914

Daniel Garber, Dead End, Oil on Canvas, 18” x 20”

Charles C. Curran, Scarlett In Gold, O/C, 30” x 20”

Henry Ryan MacGinnis, Tiger Lilies, O/C, 40” x 30”

5230 Silo Hill Road, Doylestown, PA 18902/ 215.348.2500 / www.gratzgallery.com Hours: Wednesday through Saturday 10 – 6, Sunday 12 – 6, and by appointment

Outstanding Lexington, Massachusetts Sampler by Ruthey Lock, dated 1802.

A Gallery of American Samplers: The Theodore H. Kapnek Collection, figure 42, by Glee Krueger. Sampler size: 21.75 by 21.25 inches.

936 Pine Street • Philadelphia, PA 19107 • tel: 215-627-7797 • fax: 215-627-8199 www.samplings.com • mailbox@samplings.com

Saint Joseph’s Academy, Emmitsburg, MD, circa 1831 Embroidered by Margaret Jane Wood

Margaret is depicted standing by a monument to her Father George Wood who died Dec. 24th 1822.

A miniature painted landscape of Mount Saint Mary’s College and Seminary for young men is nestled in the hills. Silk and paint on silk; 25½" x 29¾" framed.

ALWAYS INTERESTED IN PURCHASING FINE NEEDLEWORK

www.AntiqueSamplers.com

Forty Ferry Road  Old Saybrook, Connecticut 06475  Tel: 860.388.6809  Hubers@AntiqueSamplers.com

A cast-iron fountain figure of a curly-haired cherub holding a fish, with leafy foliage at the cherub’s feet, marked “A. Durenne Sommevoire”, French, ca. 1870, on an associated cast-iron rockwork base, American, ca. 1900. Figure 41 ins. high, 16 ins. wide.

Antoine Durenne founded the firm in 1847 and became a visionary in the field, as he sought new ways of expanding the cast-iron industry. A fountain figure with cherub and fish, identical to this one, can be seen at the Place de la Libération in Collobrieres, Provence, France.

By Appointment · Katonah, N Y · 212-744-6281 · www.bi-gardenantiques.com

CHRISTOPHER H. JONES AMERICAN ANTIQUES, FOLK & FINE ART

105 North Washington Street, Alexandria VA 22314

By chance or appointment

www.christopherhjones.com

Bookcase Walnut Virginia, Loudoun or Frederick County C. 1780

703.622.9978

American Art 1850–1980

William Chadwick (American, 1879–1962) Path to the Beach, ca. 1925 Oil on canvas, 20 x 24 inches Signed lower left: Wm. Chadwick

BETTY KRULIK FINE ART, LTD. 50 East 72nd Street New York, NY 10021 bkrulikfineart.com BETTY KRULIK 917.582.1300 bkrulikfineart@gmail.com

PHILADELPHIA PIECRUST TILT TOP TEA TABLE A fine Philadelphia example with a nicely grained single board top surrounded by a well-carved, scalloped “piecrust” edge. Elegant, with an old, mellowed finish.

Mahogany, circa 1775.

Height: 29", diameter: 32".

9 Center Square, New Oxford PA 17350 717-495-3395 kellykinzle@comcast.net Visit us online at: KellyKinzleAntiques.com

Welcome To Our New Gallery 227 West 17th Street, New York, NY 227 West 17th Street, New York, NY 10011 212-628-7088 • bsdlinc@gmail.com

Visit us on our website at www.levygalleries.com, and Instagram/Facebook @levygalleries.

BYERS CARPENTER CASTLE EBNER ESHERICK ESPENET HALPER MALOOF M O U LT H R O P NAKASHIMA TA K A E Z U V O U L KO S WINARSKY

2220 East Allegheny Avenue | Philadelphia Pennsylvania 19134 | 215.923.8536 | modernegallery.com Open,, Tuesday - Saturday

Polly Latham

Asian Art

S PE C I A L I Z I NG I N F I N E C H I N E S E A N D J A PA N E S E E X P ORT P ORC E L A I N S

Impressive 17" Mandarin armorial platter, bearing the Crest of Waterhouse with a rare border depicting scenes of the Pearl River. Circa 1805.

531 Albany Street Boston, MA 02118

We are mostly open Tuesday–Friday, 11am–5pm or visit us online at

www.pollylatham.com

Always Interested in Buying Single Items or Entire Collections

Tel: 617-723 -7009 Cell: 617-823 -5796

Aerodynamic Classical mahogany window seat New York, 1825-1850

Tiffany Studios Dragonfly Table Lamp American, circa 1906 20” diameter, 23 ½” high The dragonfly repeatedly served as a source of inspiration for Louis Comfort Tiffany and the artists at Tiffany Studios; the insect, with its finely detailed wings, appears in designs for jewelry, Favrile Glass mosaics, and, most famously, an iconic series of Tiffany Lamps.

In this example of the design, orange dragonflies with filigree wings hover above dramatically mottled glass in shades of blue and golden yellow, interspersed with bright blue Tiffany glass “jewels.”

With the sculptural Cattail and Pond Lily Base, this Dragonfly Lamp paints a picture of life at water’s edge.

220 East 57th Street New York NY 10022 (212) 759-6062

info@lilliannassau.com

We are currently open Monday through Friday 10:30 AM - 4:30 PM

www.lilliannassau.com

@lilliannassau

AMERICAN ART

FROM 1700 TO CONTEMPORARY

“The Emigration of Daniel Boone with His Family.” Lithograph after George Caleb Bingham, 1852.

ONE OF THE MANY WONDERFUL AND IMPORTANT AMERICAN WORKS OF ART IN OUR COLLECTION BUYING, SELLING, AND BUILDING AMERICAN ART COLLECTIONS SINCE 1898

INC.

WWW.OLDPRINTSHOP.COM ROBERT K. NEWMAN HARRY S. NEWMAN 150 LEXINGTON AVENUE AT 30TH STREET NEW YORK, NY 10016-8108 TEL 212.683.3950 INFO@OLDPRINTSHOP.COM

Folk Portrait of Two Sisters Artist unknown, prob.

Vermont, c.1830 Oil on canvas, 24" x 28" Provenance: Hillary Underwood, Woodstock, VT

Large Turned Maple Bowl

With original white paint, NE United States, c.1850 Ht. 9", Diam. 24 ½"

Two-drawer Lift-top Chest With scalloped skirt, Pennsylvania, c.1820-30 Poplar with original blue painted finish accented by red moldings.

Ht. 30 ½", W. 48 ½", D. 22"

OldeHope.com 215-297-0200 info@oldehope.com 115 East 72nd St, 1B, New York, NY 10021 PO Box 718, New Hope, PA 18938

West

The Philadelphia Print Shop 2830 E 3rd Avenue Denver, Colorado 80206 • (303) 322-4757

www.pps-west.com

Francis J. Purcell, Inc. (215) 5 74-0700 251 N. 3rd St. Phila., Pa. 19106 E-mail: fjpurcell2@aol.com francisjpurcell.com

FOUNTAIN, MARBLE 3 YOUNG BOYS & BOY WITH FISH C. 1900 A fine and rare hand carved English and Continental white marble water fountain.

The base is carved with flowing water above the pedestal with three young boys mounted on top is a three lobed fountain bowl carved from one piece of marble, also having a moulded edge. Above is a boy with spouting fish which is signed by the 19th C. Firenze Italian artist “P. Bozzanti” The fountain is piped for water and is a most rare survival. Provenance: Crowther of London Note: Small repairs and restorations as found in a piece of the is age. The bottom base pedestal was added at one point to raise and protect the entire fountain from the effects of the base pool of water. A great Garden item.

Q U E S T R O YA L F I N E A RT, L LC is proud to return to The Philadelphia Show

Contact us to request a catalogue

Daniel Garber (1880–1958) Burning Leaves, ca. 1940s, detail

Q U E S T R O YA L F I N E A RT, L L C Important American Paintings 903 Park Avenue (at 79th Street), Third Floor, New York, NY 10075 T: (212) 744-3586 F: (212) 585-3828 Hours: Monday–Friday 10 – 6, Saturday by appointment EMAIL:

gallery @ questroyalfineart.com www.questroyalfineart.com

INC. Established 1912

Antique Jewelry ~ Silver ~ Objets ~ Porcelain ~ Glass

NEW YORK 480 Park Avenue 212.752.6166

NANTUCKET 2 S. Beach Street 508.825.8909

info@jrobinson.com

JEAN-BAPTISTE-CAMILLE COROT (French, 1796 -1875)

Saintry Près De Corbeil, La Route Blanche, 1873 oil on canvas, 19 x 24 inches, signed Corot

703.851.5160 · 1 North Madison Street, Middleburg, Virginia 20117 · www.redfoxfineart.com

Milton AVERY (1893–1965)

Harbor Sketch, 1947 Mixed media on paper, 20 x 26 inches Signed and dated lower right Title, dimensions and estate inventory #697B9 on verso by Sally Avery

SCHILLAY Fine Art 520 East 72nd Street New York, NY 10021

BY APPOINTMENT ONLY

(212) 861-8353 richard@schillay.com www.schillay.com

EDWARD BEYER (1810-1865)

View of the William H. Snidow Farm Giles County, Virginia, 1855 Oil on canvas, 20 x 30 1/4 inches Signed l.l. “Ed Beyer 1855”

David A. Schorsch Eileen M. Smiles

~ American Antiques

358 Main St. South, Woodbury, CT 06798 • 203.982.7574 contact@schorsch-smiles.com • www.schorsch-smiles.com Antiquarian Equities, Inc.

HERMAN HERZOG Alpine Mountain Scene Oil on canvas, 30 × 40 inches

SCHWARZ www.schwarzgallery.com

1806 Chestnut Street Philadelphia PA 19103 215 563 4887 mail@schwarzgallery.com

Antique Silver English American

SHRUBSOLE

Jewelry Objets d’Art Gold Boxes

S.J. SHRUBSOLE CORP. 26 East 81st Street, New York, NY 10028 • 212/753-8920 • Fax 212/754-5192 • www.shrubsole.com Established London 1912 • Established New York 1936

A Victorian Silver Yachting Trophy London, 1843 by Mortimer & Hunt Height: 18 ¼”; Weight: 162 oz.

This trophy was awarded to the winner of the Royal Yacht Squadron’s 1842 regatta, Francis Conyngham, the 3rd Marquis of Conyngham (1797–1876). In 1835 he became Lord Chamberlain, and so had the honor of being the first person to inform Princess Victoria that she had become Queen.

We buy silver and jewelry every day.

To see more of our inventory please visit our shop, or www.shrubsole.com

Elle Shushan

actual size Bettina von Zwehl (b. 1971) Evie, 2018 C-type print, image diameter: 3-1/5 inches, Edition of 7 Courtesy the Queen’s House, Royal Museum, Greenwich, London

www.ElleShushan.com

Silver Art by D & R

Antique French Silver and Crystal Table Center Piece

by Marie & Lagarde. Paris, circa 1912.

R

Silv

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Jasmine & Thierry Doussiere “Your Personal French Antique Shopper”

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Antique French Silver

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www.silverartbydandr.com Marseille, France US Cell: 202 257 4448

jasmine@silverartbydandr.com

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Elliott & Grace Snyder Dealing in American and European Antiques & Works of Art of the 15th through 18th Centuries

Exceedingly Rare New England Pilgrim Century Tavern Table

With molded drawer and stretchers, and remnants of red paint, this table is in untouched “original” condition.

Boston, MA area, c. 1680–1710.

P. O. Box 598 S. Egremont, MA 01258 413-528-3581 info@elliottandgracesnyder.com

www.elliottandgracesnyder.com

Breck’s Mill, 2nd Floor, 101 Stone Block Row Greenville, Delaware 19807

302-652-0271 | info@somervillemanning.com

Jamie Wyeth | Pig (Den-Den)

| watercolor and graphite on paper | 10 1/2 x 13 1/2 inches

Spencer Marks

Fine Antique & 20th Century Silver www.spencermarks.com

Important pair of coin silver ewers presented to William F. Johnson, abolitionist Governor of Pennsylvania, in 1852.

J. E. Caldwell, Philadelphia, Height: 17 in.

Spencer Gordon, III  Mark F. McHugh

P.O. Box 330, Southampton, Massachusetts 01073 (413) 527-7344 Member: The Art and Antiques Dealers League of America, CINOA & The Antique Dealers’ Association of America

SUSAN TELLER GALLERY FROM OUR COLLECTION OF MID-TWENTIETH CENTURY PENNSYLVANIA COAL MINING AND STEEL PRODUCTION IMAGES

Harry Sternberg, Steel, 1937, oil on masonite, 24 x 48 inches.

SUSAN TELLER GALLERY 212 941-7335 / 917 282-3999 info@susantellergallery.com www.susantellergallery.com

JAYNE THOMPSON ANTIQUES

847 Kennedy Bridge Road Harrodsburg, KY 40330 phone 859.748.5628 info@jaynethompsonantiques.com www.jaynethompsonantiques.com

SECRETARY BOOKCASE Attributed to New Britain, Conn.

Circa 1780 Cherry, white pine, poplar 96 x 41½ x 20 inches

Upperville, Virginia and Glasgow, Kentucky (270) 404-1558 taylor@thistleamericana.com thistleamericana.com

EARLE D. VANDEKAR of Knightsbridge Inc.

F INE A NTIQUE P ORCELAIN

&

PAUL VANDEKAR

INFO@VANDEKAR.COM

P.O. BOX 586, DOWNINGTOWN, PA 19335-0586 TEL: 212.308.2022

P OTTERY, E NGRAVINGS , AND S AILORS ’ W OOLWORKS

Chinese Export Porcelain Early Blue & White Soup Tureen, Cover & Stand After a Northern European Baroque Silver Form Circa 1740-50 The rare Chinese Export porcelain tureen is of a quatrefoil bombé shape and is painted on both sides with an Oriental garden with plants and flowers with a zig-zag fence. The handles in the form of grotesque-masks.

The cover is in the form of an open-work coronet finial.

Dimensions: 12 3/4 inches high x 16 inches wide x 12 3/4 inches deep

.VANDEKAR.COM

WWW

tillouantiques.com

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Litchfield, CT

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860-567-9693

HERMANN FUECHSEL (1833–1915) Lived/Active: Germany/New York

End of Day Sail

Signed (l.l.): H.F. Fuechsel, ca. 1870.

Oil on wood panel, 9" x 13½", 16" x 20" with frame.

Excellent condition.

Provenance: Grand Central Art Gallery, New York. Private Collection, New York.

After Fuechsel’s formal art studies at Dusseldorf Academy, he moved to New York City in 1858 to join his fellow students Bierstadt, Whittredge and Gifford. Fuechsel was known for his luminist landscape paintings, of the White Mountains, Lake George, Catskill and Adirondack regions as seen here in this finely executed work End of Day Sail.

2021 LOAN EXHIBITION All Creatures G R E AT and S M A L L

This year’s loan exhibition highlights The Philadelphia Show’s dealers, who will share their works of art that feature animals in all of their glorious varieties. Through a broad range of works spanning several centuries, “All Creatures Great and Small” will showcase the various and charming ways our fellow members of the animal kingdom have been depicted and honored.

The loan exhibit is curated by Alexandra Kirtley, the Philadelphia Museum of Art’s Montgomery-Garvan Curator of American Decorative Arts and longtime supporter of the show, Joan Johnson.

ALEXANDRE GALLERY Tom Uttech’s Nin Nomageb discloses the meditative stillness within the splendor of a remote mountain scene at sunset. A foreground of gnarled dead trees and lush moss-covered rocks is bathed in the cool light of evening, as a lone bear looks out over a pine-filled ravine. Beyond the pines a brilliant orange sunset reflects off of a distant still lake and cascading waterfall. As the night creeps in behind the tranquil bear, it sits entranced, like the viewer, by the final vibrant colors of day. This majestic landscape is based, like most of Uttech’s work, on his sittings throughout the wilderness of the Precambrian Shield—a stretch of remote land across the Northern United States and South-Eastern Canada.

The titles of his paintings come from a 19th century lexicon of the Ojibwe language, an indigenous language of the Algonquin family, dialects of which are spoken by tribes throughout the region. Nin Nomageb translates to “I am sitting a certain length of time, pretty long.” As the title suggests, Nin Nomageb communicates Uttech’s skill for simulating the emotive experience of extended, silent contemplation in nature. The opulent colors and rich detail underscore the innate beauty of this landscape, invoking the mystical reality of an untouched natural environment.

Nin Nomageb, 2020 Tom Uttech Oil on linen, 46 3/4 x 50 3/4 inches including artist’s hand painted frame

ARADER GALLERIES These beautiful studies are a rare example of the work of Ernst Friedrich Carl Lang. Lang was the son of Kilian Lang, miniature painter, and harpist. He moved to Nuremberg in 1755 and was a pupil of the famed natural history painter Barbara Regina Dietzsch, who specialized in the depiction of flowers, birds, and insects.

Dietzch’s influence can be seen in Lang’s delicacy of brushstrokes and the composition’s sophistication. The lack of background detail gives the work a simplicity that fully appreciates the bird’s plumage coloring.

Moreover, the color of these enchanting birds’ feathers is echoed in the shade of the background. Examples of Lang’s work include a Goldfinch in the Germanisches Nationalmuseum, Nürnberg, and a Rose in the Fitzwilliam Museum, Cambridge.

A Female Common Kingfisher on a Branch, ca. 1775 Ernst Friedrich Carl Lang (German, 1748-1782) Gouache and gum arabic on vellum Paper size: 8 1/4 x 11 1/4 inches Frame size: 21 x 18 1/4 inches

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AVERY GALLERIES Arthur Fitzwilliam Tait became one of America’s finest animal painters, after immigrating to the United States from England in 1850. A skilled woodsman and hunter, Tait was a careful and realistic observer of wildlife and adhered strictly to the English aesthetician John Ruskin’s theory of “truth to nature” in art.

Thus, it is not surprising that Tait’s animal paintings were hailed for their masterful realism. He deftly captured the personalities of the animals, while maintaining a high degree of realism and never venturing toward cartoon.

In The Hound, Tait depicts a chained dog with such a plaintive expression that the viewer cannot fail to be moved by it. The late nineteenth century witnessed the emerging popularity of paintings devoted specifically to field and hunting dogs. This painting is accompanied by an original poem by C.D. Stewart, which reads as an ode to the faithful hound.

Paintings and tales about hunting were extremely popular during the nineteenth century, and the rise of the publishing industry made them readily available to a growing middle-class audience.

In 1852, the publishing company Currier & Ives began reproducing color lithographs of Tait’s paintings, which helped popularize them immensely.

The Hound, c. 1853 Arthur Fitzwilliam Tait (1819–1905) Oil on board, 13 1/8 x 10 inches

DIANA H. BITTEL ANTIQUES This wonderful oil painting on a tin tray is one of five known with Adam off to the side in The Garden of Eden with an assortment of delightful animals, birds and the predictable snake coiled with forked tongue. They all portray a virtual “Peaceable Kingdom” where the lion and tiger, rhinoceros and elephant, giraffe and kangaroo, alligator and peacock, monkey and porcupine all peacefully coexist with lambs and dogs, turtles and deer, bats and zebras, horses and camels and more.

There are no signatures on any of these trays. The designs on four of them are mostly similar with Adam standing at the right next to the coiled snake with a monkey on the branch above. In two of these four he is modest with a wreath of foliage encircling his waist, in the other two he is nude.

They all have the appeal of an Edward Hicks but are more likely England’s answer to an early unknown nineteenth century artist.

As a child, I was aware of another tray outside Philadelphia with Eve portrayed instead of Adam. If it is hidden away in some collection and no one is enamored of it, I would love to reunite it with Adam.

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Adam Naming the Animals, ca. 1840 Painted Tin Tray, 25 x 33 ½ x 1 ½ inches

PHILIP BRADLEY ANTIQUES This set of four Pennsylvania German fraktur drawings features a variety of bird motifs—including distlefinks, a pelican in its piety (upper right), and even three tiny hummingbirds perched on the tips of the flowers (lower right). Pennsylvania German artists often included animal motifs in their work—parrots, unicorns, lions, and fish are all popular imagery along with the occasional camel or alligator.

These bird drawings were likely made by a schoolmaster for his pupils as rewards of merit and are attributed to the so-called Rockhill Artist, who worked in north-central Bucks County, including Bedminster, Hilltown, and Rockhill townships. The drawings are inscribed on the back for siblings William, Lydia, and Henry Bartholomew of Bedminster Township.

Parrot and Deer, ca. 1890’s Acoma Polychrome Jar 12 inches diameter x 9 inches high

MARCY BURNS AMERICAN INDIAN ARTS This Acoma polychrome jar is notable for its very unusual depiction of deer along with parrots in the body of the jar. Each figure is separated by a polychrome rainbow, one of which overlaps the other at the straight junctions.

The style of the animals, especially the deer, the unusual treatment of the rainbow and the large size make this jar a fairly rare and unique example.

Dating to the 1890s, it was found in an attic in Cheltenham, PA in whose home the pot had descended (owner found the pot in her attic after they purchased the house) and since then has been in my personal collection.

Dwight Lanmon and Francis Harlow included it in their important study of Acoma pottery, The Pottery of Acoma Pueblo, Museum of New Mexico Press, 2013; pp. 304-305.

Parrot and Deer, ca. 1890’s Acoma Polychrome Jar 12 inches diameter x 9 inches high

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RALPH M. CHAIT GALLERIES Of realistic form, posed on a promontory with lotus flowers and stems and crested waves with leaping carp. Glazed in deep enamel and slight gold-wash.

I have always been intrigued by this type of ewer. They were among the earliest objects traded from China to the West and are represented in important historic European Collections. There is a realism and whimsy these ewers that are amusing and intriguing. There is also so much to see- beyond the crayfish. For examples, there is a leaping carp among the waves that was symbolic of success and overcoming adversity.

It is the sort of object, the more ones looks at, the more one discovers.

Almost identical examples: Rijksmuseum, Amsterdam; Baur Collection, Geneva; and the historic court collections in Dresden and Sweden.

Rare Chinese Sancai Glazed Crayfish Ewer Ming dynasty, late-16th century Porcelain, 8 inches

H L CHALFANT FINE ART AND ANTIQUES This wonderful small carved wooden horse was made around 1880 and possibly by Muller of Philadelphia, PA. It has the original paint and leather saddle. We even still have the original bit and leather reins.

He is very bold and muscular. It sits on its original base and was never used as a carousel animal. It stands 41” tall and 49” in length. This was probably made for a lucky child as a present, back in the day! There are traces of green paint on the base to simulate green grass. We have had it in our private collection for years and we love to walk by, it makes one smile. It is very rare to see these Carousel type animals this size an especially in this condition. We would love to know if any of you have seen another. This was not this carver’s first rodeo!

Hope you enjoy this great horse.

Carousel Horse Carved wood, 41 x 49 inches

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CHARLES CLARK The sinumbra lamp was an outgrowth of the development of the argand burner. In 1784, a Swiss inventor named Ami Argand invented a burner composed of a tubular wick secured between two metal tubes. The center tube was vented at the bottom allowing air to enter from the base. The burner was constructed to deliver air to the inside and the outside of the flame, resulting in a dramatic increase in the amount of illumination. The glass chimney would concentrate the movement of air around the wick.

The flame from the argand burner would have been up to ten times brighter than candlelight.

These lamps would have been as life changing in their day as the invention of the telephone or the personal computer might be today. This was the first time man had a source of artificial illumination beyond candles. The lamps could hold enough fuel to light a dinner party or should someone choose to work at night, there was now a somewhat reliable light source that enabled someone to choose what they did after the sun went down. The sinumbra lamp was refined around 1820. These lamps have a doughnut or ring shaped font with the argand burner located in the center of the ring.

A Regency Sinumbra, ca. 1835 Phipson and Lambley (England) Bronze, brass, tin, and glass, 33 ¼ inches PUBLISHED BY PHIPSON AND / LAMBLEY MAY / 10 1834 is stamped under each of the dragon’s wings.

THE COOLEY GALLERY Every new place I visit is an excuse to look at art, any art. It was exactly that, that I looked forward to as I watched the NOLS bus head towards the Alaskan wilderness with my third son. I had 8 hours before my flight home. Perfect. Anchorage is a compact town with wonderful shops and galleries. My eyes were opened to all kinds of indigenous art and I found several pieces but this piece remains my favorite.

Chupak is actually not a native Alaskan but he is as devoted and passionate about his home and culture there as anyone. He was born in Cambodia and through a series of heart wrenching and heroic experiences was lucky enough to end up at a high school in Washington state. Before that he had taught himself to carve things from any material he could find when he was in a refugee camp in Thailand. He later moved to Alaska, a lifelong dream of his and established a successful career there.

There is nothing more emblematic to me of Alaska than the great Grizzly bear. How many images have we all scene of these majestic animals grabbing fish out of the rivers? To have seen that in this segment of a walrus shoulder bone and created such a subtle yet utterly compelling form is magical.

The Bear Chupak Carved Walrus Shoulder, Signed on the back 16 ½ high x 19 long x 5 inches deep

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DIXON-HALL FINE ART Born in Philadelphia, Joseph Biays Ord was son of George and Margarette Ord, his father being one of the city’s most prominent scientists of his day. It was clear by 1824 that the son would not follow in his father’s footsteps when he exhibited two still lifes at the Pennsylvania Academy in Philadelphia, both in the manner of Raphaelle Peale.

Ord exhibited portraits, religious and genre scenes at the Academy from 1832-42, but by 1835 was working again in still life with the exhibition of three fruit pieces at the National Academy of Design in New York. From 1841-48 at the Apollo Association and from 1843-62 at the Pennsylvania Academy, Ord exhibited exclusively still lifes-some fifty in all.

Ord is credited with being the sole still life artist of merit bridging the gap being the Peale Family and the flowering of Victorian still life at mid-century. He is praised for his use of cross lighting from left to right on a diagonal and for his compositions which are well balanced, yet informal. The inclusion of the cat in this tabletop composition makes this work particularly unique and lends an even deeper level of Realism as well as humor with the addition of the fly to the typically staid still life composition.

Exhibited: Washington County Museum of Fine Arts, Hagerstown, MD, “Canine and Feline Fanciers Exhibition”, June 23-September 10, 2000

Tabletop Still Life with Cat and Fly Joseph Biays Ord (1805-1865) Oil on canvas, 17 ¼ X 21 inches Original ogee frame, relined

DOLAN/MAXWELL In 1968, St. Martin became a second home for Romare Bearden and his wife Nanette, who was native to the island. He insisted that the Caribbean was the source of much of his creation during this later stage of life. “Art will go where the energy is. I find a great deal of energy in the Caribbean...It’s like a volcano there; there’s something unfinished underneath that still smolders.”

In Caribbean Song, we see elements of this creative, volcanic energy clearly illustrated in the use of fiery reds in the distant mountain tops of a tropical paradise. The paint handling is expressive rather than literal, and the collage elements (birds and the figure at water’s edge) create the scale of the scene.

A luminous aqua blue at the foreground becomes an intimate lagoon in which a stork stalks its prey while a woman dips her toe in the calm, inviting water. The whole scene is pushed forward and compressed by the cool blue of the deep sea at the upper right. While viewing this watercolor/collage, one feels that everything is right in the world and “at last, my love has come along, my lonely days are over and life is like a song.”

Caribbean Song c. 1980s Romare Bearden Watercolor and collage on paper, 13 1/8 x 17 inches

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GLEASON FINE ART For many years we represented the work of painter/sculptor William Muir and his wife Emily. We purchased this painting out of the estate. Jinx was a favorite cat of the Ames brothers of Stonington, Maine.

The three bachelor brothers worked a saltwater farm that abutted the Muirs’ property and they were frequent visitors to each other’s homes.

We had a much-loved cat at the time, who was also a mackerel tabby like Jinx, so we drawn to this domestic scene, as well as to the interesting downward perspective and the mismatched linoleum floor. This watercolor was exhibited at the Brooklyn Museum of art in 1933 and was pictured in black and white on the simple brochure of the exhibit.

Jinx Eating, 1933 William Muir (1902-1964) watercolor on paper, 20 x 24 inches Signed and dated lower left

GRATZ GALLERY AND CONSERVATION STUDIO Peter Miller, born Henrietta Myers in Hanover, PA, changed her name after marrying the love of her life, Earle Miller. She studied at the Pennsylvania Academy of the Fine Arts and was greatly influenced by her private studies with Daniel Garber and Arthur Carles, as well as following the works of Miro and Klee. Her first show was at the Santa Fe Art Museum in 1937 and in 1944/45 Peter earned two solo shows at Julien Levy Gallery. Half the year was spent on her ranch in Espanola, near Santa Fe, NM. Miller was taken by the culture and art of the Tewa Indians of the San IIdefonso Pueblo. Her early New Mexico paintings incorporated primitive images and icons from the petroglyphs found carved in the Bandelier and Frijoles Canyons. Nature and magic dominated her passion for painting. “Tortoises” demonstrates Peter’s unique painting techniques and love of nature.

The turtle was Peter’s totem and is a recurring theme throughout her work. This painting was created using textured gesso as a base, which resembles the canyon walls. Her painting method involved highly complicated layers and glazes of different colors, incorporating several different images into one.

Her bond to New Mexico was strong and she was the goddaughter of Edith Warner, infamous for “The House at Otowi Bridge”.

Tortoises Peter Miller (1913 – 1996) Oil on canvas, 25 x 34 1/4 inches

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HAWTHORNE FINE ART A charming scene and notably early example possibly depicting the artist’s wife by their summer home Cragsmoor, NY accompanied by her loyal horse and terrier at foot. E.L. Henry was an early founder of the Cragsmoor Artist Colony.

American genre painter E. L. Henry was born in Charleston, South Carolina, but raised in New York City from the age of seven. He began studying art in his early teens under Walter Mason Oddie (1808—1865), the New York-based landscape painter. In 1858, he enrolled at the Pennsylvania Academy of Fine Art, and in 1860 continued his studies in Paris at the Académie des Beaux-Arts. His teachers at the Académie were two of Switzerland’s most celebrated history painters, Joseph Nicolas Robert-Fleury (1797—1890) and Marc-Gabriel-Charles Gleyre (1808—1874), whose rigorous, academic style had a lasting impact on Henry. While in Paris, Henry also studied at the atelier of Jean Joseph Benjamin-Constant (1845—1902).

After the Civil war, he moved into the famed Tenth Street Studio Building in Greenwich Village, working alongside Winslow Homer (1836—1910), Albert Bierstadt (1830—1902), and Frederic Church (1826—1900).

He began producing paintings from his wartime sketches, most notably, two depictions of Union soldiers infiltrating the Westover Plantation in Virginia, now in the collections of the Corcoran Gallery of Art, Washington D.C., and the Century Association, New York.

Trusted Companions, 1879 Edward Lamson Henry 1841-1919 Oil on canvas, 10 1/2 x 13 1/16 inches

STEPHEN AND CAROL HUBER The purse is inscribed with the initials W.P. above the great navigator Admiral William Penn standing beside a globe.

Admiral William Penn’s purse is probably part of the suit of finery he ordered in May of 1660 in preparation for King Charles II’s return to England. When King Charles II boarded Penn’s ship he stated that Admiral Penn was “resplendent” in all his finery.

Sir Admiral William Penn was born in 1621 and started his life-long seafaring career as a young boy on merchant ships. Penn joined the Royal Navy, and rose to the rank of rear admiral by 1645. Admiral Penn was a career navy man and was promoted several times over the next two decades. Admiral Penn’s efforts were well regarded by both Oliver Cromwell and King Charles II. At that time of Penn’s death in1670, King Charles II owed Sir Admiral William Penn roughly £16,000 for services rendered.

In 1681 William Penn’s son, the Quaker, asked King Charles II to settle the debt to his father. The King, pleased to get rid of the trouble maker, granted him the colony known as Sylvania as repayment, but the King renamed it stating “I’m naming it Pennsylvania after that jolly fellow, your father.” So in fact, Pennsylvania was named after the owner of this purse, Sir Admiral William Penn, and not his Quaker son William Penn who came to the colonies.

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William Penn’s Purse c.1660 Silk and metallic thread on linen with red silk lining, 8½ x 6 inches A national treasure both in America and England

HYDE PARK ANTIQUES Undoubtably inspired by the magnificent sculptures of the Vatican’s Sala degli Animali, Taureau-Romain by Jean-Baptiste Clésinger stands handsomely stalwart, his minatory gaze seemingly suspect of his viewer. And judging by the rubbed patina of his horns, this bull’s suspicion is not unwarranted. Afterall, who wouldn’t dare to touch this Taureau’s spikes if it might grant some measure of good luck?

Jean-Baptiste called Auguste CLÉSINGER began his studies with his father, the sculptor Georges-Philippe Clésinger. He continued his training in Rome in the studios of the Danish sculptor Bertel Thorwaldsen and the architect Salvi and later in Paris. He first exhibited in the Paris Salon of 1843, and garnered his first gold medal at the 1848 salon. One year later, he was inducted into the Légion of Honor and later raised to officier in 1864.

The marble of Taureau-Romain was executed in 1858 and exhibited in Paris at the Salon of 1859 and met with great critical and popular success.

Baudelaire reviewed that the “Taureau-Romain has received “well-deserved praise from everybody; it is really a very fine work”. Napoleon III procured a version for the Tuileries Palace.

Le Taureau Romain Jean-Baptiste Clésinger (French, 1814-1883) Bronze Signed: “Clésinger, Rome 1858” Inscribed: “F. Barbienne Fondeur”

BARBARA ISRAEL GARDEN ANTIQUES This group of sheep, sculpted by the English artist and farmer Royston Clapp (1929-2009), is currently making its way to the States along with 11 other animal statues, all by Mr. Clapp.

In 2011 I had bought four sheep sculptures from the Clapp estate at an auction gallery in the north of England that also sold tractors and livestock.

When Mr. Clapp’s wife Jillian died this past December their son remembered her having enjoyed a correspondence with me about how much I had liked her husband’s work and he contacted me to buy the rest from her estate. Educated at the Bristol School of Art in South Gloucestershire, Mr. Clapp found his greatest inspiration from the animals at his farm, often recreating them in the fine, hard stone known as Hopton Wood limestone that is quarried nearby in Derbyshire. I’m looking forward to meeting these three in person!

A Farmer’s Flock Royston Clapp (1929-2009) Limestone, 31 1/2 x 59 x 27 1/2 inches

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CHRISTOPHER H. JONES Walter Anderson left Ocean Springs to study at the Parsons Institute in New York and graduated from the Pennsylvania Academy in 1929. During the 1930’s he worked on several WPA projects and murals for the Ocean Springs school and community center. During this time, he began exhibiting symptoms of mental stress that would be a part of his artistic vision for the rest of his life. He was hospitalized after an attempted suicide and spent the next three years in and out of institutions. Eventually, Walter felt compelled to live alone and around 1947 he set up house in a cottage in Ocean Springs.

For the next 18 years he made frequent and extended trips to Horn Island, part of the barrier reef along the Gulf Coast, rowing the 12 miles of ocean to reach the island. Once there, he would set up camp for several weeks drawing and painting the island’s animals, birds, reptiles and insects. This was an intensely personal experience in which he explored his vision of reality. When Anderson died in 1965 his wife opened a padlocked room in his cottage. On the four walls were a remarkable mural of the Gulf Coast’s natural world - wild persimmons, possums, sea birds and insects at sunrise, sunset and in the starry night.

His cottage is now a museum in Ocean Springs.

Cat Study, ca. 1955 Walter Inglis Anderson 1903-1965 Ink on paper, 11 x 8 1/2 inches Signed WA

KELLY KINZLE ANTIQUES This painting keeps coming back to me like a literal lost dog.

I admire Ruth so much that I have owned her three times.

To me, Ruth is painted not as a working dog, but as a beloved family pet. The artist, Robert Moore has captured her kind spirit and friendly expression, memorializing her name on a twig in the foreground.

The portrait was painted at a time when Kentuckians were celebrating their agrarian pursuits and capturing prize livestock on canvas served as a primary landscape tradition in Kentucky before the Civil War. The style was vernacular and a bit folksy. Robert Moore fits into this tradition as an itinerant artist who is known to have received other animal and portrait commissions in Kentucky. His naïve style appeals to me and is highly sought after by collectors.

The painting survives in such remarkable condition that clearly earlier owners have prized Portrait of the Sporting Dog, Ruth as much as I have.

Portrait of the Sporting Dog, Ruth, 1867 Robert Moore (b. before 1816-1894) Oil on canvas, 43 x 55 inches

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BETTY KRULIK FINE ART William Zorach was born in Lithuania in 1877, his family settled in Ohio in 1891, where at age 13 he apprenticed to a lithographer.

In 1910 he went to study in Paris, where he was witness to the birth of modernism. At first a painter, Zorach turned to sculpture in the 1920s. His work was primarily direct carving in stone and wood, under the influenced of primitivism. Later in life he began casting in bronze.

Singing Bird, from 1946, is a diversion from his cubist style. The sleek, smooth lines are typical of these animal sculptures of the 1940s, as is the humor with which he imbues his subjects. Singing Bird is the third in an edition of 6 and was acquired by the owner directly from the Zorach family.

Singing Bird, 1946 William Zorach (1877-1966) Bronze, 6 1/4 x 9 inches

WILLIAM R. & TERESA F. KURAU Original Noah’s Ark lithograph created circa 1845 by Nathaniel Currier’s printing firm located in New York City. At this moment in U.S. history, the Industrial Revolution was winding down and had many citizens on edge. They were accustomed to a certain way of life and everything around them was changing. Large farms were no longer able to sustain everyone in the family which led to individuals leaving home and looking for work elsewhere.

This feeling of change and unrest left families looking for ways to ease their minds. Many turned to religion. Religious paintings and pictures were being hung in homes nationwide so all could be reminded of the consistency of God. Noah’s Ark has fun content full of animals and portraying life going on and surviving with the help of God and that the circle of life continues.

The birds flocking to the ark from above fly in a semicircle and the animals on land also arriving in a semi-circle further drives that circle of life feeling home. This lithograph also has the animals paired off arriving to safety in a wonderful, hand colored, entertaining image.

Noah’s Ark, ca. 1845 N. Currier Lithograph, 12 x 16 inches

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POLLY LATHAM ASIAN ART This pair of mirror image Chinese export porcelain recumbent elephants are modeled as joss stick holders which in Chinese homes and temples held burning sticks of incense. Here, though, we have the mighty beasts in rather submissive poses repurposed as candle holders for the export trade to the West. In China the elephant is a symbol of good luck and happiness, and in Feng Shui they can also represent either good luck, wisdom, protection, or fertility depending upon the position they are depicted in and where they’re placed in the home.

A pair similar to these is illustrated and discussed in Willaim Sargent’s book on The Copeland Collection which is one of the great collections of Chinese export figures now housed with the Peabody Essex Museum in Salem. Chinese export porcelain figures were, from the beginning of the China Trade, one of the rarest and most expensive items to acquire; their production costs were higher than most dinner and teawares and it was difficult to efficiently and safely pack and ship them, hence their rarity in comparison to the amount of other porcelain wares available.

Pair of Recumbent Elephant Candleholders 5 x 5 1/2 in

NATHAN LIVERANT AND SON Whimsical, sculptural and historic, this Right Whale relief wall plaque combines a delightful assortment of influences. It was created by Clark Voorhees II (1911-1980) of Old Lyme, Connecticut and Weston, Vermont, an early proponent of American Folk Art. The son of an American Impressionist painter of the Old Lyme School, Voorhees grew up on the Connecticut shore surrounded by art, artists and the ocean. Voorhees carved his first whale while stationed in Hawaii during World War II. Eventually he would develop a series of seven uniquely carved whales. All of the whales Voorhees chose to fashion were important to the 19th century whaling industry.

The Right Whale illustrated here was one of the most sought-after species of the period. It was designated as the “right whale” to hunt by the whalers, anxious to capitalize on its many positive attributes. It was slow moving, covered with a thick layer of blubber under the skin and a mouth full of useful baleen. However, one of the most desirable features for the whalers was that the Right Whale floated after it was killed, making it easy to handle and process. Featuring distinct character and a lively sense of humor, Voorhees whales remain popular today and enliven any household.

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Right Whale relief wall plaque Clark Greenwood Voorhees II (1911-1980) Painted wood, 18 inches in length Monogrammed CV

LOST CITY ARTS Bo Kristiansen was a Danish ceramicist educated at the School of Arts and Crafts in Copenhagen. Kristiansen founded his own workshops in 1968 and 1979. His work features brightly colored slab built geometric forms such as boxes, panels, and vases delicately inscribed with lettering. The lettering is attributed to fragments of poems and song lyrics by Bob Dylan and Gustaf Munch-Petersen.

His work is in the collections of numerous museums such as the National Museum of Sweden and the Museum Boijmans Van Beuningen in the Netherlands.

This piece was selected for this exhibition because of the nature of it’s scripture. Taken from numerous poems and songs, this work is about the eternal connectedness of humanity and the natural world. The panel is a quintessential representation of Kristiansen’s esteemed career as an artist.

Ceramic Stoneware, 1980’s Bo Kristiansen (1944 – 1991) 27 x 35 x 1 3/4 inches

MODERNE GALLERY One of the Claremont Museum of Art’s most prolific sculptors, Betty Davenport Ford, a Cranbrook MFA, is well known for her unique style and honest craftsmanship. Working in clay and bronze for over sixty years, she simplified forms to abstract the natural essence of the wild creatures she depicts.

Animals, both real and fantastic, occupied an important place in artistic expression in mid-twentieth-century Claremont, appearing in the work of ceramists, painters, enamellists, and sculptors. Primal Nature: Animalia by Women in Post-War Claremont, curated by Susan M. Anderson, focused on this phenomenon, particularly in the work of women artists like Betty Davenport Ford, who played a vital role in the development of the arts in Claremont. Ford aimed to belie the capture of the animal’s essential spirit with sound design.

Ford earned several awards including the American Institute of Architects Award (1955), the Los Angeles Times Woman of the Year Award (1956), the National Society of Art Designers Award for Excellence (1968) and many more.

Gibbon, 1952 Betty Davenport Ford (b. 1924) Glazed ceramic, 26 1/2 x 14 x 11 inches

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LILLIAN NASSAU The regal cat seen here is Tookey, who was the family cat of American artists William and Marguerite Zorach. William Zorach made a great number of drawings of Tookey, many of which can be seen in the holdings of the Smithsonian American Art Museum, including a 1924-25 sketch which may have been a study for this piece. He also carved sculptures of cats in various materials and poses, including plaster, stone and wood, over the span of his career.

This example, likely one of Zorach’s first major sculptures of this particular animal, was exhibited in 1928 at the Art Institute of Chicago’s Forty-First Annual Exhibition. It was also exhibited in 1929 in the exhibition Contemporary American Sculpture at the California Palace of the Legion of Honor and is illustrated in the catalog.

A version of this sculpture in granite was acquired by the Metropolitan Museum of Art in 1937, while a similar example in cast plaster was donated to the Smithsonian along with Zorach’s archives by his son Tessim in 1968.

Seated Cat (Tookey), 1927 William Zorach (1887 - 1966) Pink Tennessee Marble, 18.5 high x 8 wide x 12 inches deep

THE OLD PRINT SHOP An unusual Prang chromolithograph after the painting by Miss Susanna Augusta Winn “was one of the most popular in the year 1891.”

This oddly charming piece, besides using trompe l’oeil, is framed in a period custom oak frame carved to look like a singled structure with a roof and trough. One of the more unusual objects issued

by Louis Prang.

Overall in good condition and color. There are several tiny areas of image loss which have been blended and extreme lower right corner has been reattached.

The Prize Piggies, 1891 Published by L. Prang & Co. Boston.

Chromolithograph, 8 1/4 x 16 1/2 inches (image)

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OLDE HOPE ANTIQUES We first caught sight of this bird tree in a late 1980’s. We were familiar with several of the carver’s birds and one eagle pictured in Robert Bishop’s book, American Folk Sculpture, 1974, p. 173 where he was identified as “Bernier, the Lumberman”.

In the summer of 2010, The Magazine Antiques published newly discovered information about Bernier in an article New Light, “Bernier the Lumberman”: The mystery carver of Biddeford, Maine, identified, co-authored by Leslie Rounds, executive director and Jessica Skwire Routhier, museum director, of the Dyer Library/Saco Museum in Saco, Maine.

In 2009, the Saco Museum in Maine placed a query in the local newspaper in search of the mysterious lumberman to which family descendants promptly responded. Bernier the Lumberman was identified as Joseph Romuald Bernier born in April 1873 near Quebec City, Canada who emigrated to Biddeford, Maine in 1886. According to the family and backed by census records from 1921 and 1923, Bernier was paralyzed by a falling tree breaking his back. At that time he began carving to support his family. The family recalled he used a pocketknife.

Bird Tree, ca. 1930-40 Attributed to Joseph Romuald Bernier (1873-1952) Carved wood with original polychromed finish, 65 inches Simply carved forms with deep & light incisions painted with hatched brushstrokes.

PETER PAP ORIENTAL RUGS Woven with soft and glistening Manchester wool, this central Persian mat copies a popular American embroidery design of a bald eagle grasping the American flag.

While the American textiles from which this piece was inspired date largely to the late 19th and turn of the century, the eagle depicted here almost seems to anticipate the Art Deco style of the 1920s. Such small knotted pile mats were woven in several Persian weaving centers for what was at the time a new orientation towards the emerging American market. This is a stellar example of the type.

Kashan mat Knotted Pile Wool, 2 feet x 2 feet 2 inches

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THE PHILADELPHIA PRINT SHOP WEST A superb print of a Grizzly Bear from Audubon’s magnificent Quadrupeds of North America. This work was conceived as a complete depiction of the quadrupeds of the continent and this monumental project would consume the last twelve years of Audubon’s life. With the help of his sons John Woodhouse and Victor, Audubon was finally able to start issuing the prints by subscription beginning in 1842, with the first volume of 50 plates published in 1845. The entire work comprises 150 prints in the imperial folio size, each lithographed and hand-colored with such precision and care as to give the fur on the animals a superbly realistic appearance.

As the first work on American quadrupeds of this scope and quality, Audubon’s second great work is a landmark of American natural science.

Overshadowed by the Birds of America, the prints from Audubon’s Quadrupeds of North America are considered by some to be even finer and more accurate than the bird prints; they surely are prints of the highest quality and beauty.

Grizzly Bear, 1845-48 John James Audubon (1785-1851) Lithograph with original hand color, 17 1/4 x 23 1/2 in (image)

FRANCIS J. PURCELL This magnificent carved marble fountain incorporates a few different themes based around “Putto with dolphin” atop a trefoil bowl upon the “Three Graces”. Putto with Dolphin depicts a winged child holding a writhing fish by Andrea del Verrocchio. Commissioned

by Lorenzo de’ Medici around 1470 to adorn his Careggi villa, it was moved to Palazzo Vecchio by Cosimo I in 1557 to sit atop the marble and porphyry fountain in the main courtyard.

Just like you can’t do anything that hasn’t been done before...This fountain is a contemporary update on the theme. Can you imagine all of this marble goodness spotted by an American on holiday in England only to be taken home and enjoyed by penguins? It’s true! Talk to Francis Purcell and he will tell you about the 3 Francis(s!), the lemon cookies...and of course the fountain and penguins that got to enjoy it!

Putto with Dolphin P. Bozzanti Marble, 105 inches (high), 48 inches in diameter

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QUESTROYAL FINE ART This skillful watercolor captures the serenity of a winter forest with a family of deer quietly treading through the snow. Henry Farny was born in France but immigrated as a child to Western Pennsylvania, eventually settling with his family in Cincinnati.

He began his career as an illustrator and found success and notoriety with Harper’s Weekly. Farny took several trips to Europe to study painting, under Hermann Herzog in Düsseldorf, and in Munich amongst Cincinnati friends Frank Duveneck and John Henry Twachman. Beginning in 1880, Farny began devoting most of his time to painting, and in 1881 took his first trip West where he was deeply inspired by the American Indians he encountered. His paintings were exhibited widely during his lifetime and the Cincinnati Art Museum held a retrospective of his work in 1965.

Deer in the Forest, 1888 Henry F. Farny (1847–1916) Watercolor and Gouache on board, 18 5/8 x 12 3/16 inches

RED FOX FINE ART Herring, Sr’s farmyard scene, diminutive as it may be, is bold in all respects; an extensive distant landscape with Constable clouds, a small farm yard with big good-looking work horses of shinny coats, fat and clean hogs, and a rooster with his three hens.

A yard of plenty really, shown on a panel in bright clear oils. The composition suggests the feeling of a deliberate slow pace which underlines the close relationship between farmer and livestock.

Perhaps a sanguine attitude prevalent on the part of Herring, Snr. sensing the industrial revolution was the harbinger for an end of the simpler rural way of life and its natural rhythms. Herring, Sr. at his best!

In the Farmyard John Frederick Herring, Sr. (1795 – 1865) Oil on board, 8 x 10 inches Signed J.F. Herring

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JAMES ROBINSON A Victorian Period 15kt Gold and Silver set Diamond Duck Brooch, delightful and dimensional, the piece is set with old mine cut diamonds, a ruby eye, and mixed cut diamonds articulating the rear wings; the beak and webbed feet in gold.

Animal forms in jewelry have occurred throughout history. The duck is often a symbol of resourcefulness, adaptability, and resilience. Ducks also often conjure the idea of unity and togetherness due to their flying in synchronized flocks.

Diamond Duck Brooch, ca. 1880 1 5/8 x 1 ¼ inches

DAVID SCHORSCH AND EILEEN SMILES This rare fox weathervane is presently for sale in our inventory.

It delicately captures the animation of a fox was made by Cushing and modeled on wooden pattern carved in Boston by Henry Leech (1809-1885). In 2014 we owned the actual pattern for this vane that is illustrated in Stacy C. Hollander, Ed., American Radiance: The Ralph Esmerian Gift to the American Folk Art Museum (New York, 2001), no, 304, pp. 340 and 538.

Running Fox Weathervane L. W. Cushing & Sons Waltham, Massachusetts, circa 1867-1872 Copper, worn historic surface of gold, silver, and verdigris, 10 ½ x 21 x 2 inches

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SCHWARZ GALLERY Milne Ramsey is primarily known for his work in still life but occasionally an artist will step outside of his comfort zone and do something truly unique.

This costume piece set in seventeenth-century Holland has meticulous detail and was meant to act as a resume to the public showing the talent and scope of the artist. Ramsey himself was so proud of the work that it was exhibited at three prestigious locations, first at the Paris Salon where this American was currently working and then Society of American Artists, New York and Pennsylvania Academy of the Fine Arts.

At the Naturalist’s, 1876 Milne Ramsey (1847-1918) Oil on canvas,23 1/2 X 43 1/2 inches Signed, dated, and inscribed at lower left: “Milne Ramsey/Paris 3 76”

S. J. SHRUBSOLE A Rhyton is a drinking cup, usually in the shape of an animal’s head, used for libations or dining. They were produced throughout the ancient world, particularly in Persia and the Mediterranean, starting in the 2nd millennium BC. In the 19th century, archaeological discoveries across the Mediterranean inspired the creation of revivalist objects, jewelry, and decorative arts, including rhyton cups. While this category is relatively common in English and European creations from the period, it’s comparatively rare to find American examples like this one by the Gorham firm in Rhode Island.

A Rare American Silver Figural Rhyton Cup Providence, RI 1884 by Gorham Length: 9 3/8 inches; Weight: 25 oz. 6 dwt.

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ELLE SHUSHAN When Bettina von Zwehl was invited to be artist in residence at the Victoria & Albert Museum, she was asked what in the museum inspired her. From that residency, von Zwehl created photographic portrait miniatures.

Von Zwehl, who is London based, was commissioned by the National Portrait Gallery, London to photograph the British athletes in the London Olympics. In 2018, she became the first artist in residence for the New-York Historical Society; her resulting exhibition, Meditations in an Emergency, was inspired by the Parkland shootings of that year. Von Zwehl’s most recent exhibition was Wunderkummer in Innsbruck, Austria. Among the museum collections which hold von Zwehl’s unique works are The National Museum of Women in the Arts, Washington, D.C, The National Portrait Gallery, London, The Guggenheim, New York, The San Diego Museum of Contemporary Art and the Victoria & Albert Museum.

Jensen, 2017 Bettina von Zwehl (b. Munich 1971) c-type print, 13 x 16 cm edition of seven

SILVER ART BY D & R This Antique Silver Tongs has a beautiful ‘Repoussé’ detailing with an incredible Chimera Head decorating its center. The gorgeous cutaway work shows in great details wreaths of wild plants and flowers. The chimera was one of the most terrifying creatures in Greek mythology. Although different versions of the creature exist depending on the source, there are characteristics that are always the same. The Chimera is usually defined as “a fire-breathing female monster with a lion’s head, a goat’s body, and a serpent’s tail.”

The term “chimera” is now used generally to denote a fantastic idea or figment of the imagination. But the chimera is one of those creatures that continues to fascinated storytellers. It seems that different tales have their own versions and they make their way into modern fiction, animated series, and even movies. Originally in Greek Mythology the Chimera was a fire breathing female monster; She devastated Caria and Lycia until she was slain by Bellephoron!

This is definitely one of the most gorgeous designs done by Alphonse Debain. This model called a Main ‘Pince’ or Silver Asparagus Tongs was created by Maître Orfèvre Alphonse DEBAIN in Paris and discussed in the official publications of the Exposition Universelle De Paris in 1889. Alphonse DEBAIN excelled in using natural forms inspired by nature. They were particularly appreciated by the judges during the Universal Exhibitions.

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Antique French Silver Asparagus Tong, ca. 1890 Alphonse Debain (1883-1911) Silver, 4.35 in x 3.95 inches

ELLIOT & GRACE SNYDER ANTIQUES One of a pair of charming needlework pictures, one of which represents flora and the other fauna, this piece features an oversized rabbit gamboling over queen stitch hillocks, a delightful red bull and three dogs, all worked against an unusual dark background.

Done in England in the early 18th c., this piece represents a kind of transition from the original use of the word “sampler”—wherein random embroidered spot motifs were done as a kind of visual reference for work to be done later on clothing and household furnishings—to works that depicted a unified scene and told a story.

In their original frames, there is a note on the back stating that the pair was “given to Eliza Ward’s mother by a Quaker Martha Harrison.”

Fauna, ca. 1725 English, possibly Quaker Needlework, 6 ¾ x 8 ¾ inches

SOMERVILLE MANNING GALLERY Saunders is committed to only working from life and spending her days with animals, observing their habits, learning their language, and studying their form, all in an attempt to convey with great passion their grace and spirit. Saunders and her husband live on a farm in Pennsylvania surrounded by horses, dogs, cats, a herd of deer and a muster of peacocks.

The peacocks are comical, elegant, vicious and beautiful. Saunders had just started working on her life size peacock when her model, Nureyev, had an encounter with a raccoon in a tree and ended up with a broken leg. It was an amazing experience for Saunders to have Nureyev in the studio with her for three months while he recovered.

She would keep her studio door open and his brother and sister would come visit. Working from life in the studio was brilliant, and after Nureyev healed, he took up chasing cars!

Saunders’ talent with rendering the animal form has led her to considerable success. During the fall of 2012, the National Sculpture Society selected one of her pieces, a life-sized representation of a peacock entitled Nureyev, for its 79th Annual Awards Exhibition.

This notable juried show presented the works of 45 artists at the Brookgreen Gardens in South Carolina. Saunders is also an active member of the Society of Animal Artists, a group that recognizes superior ability to depict wildlife.

Nureyev, 2011 Rikki Morley Saunders Bronze, 26H x 65L x 36W inches Edition of 12

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SPENCER MARKS Celebrating the arctic and the 1867 purchase of Alaska from Russia, this wonderful and rare punch bowl by Tiffany & Co. features bold cast figural handles of walrus heads with long tusks. Tiffany is known for its quality castings, and these handles do not disappoint.

Not only was the Arctic exotic, but America produced some of the world’s finest ice. With abundant freshwater, lakes were ‘harvested’ in the late winter, and American ice was known throughout the world for its purity. The Wenham (MA) Ice Company received a Royal Warrant from Queen Victoria as she was so delighted by their ice.

Following the arctic theme, ice floating in your punch would complete the celebration!

Antique Sterling Silver ‘Walrus’ Punch Bowl, 1875 Tiffany & Co. Silver, 8 3/4 x 14 1/2 inches

SUSAN TELLER GALLERY Of course, everyone knows that cats are the most wonderful of animals and that black cats are the best. And American Domestic Shorthairs (read ‘Alley Cats’) are the best of those. Living with two fine examples of this breed was a privilege. Long’s linocut, Pair of Cats, 1932, shows his understanding of their personalities as well as their physical attributes.

Frank W. Long (also known at Frank Weathers Long) was born in Tennessee and worked for many years in Albuquerque, New Mexico.

He contributed to New Deal programs; there is a mural in the Berea, Kentucky, Post Office. Two paintings from this period are in the Smithsonian American Art Museum. A painter, muralist, printmaker, and jewelry maker, he was also an archivist of Native American artifacts.

He wrote the manual, Lapidary Carving, Designs and Techniques, in 1982. It makes sense that the early skill used in linocuts could have developed into the carving of stone. He died in Mississippi. His prints are extremely scarce.

Pair of Cats, 1932 Frank W. Long (1906-1999) Height: 6 5/8 x 5 inches

104

2 0 2 1 LOA N E X H I B I T

JAYNE THOMPSON ANTIQUES For inclusion in this year’s loan exhibit, we’ve chosen an English 18th Century drop leaf table in walnut. The table’s defining characteristic is the horse hoof foot at the end of each leg.

This table serves as a fitting illustration of the historical ties between the cabriole leg and its counterparts in the animal kingdom. Whether or not the cabriole leg was inspired by the leg of hoofed mammals (such as deer or horses) or the similarity was noted after the fact, it is clear that the two have been linked for centuries. If we trace the word “cabriole” back to its Latin origins, the definition of its root was “a leap like that of a kid goat.” In later Italian and French forms, it loses the explicit animal association and comes to mean “a caper, frisk, leap,” thus its use as a ballet term.

So, the hoof feet seen here are more faithful to the ancestry of the cabriole leg than the more common hairy paw which mimic’s a lion’s foot or the ball and claw intended to simulate an eagle’s talons (or a dragon’s claw depending on how far back you trace it). The hoof foot of this table is particularly well-defined with the fetlock at the back and fine hairs carved into the coronet just above the hoof. Taken as a whole, the leg’s shape clearly evokes the shape of horse’s leg and complements the curves of the oval-shape top as well as those in the top’s cyma reversa molded edge.

Drop-Leaf Table with Hoof Feet, ca. 1745 30 x 72 x 60 inches

JEFFREY TILLOU ANTIQUES This early hand-made rooster weathervane pre-dates the manufactured examples we normally see and can be considered folk art.

These examples of folk art weathervanes, hand crafted and modeled, are usually somewhat unique, although over a period time one can find similarities within regions. This is primarily due to the influences of European roots and the geographical locations they settled in.

The riveted re-enforced pieces on the tail appear to be original.

It is in great condition with an exceptional oxidized surface.

A Rare Early Rooster Weathervane, Ca. 1860 Molded sheet copper and iron, contemporary wooden base, 28 ¼ x 21 x 4 ¼ inches

THE PHILADELPHIA SHOW

105

THE TOLMAN COLLECTION Moontrance, a lithograph on handmade Mexican paper, was created in 2000 by American artist Sarah BRAYER ( b.1957) from Rochester, New York who has made Kyoto, Japan her home since 1980.

The image is based on Korean artist Byeong Sangyeok’s (active mid-18th century) painting of Myojakdo (Cats and Sparrows).

Sarah removed the sparrows and added a glowing moon to heighten the tension between the two cats, locked in a staring contest. Each one appears to be convinced that IT is the victor. Sarah Brayer was awarded a Certificate of Excellence in Papermaking by the Japanese government, a rare honor for a foreign-born artist.

Moontrance, 2000 Sarah Brayer (b. 1957) Lithograph, 34 x 24 inches

EARLE D. VANDEKAR OF KNIGHTSBRIDGE The fine earthenware soup tureens are from Nove di Bassano.

They are tromp L’oeil in the form of ducks on a mound. Pasquale Antonibon Factory - Nove (Period of Giovanni Maria Baccin 17751802). Nove is a town and comune in the province of Vicenza in the region of Veneto, north-eastern Italy.

Nove di Bassano (1775-1802) Italian Creamware Trompe L’oeil Tureens in the form of Ducks, ca. 1800 Creamware pottery, 11 1/4 x 11 3/4 in x 5 1/2 inches

106

2 0 2 1 LOA N E X H I B I T

DEALERS’ FIRST YEARS at the S H O W

1969

1993

2009

2018

S. J. Shrubsole

Elliott & Grace Snyder

Lillian Nassau, LLC

Hyde Park Antiques, Ltd.

1994

2010

2019

Polly Latham

Moderne Gallery

Paul Cooley

Peter Pap

Kelly Kinzle

Gleason Fine Art

Tillou Gallery Ralph M. Chait

1970

Philip Bradley

1972

Ginsberg and Levy

1976

Graham Arader

1981

Earle D. Vandekar of Knightsbridge

1982

Diana H. Bittel Frank S. Schwarz & Son

1984

Chalfant and Chalfant

1992

Nathan Liverant & Son

Olde Hope Antiques

1995

Gemini Antiques

Avery Galleries

Lost City Arts The Old Print Shop

2012

Red Fox Fine Art Silver Art by D & R

Dolan/Maxwell

1997

Peter & Jeffrey Tillou

Susan Teller Gallery

2013

Somerville Manning Gallery

1998

M. Finkel & Daughter The Philadelphia Print Shop, Ltd.

1999

Marcy Burns American Indian Art Stephen and Carol Huber

2006

Charles Clark Barbara Israel Garden Antiques

2020

Alexandre Gallery Dixon-Hall Fine Art

2014

Gratz Gallery and Conservation Studio

Francis J. Purcell

William R. & Teresa F. Kurau

2016

Questroyal Fine Art

Betty Krulik Fine Art, Ltd.

Schillay Fine Art

Spencer Marks

The Tolman Collection

David A. Schorsch~ Eileen M. Smiles

2021

Hawthorne Fine Art

2017

Christopher H. Jones James Robinson Inc. Thistlethwaite Americana Jayne Thompson Antiques

THE PHILADELPHIA SHOW

107

CHAIRS, LOAN EXHIBITIONS, and B E N E F I C I A R I E S

1962

1969

1975

1981

Orrery Nearly New Shop and Chapel

Silver Respiratory Intensive Care Unit

1963

1970

100 Years of American Art: The Philadelphia School Dining Room, Gates 10; Short Procedures Unit

Christ Church Philadelphia: Art, Architecture & Archives Patient Waiting and Treatment Area, Radiation Therapy

1976

1982

A Palette of Pennsylvania Folk Art Régéthermic Food System

The Windsor: A Philadelphia Style Volunteer Services

Mrs. Moreau D. Brown and Mrs. Donald M. Pillsbury

Mrs. Moreau D. Brown Benjamin Franklin Chapel

1964

Mrs. Moreau D. Brown

Mrs. Brooke Roberts and Mrs. Benjamin H. Barnett

Mrs. Brooke Roberts Mrs. Benjamin H. Barnett Cliveden Rehabilitation Center

1971

Federal Furniture Air Conditioning, Patient Areas

Mrs. Benjamin H. Barnett and Mrs. Stuart B. Andrews

1965

Signers of the Declaration of Independence Heart Station, Gate 9

Mrs. Moreau D. Brown Cadwalader Air Conditioning; Greenhouse and Fence, Gates 11; Engstrom Unit

1966

Mrs. Moreau D. Brown Wistar-Wister Medical Intensive Care Unit

1967

Mrs. Moreau D. Brown and Mrs. Brooke Roberts Morris Family Surgical Intensive Care Unit

1968

Mrs. Brooke Roberts and Mrs. Benjamin H. Barnett Wharton Family & Walnut Grove Gates Day Care Center

108

1972

Mrs. Benjamin H. Barnett and Mrs. Stuart B. Andrews Philadelphia’s China Trade Emergencies Service Area

1973

Mrs. Stuart B. Andrews and Mrs. Robert L. Mayock A Tribute to William Penn New Medical Equipment; Redesigned and Remodeled Delivery Rooms

1974

Mrs. Stuart B. Andrews and Mrs. Robert L. Mayock Miniature & Children’s Furniture Laminar Flow for Operating Rooms

C H A I RS , LOA N E X H I B I T I O N S , A N D B E N E F I C I A R I E S

Mrs. Robert L. Mayock and Mrs. Edwin C. Donaghy, Jr.

Mrs. Robert L. Mayock and Mrs. Edwin C. Donaghy, Jr.

1977

Mrs. Erwin R. Schmidt, Jr. and Mrs. E. Newbold Smith Underfoot: Floor Coverings Used in America Régéthermic Food System

1978

Mrs. Erwin R. Schmidt, Jr. and Mrs. E. Newbold Smith Magnificent Menagerie Linear Accelerator; X-Ray Department

1979

Mrs. Erwin R. Schmidt, Jr. and Mrs. Samuel S. Stroud

Mrs. Thomas W. Langfitt and Mrs. John S. Brittain

Mrs. John S. Brittain and Mrs. Martin L. Beller

1983

Mrs. Martin L. Beller and Mrs. William C. Buck Flight of Fancy Resuscitation Area Support Systems, Emergency Department

1985

Mrs. William J. Erdman II and Mrs. Robert L. Stevens Neat & Tidy Electron Microscope with Elemental X-Ray Analysis Capability, Department of Pathology and Laboratory Medicine

Samplers: Skills & Sentiment Completely Equipped X-Ray Room, Emergency Area

1986

1980

Collector’s Choice 3-D Linear Accelerator for Radiation Therapy

Mrs. Samuel S. Stroud and Mrs. Thomas W. Langfitt Battle of the Blaze New Enlarged Dialysis Treatment and Rehabilitation Area

Mrs. Robert L. Stevens and Mrs. Cletus W. Schwegman

1987

1992

1997

2002

The Federal Procession: A Salute to the Constitution Center for Human Appearance, Division of Plastic Surgery, Department of Surgery

The Art of Embellishment: Painted and Stenciled Masterworks from the Museum of American Folk Art Multidisciplinary Procedures Unit

Pioneering Americana: A Mercer Museum Centennial Department of Oral and Maxillofacial Surgery

This Glorious House Stenton Institute for Environmental Medicine

1993

Mrs. David M. McCarthy and Mrs. S. Matthews V. Hamilton, Jr.

Mrs. Cletus W. Schwegman and Mrs. John B. Doherty

1988

Mrs. John B. Doherty and Mrs. Giuseppe G. Pietra Courting the Winds Center for Human Appearance, Division of Plastic Surgery, Department of Surgery

1989

Mrs. Giuseppe G. Pietra and Mrs. Harry G. Rieger, Jr. Portraits Plain and Fancy: American Portraiture, 1760–1840 Division of Neurosurgery

1990

Mrs. Harry G. Rieger, Jr. and Mrs. Leonard Jarett Undercover: Sewing & Symbolism Department of Anesthesia

1991

Mrs. Leonard Jarett and Mrs. John B. Hagner Devine Design: A Shaker Legacy Department of Radiation Oncology

Mrs. John B. Hagner and Mrs. Clyde F. Barker

Mrs. Clyde F. Barker and Mrs. Thomas A. Gennarelli Seen But Not Heard Multi-organ Transplant Program

1994

Mrs. Thomas A. Gennarelli and Mrs. Robert F. Grieb In the Sporting Tradition Chemotherapy and Oncology Short Procedure Unit

1995

Mrs. Robert F. Grieb and Mrs. Mark A. Kelley The Cook’s Fancies The Trauma Center at Penn

1996

Mrs. Mark A. Kelley and Ms. Dale D’Angelo A Touch of Class: Silver in Social Settings The Scheie Retina Center at Penn

Ms. Dale D’Angelo and Mrs. David M. McCarthy

Mrs. A. Richard Gerber and Mrs. James L. Mullen

2003

1998

Mrs. James L. Mullen and Mrs. Thomas B. Helm Historical Blue Straffordshire Apheresis/Infusion Unit

America’s Painted and Guilded Legacy: Nineteenth Century Painted Furniture Complex Aortic Surgery Program

2004

Mrs. Thomas B. Helm and Mrs. Stephen C. Rubin Folk Art on Fire Department of Radiology, Ultrasound Section

1999

Mrs. S. Matthews V. Hamilton, Jr. and Mrs. William G. Luff, Jr.

2005

Sassy Seating: Brewster to Stickley Otolaryngology Consultation Center at Penn

Mrs. Stephen C. Rubin and Mrs. Joseph E. Smith Vaulting Ambition: Gothic Revival in Philadelphia 1830–1860 Department of Medicine, Division of Gastroenterology

2000

Mrs. William G. Luff, Jr. and Mrs. Peter D. Quinn

2006

It’s About Time Institute on Aging

Mrs. Joseph E. Smith and Mrs. Gerald R. Williams, Jr. The Schuylkill Villas Department of Surgery, Division of Cardiothoracic Surgery

2001

Mrs. Peter D. Quinn and Mrs. A Richard Gerber In Celebration: Needlework Treasures from the Philadelphia Museum of Art Department of Medicine

THE PHILADELPHIA SHOW

109

C H A I R S , L O A N E X H I B I T I O N S , and B E N E F I C I A R I E S continued

2007

2012

2018

Philadelphia Empire Furniture: Bold, Brash & Beautiful Department of Anesthesiology and Critical Care, Waiting Areas of the Surgical Intensive Care Unit

Where History Meets Medicine: Antiques from the Nation’s First Hospital Penn Lung Transplant Ex Vivo Lung Profusion Program

Philadelphia Collects Philadelphia The Pine Building at Pennsylvania Hospital

2013

Eleanore H. Gadsden, Chair Anne Hamilton, Honorary Chair

Mrs. Gerald R. Williams, Jr. and Mrs. Robert E. Drury

2008

Mrs. Robert E. Drury and Ms. Lana McDonald Fore & Aft: Philadelphia Collects Maritime Penn Lung Center

2009

Ms. Lana McDonald and Ms. Elizabeth Cavanaugh-Kerr Patriots and Presidents: Philadelphia Portrait Miniatures, 1760–1860 Penn Center for Patient Safety and Advocacy

2010

Ms. Elizabeth CavanaughKerr and Mrs. Theodore G. Cheek A Call to Arms: Chinese Armorial Porcelain Penn Center for Ocular Imaging

Mrs. William H. Eyre, Jr. and Mrs. J. Bruce Kneeland Pewter: The Philadelphia Story Penn Emergency Medicine

2014

Mrs. J. Bruce Kneeland and Mrs. Jeffrey Kenkelen Historic Deerfield: Art and Life in an Extraordinary New England Village The Penn Center for Human Performance

2016

Mrs. S. Matthews V. Hamilton, Jr. and Mrs. J. Bruce Kneeland Secret Treasures: The Passion of Collecting as Seen Through Dealers and Their Collections Penn Acute Research Collaboration

2017

2011

Mrs. Theodore G. Cheek and Mrs. J. Barton Riley Celebrations: Antiques that Mark the Moment Penn Center for Ovarian Cancer Research

110

Mrs. J. Barton Riley and Mrs. William H. Eyre, Jr.

Mrs. S. Matthews V. Hamilton Jr., Mrs. J. Bruce Kneeland and Mrs. Nancy Taylor What So Proudly We Hail Penn Radiation and Oncology Quality of Life Program

C H A I RS , LOA N E X H I B I T I O N S , A N D B E N E F I C I A R I E S

Anne Hamilton and Nancy Taylor

2019

The Art of Silver Division of Education and Public Programs, Philadelphia Museum of Art

2020

Eleanore H. Gadsden, Chair Anne Hamilton, Honorary Chair Virtual Show Division of Education and Public Programs, Philadelphia Museum of Art

2021

Eleanore H. Gadsden, Chair Anne Hamilton, Honorary Chair All Creatures Great and Small Division of Education and Public Programs, Philadelphia Museum of Art

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EXHIBITOR INDEX

Page 30 & 82

Alexandre Gallery 25 East 73rd Street New York, NY 10021

Phone: 212-755-2828 marie@alexandregallery.com alexandregallery.com

Page 31 & 82

Arader Galleries 1308 Walnut Street Philadelphia, PA 19107

Phone: 215-735-8811 loricohen@aradergalleries.com aradergalleries.com

Page 32 & 83

Page 35 & 84

Marcy Burns American Indian Arts LLC

By Appointment Only 520 East 72nd Street, 2C New York, NY 10021 Phone: 212-439-9257 info@marcyburns.com marcyburns.com

Page 36 & 85

Ralph M. Chait Galleries, Inc.

16 East 52nd Street, 10th Floor New York, NY 10022

Avery Galleries

Phone: 212-397-2818 info@rmchaitgal.net rmchait.com

Phone: 610-896-0680 info@averygalleries.com averygalleries.com

Page 37 & 85

100 Chetwynd Drive Bryn Mawr, PA 19010

Page 33 & 83

Diana H. Bittel Antiques

By Appointment 510 Fishers Road Bryn Mawr, PA 19010

Phone: 610-525-1160 Alt Phone: 610-715-1595 dhbantique@aol.com dianahbittel.com

Page 34 & 84

Philip Bradley Antiques

PO Box 405 Sumneytown, PA 18084 Phone: 610-269-0427 bradleyantiques@gmail.com

112

E X H I B I TO R I N D E X

HL Chalfant American Fine Art & Antiques 1352 Paoli Pike West Chester, PA 19380 Phone: 610-696-1862 info@hlchalfant.com hlchalfant.com

Page 39 & 86

Page 43 & 88

25 Lyme Street Old Lyme, CT 06371

PO Box 540 Boothbay Harbor, ME 04538

The Cooley Gallery Phone: 860-434-8807 jeff@cooleygallery.com cooleygallery.com

Phone: 207-633-6849 info@gleasonfineart.com gleasonfineart.com

Page 40 & 87

Page 46 & 88

Dixon-Hall Fine Art 130 Potter’s Pond Drive Phoenixville, PA 19460 610-935-2570 dixonhall@verizon.net dixonhallfineart.com

Page 41 & 87

Dolan/Maxwell

2046 Rittenhouse Square Philadelphia, PA 19103 Phone: 215-732-7787 info@dolanmaxwell.com dolanmaxwell.com

Page 47

M. Finkel & Daughter

936 Pine Street Philadelphia, PA 19107

Page 38 & 86

Phone: 215-627-7797 Alt phone: 215-292-3568 mailbox@samplings.com samplings.com

35 Main Street PO Box 884 Woodbury, CT 06798

Page 44

Charles Clark Phone: 203-982-1008 charles@clarkclassical.com clarkclassical.com

Gleason Fine Art

Gemini Antiques Ltd. PO Box 635 Oldwick, NJ 08858

Phone: 919-991-7352 leonweiss@me.com geminiantiquesltd.com

Gratz Gallery and Conservation Studio 5230 Silo Hill Road Doylestown, PA 18902

Phone: 215-348-2500 pgratz@gratzgallery.com gratzgallery.com

Page 45 & 89

Hawthorne Fine Art 135 East 57th Street New York, NY 10022

Phone: 212-731-0550 info@hawthornefineart.com hawthornefineart.com

Page 48 & 89

Stephen & Carol Huber

40 Ferry Road Old Saybrook, CT 06475 Phone: 860-388-6809 Alt Phone: 860-388-6809 hubers@antiquesamplers.com antiquesamplers.com

Page 42 & 90

Hyde Park Antiques Ltd. 836 Broadway New York, NY 10003

Phone: 212-477-0033 info@hydeparkantiques.com hydeparkantiques.com

Page 49 & 90

Page 53 & 92

296 Mt. Holly Road Katonah, NY 10536

PO Box 457 Lampeter, PA 17537

Barbara Israel Garden Antiques

William R. & Teresa F. Kurau

Phone: 212-744-6281 eva@bi-gardenantiques.com bi-gardenantiques.com

Phone: 717-464-0731 kuraufamily@gmail.com historicalchina.com

Page 50 & 91

Page 56 & 93

Christopher H. Jones

105 North Washington Street Suite 202 Alexandria, VA 22314 Phone: 703-622-7798 chris@christopherhjones.com christopherhjones.com

Page 52 & 91

Kelly Kinzle

P.O. Box 235 New Oxford, PA 17350 Phone: 717-495-3395 Alt Phone: 717-624-9084 kellykinzle@comcast.net kellykinzleantiques.com

Page 51 & 92

Betty Krulik Fine Art Ltd. 50 East 72nd Street New York, NY 10021

Phone: 917-582-1300 bkrulikfineart@gmail.com bkrulikfineart.com

Polly Latham Asian Art 535 Albany Street Boston, MA 02118

Phone: 617-723-7009 polly@pollylatham.com pollylatham.com

Page 55 & 94

Page 96

Moderne Gallery

Peter Pap Oriental Rugs, Inc.

2220 East Allegheny Avenue Philadelphia, PA 19134

4570 Mission Street San Francisco, CA 94112 and 1225 Main Street Dublin, NH 03444

Phone: 215-923-8536 info@modernegallery.com modernegallery.com

Page 59 & 95

Lillian Nassau LLC 220 East 57th Street New York, NY 10022

Page 62 & 97

The Philadelphia Print Shop West

Phone: 212-759-6062 Alt Phone: 212-832-9493 info@lilliannassau.com lilliannassau.com

Page 60 & 95

2830 East 3rd Avenue Denver, CO 80206

Page 54

The Old Print Shop

227 West 17th Street New York, NY 10011

Phone: 212-683-3950 info@oldprintshop.com oldprintshop.com

Bernard & S. Dean Levy, Inc. Phone: 212-628-7088 frank@levygalleries.com levygalleries.com

Page 57 & 93

Nathan Liverant & Son, LLC 168 South Main Street Colchester, CT 06415

Phone: 860-537-2409 mail@liverantantiques.com liverantantiques.com

Page 58 & 94

150 Lexington Avenue New York, NY 10016

Page 61 & 96

Olde Hope Antiques, Inc.

PO Box 718 New Hope, PA 18938 and 115 East 72nd Street, 1B New York, NY 10021 Phone: 215-297-0200 Phone: 215-806-2406 Phone: 215-262-3288 info@oldehope.com oldehope.com

Phone: 415-956-3300 inquiries@peterpap.com peterpap.com

Phone: 303-322-4757 Phone: 877-395-0330 PPSW@PPS-West.com PPS-West.com

Page 63 & 97

Frances J. Purcell 251 North 3rd Street Philadelphia, PA 19106

Phone: 215-574-0700 mail@francisjpurcell.com francisjpurcell.com

Page 64 & 98

Questroyal Fine Art

903 Park Avenue New York, NY 10075 Phone: 212-744-3586 gallery@questroyalfineart.com questroyalfineart.com

Lost City Arts

200 Lexington Avenue, Suite 909 New York, NY 10016 Phone: 212-375-0500 info@lostcityarts.com lostcityarts.com

THE PHILADELPHIA SHOW

113

EXHIBITOR INDEX continued

Page 66 & 98

Page 70 & 100

Page 75 & 103

Page 81 & 105

North Madison Street Middleburg, VA 20117

26 East 81st Street New York, NY 10028

PO Box 330 Southampton, MA 01073

The Tolman Collection of New York

Red Fox Fine Art

S.J. Shrubsole, Corp.

Spencer Marks

Phone: 540-687-578hannah@redfoxfineart.com redfoxfineart.com

Phone: 212-753-8920 inquiries@shrubsole.com shrubsole.com

Phone: 413-527-7344 info@spencermarks.com spencermarks.com

Page 65 & 99

Page 71 & 101

Page 76 & 103

Phone: 212-489-7696 allisontolman@gmail.com thetolmancollectionofnewyork.com

By appointment Philadelphia, PA

PO Box 1291 New York, NY 10113

Page 79 & 105

James Robinson, Inc. 480 Park Avenue New York, NY 10022

Phone: 212-752-6166 info@jrobinson.com jrobinson.com

Page 67

Schillay Fine Art

Elle Shushan Phone: 215-587-0000 Elle@ElleShushan.com ElleShushan.com

Phone: 212-941-7335 info@susantellergallery.com susantellergallery.com

Page 72 & 101

Page 78

Silver Art by D&R By appointment

520 East72nd Street New York, NY 10021

Baltimore Phone: 202-257-4448

Phone: 212-861-8353 Richard@schillay.com Schillay.com

Marseille, France Phone: +33 6 11 67 16 08 jasmine@silverartbydandr.com silverartbydandr.com

Page 68 & 99

David Schorsch ~ Eileen Smiles 358 Main Street South Woodbury, CT 06798

Phone: 203-266-0303 contact@schorsch-smiles.com schorsch-smiles.com

1806 Chestnut Street Philadelphia, PA 19103

Phone: 215-563-4887 mail@schwarzgallery.com schwarzgallery.com

114

E X H I B I TO R I N D E X

Thistlethwaite Americana 33195 Millville Road Upperville, VA 20184

Phone: 270-404-1558 taylor@thistleamericana.com thistleamericana.com

Page 77 & 104 Page 73 & 102

Elliott & Grace Snyder

PO Box 598 South Egremont, MA 01258 Phone: 413-528-3581 info@elliottandgracesnyder.com elliottandgracesnyder.com

Page 69 & 100

Schwarz Gallery

Susan Teller Gallery

Jayne Thompson Antiques 847 Kennedy Bridge Road Harrodsburg, KY 40330

Phone: 859.748.5628 info@jaynethompsonantiques.com jaynethompsonantiques.com

Page 80 & 104 Page 74 & 102

Somerville Manning Gallery 101 Stone Block Row Greenville, DE 19807

Phone: 302-652-0271 info@somervillemanning.com somervillemanning.com

Jeffrey Tillou Antiques PO Box 1609 Litchfield, CT 06759

Phone: 860-567-9693 jeffrey@tillouantiques.com tillouantiques.com

445 Fifth Avenue New York, NY 10016

Earle D. Vandekar of Knightsbridge PO Box 55 Maryknoll, NY 10545

Phone: 914-432-7714 info@vandekar.com vandekar.com

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THE 58TH ANNUAL DELAWARE ANTIQUES SHOW

SAVE THE DATE

NOVEMBER 5–7, 2021

800.448.3883 • winterthur.org/das

SAVE THE DATE August 11-12

2019 2021

ART BY HAND Judith Kauffman // West Hartford, CT

This show and sale of contemporary craft and design will feature the finest and most dynamic artists from across the United States.

NOVEMBER 5-7, 2021

PREVIEW PARTY ON NOVEMBER 4 In person at the Pennsylvania Convention Center and online.

215.684.7930 | pmacraftshow.org Presented by The Women’s Committee and Craft Show Committee for the benefit of the Philadelphia Museum of Art.

to ooh la la

Delight in Toulouse-Lautrec, Monet, Cassatt, and more in our newly renovated Impressionist galleries At the Moulin Rouge: The Dance (detail), 1889–90, by Henri de Toulouse-Lautrec (The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny, 1986-26-32)

SAVE THE DATE

January 20 -30, 2022 5,000 Years of Art, Antiques and Design

Benefiting the Philadelphia Museum of Art thephiladelphiashow.com