Issuu

2022

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JUSTI GROUP, INC.

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

Welcome

Calendar of Events

SPONSORS

3/29/22 3:06 PM

SELLING RARE AND IMPORTANT AMERICANA SINCE 1805 BOOKS AND MANUSCRIPTS May 4 10 AM EST

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INQUIRIES Darren Winston 267.414.1247 books@freemansauction.com

John Hancock’s letter announcing the Declaration of Independence, Signed, July 8, 1776 Estimate Upon Request

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I N D I V I D UA L U N D E RW R I T E R S

PENNSYLVANIAN Edith R. Dixon Maguire Foundation

Bonnie and Peter McCausland

Leslie Miller and Richard Worley Foundation Stephen Smith

BENEFACTOR Robert and Julie Jensen Bryan

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

Martha Hamilton and I. Wistar Morris III

Ellen and Ronald L. Caplan

Hannah L. Henderson

David B. Ford, Jr. in memory of Virginia M. Ford

Leigh P. and John S. Middleton

Constance and Sankey Williams Mr. and Mrs. Jeffrey S. Yass

KEYSTONE Mr. John R. Alchin and Mr. Hal Marryatt

Sarah Miller Coulson Sally G. Sharkey

Mr. and Mrs. Archbold D. van Beuren

PHILADELPHIAN Robert and Marta Adelson

Lynn and Chris Gadsden

Anne and Steve Rubin

Lois G. and Julian A. Brodsky

Barbara Gisel and Albert C. Oehrle

Katie Adams and Tony Schaeffer

Bill and Laura Buck

Deborah Gill Hilzinger and Kurt Hilzinger

Boo and Morris Stroud

Amy and R. Putnam Coes III Julia and David Fleischner Amy A. Fox and Daniel H. Wheeler Penny Fox

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Jim and Margaret Anne Nolen Zoë S. Pappas Marsha W. Rothman

Mrs. Judith Taylor Joan Thalheimer Dr. and Mrs. Gerald Williams Eliza and Peter Zimmerman

INDIVIDUAL SPONSORS

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PATRIOT Mrs. Henry F. Harris

Louise and Alan† Reed

Ann and Jerry Calvert

Karen K. and Thomas B. Helm

Caroline B. Rogers

Mr. and Mrs. John A. Affleck

Elise and Richard Carr

Honickman Foundation

Julie and Jim Alexandre

Mr. and Mrs. George Chou

Jacob Burns Foundation

Catherine K. and Laurence R. Altman

Peggy Cooke

Elizabeth Kuensell

Mr. and Mrs. Mark E. Rubenstein

Marianne Dean

Julie Lindberg

Irene and Fred Shabel

Mr. Romulo L. Diaz and Dennis James

Michele and Paul Lockwood

Stephanie F. Simmerman

Mr. and Mrs. Charles Lucas

Ellen and Mickey Simon

Wendy and Wade McDevitt

Mr. and Mrs. James B. Straw

Katharine and Bill Eyre

Mr. and Mrs. Robert D. McNeil

Margot and Philip Sullivan

Kathy and Ted Fernberger

Mr. and Mrs. Peter C. Morse

Elissa G. Topol and Lee Osterman

Mr. and Mrs. Frederick C. Fiechter, III

Britt and Janice Murdoch

Sonia Triester

John and Judy Glick

Mr. and Mrs. Samuel R. Shipley III

Mr. and Mrs. William D. Walker

Martyn and Grete Greenacre

Barbara A. Podell and Mark G. Singer

Lisa and Lars Williamson

Mr. and Mrs. N. Peter Hamilton

The Quaker City Foundation

Barbara Eberlein and Jerry Wind

Eileen and Peter Quinn

Dr. and Mrs. David S. Zelouf

Jill and Paul Aschkenasy

Sharon Gaffney

Fred Manfred

Ann Dee and Joel Rome

Ms. Betsy S. Balin

Mr. and Mrs. Charles L. Hancock

Karyn Mullen

Andrew M. Rouse

Carolyn Bedrosian Nagy

Lyn M. Ross

Sandra L. Nesbitt

Katherine Sachs

Mrs. John A. Nyheim

Robin Blumenfeld Switzenbaum

Anonymous Susanna Lachs and Dean Adler

Sally and Devin Aronstam Carol and Horace Barsh Mr. and Mrs. Thomas L. Bennett Lawrence H. and Julie C. Berger Elyse and Max Berger Don and Laura Besecker Gwen Goodwill Bianchi Robert and Kathy Booth David and Holly Brigham Michele and Jeff Brotman Marjorie B. Buckley

Mr. and Mrs. R. Kent Cadwalader

Sophie B. Donaghy Jeff and Kirstin Engelman

Kirk and Laura C. Rothrock Rubenstein Foundation

LIBERTY

Sandra L. Cadwalader Melissa and David Clark Dr. and Mrs. Robert W. Connor

Hollie and Jamie Holt Joseph and Louise Huber Angela V.B. Hudson

Mrs. Willem K. Dikland

Joan M. Johnson

Mr. and Mrs. Joseph Fenkel

Maxine deS. Lewis

Louis and Katharine Padulo Aleni Pappas

Susan Vitale Beverly Wilde

FRIEND Sandy Annesley

Mary Alice Malone

David A. Schwartz

Mr. and Mrs. Scott G. Bruce

Harvey S. Shipley Miller

Dr. Jess H. and Mrs. Ami Lonner

Karen and James Pearlstein

Dr. and Mrs. Donald R. Stoltz

deceased

†

List as of March 1, 2022

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THE PHILADELPHIA SHOW

3/29/22 3:07 PM

Weather any storm

George Inness (1825-1894), Landscape with Sheep (Oncoming Shower), 1858. (detail) Image courtesy of Betty Krulik Fine Art. Ltd.

Protecting the world’s most distinguished collections For more information visit treadwell.co or, contact Rand Silver at RSilver@treadwell.co

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We are proud to contribute to

THE PHILADELPHIA SHOW and salute its outstanding work in support of the Philadelphia Museum of Art

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Proud to Support The Philadelphia Show

chubb.com

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Consign your collection with Sotheby’s Sotheby’s achievements in Americana single owner sales continued this past January when The William K. du Pont Collection became one of most successful Americana auctions of all time. Over 99% of the lots sold, with 88.5% of those lots surpassing their pre-sale estimate. We are always pleased to discuss and advise on the current art and antiques marketplace.

1334 YORK AVENUE, NEW YORK, NY 10021 ENQUIRIES +1 610 649 2600 DUNHAM.TOWNEND@SOTHEBYS.COM SOTHEBY’S, INC. LICENSE NO. 1216058. © SOTHEBY’S, INC. 2022

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SCAN TO LEARN MORE

3/28/22 10:39 AM

ACKNOWLED GMENTS

The Philadelphia Show gratefully acknowledges the following individuals and businesses who have given their time, energy and resources to support the 2022 Show. Our continued success is due in large measure to their considerable generosity.

VOLUNTEERS Ellen Caplan, Co-Chair Eleanore H. Gadsden, Co-Chair

The Philadelphia Show Committee The Women’s Committee

Dealers’ Committee Park House Guides

Anne Hamilton, Honorary Chair

MUSEUM STAFF

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Al Atkins

Alexandra Kirtley

Kelsey Rhodes

Marcia Birbilis

Jeanine Kline

Rachele Robbins

Katie Costello

Justinne Lake-Jedzinak

Timothy Rub

Joy Deibert

Jane Lawson-Bell

Nathan Schultz

Warren Duane

Tess Mailey

Jessica Sharpe

Nancy Finn

Michael Maniero

Susan Spina

Joshua Frank

Grace Meredith

Claire Stidwell

Elizabeth Freeburg

Debra Myers

Al Suh

Kathy Foster

Madeleine Nasta

Angela Thompson

Morgan Gengo

Lindsey Nevin

Mark Tucker

Jane Hayden

Caroline New

Kate Virdone

Kitty Bowe Hearty

Nancy O’Meara

Nicole Allen White

Lauren Hunter

Jennifer Pardee

Hyunsoo Woo

Mary-Jean Huntley

William Petersen

Lauren Woodring

Deborah Johnston

Jonathan Peterson

Andy Wurst

Norman Keyes

Katie Reilly

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

3/29/22 3:07 PM

LECTURE SERIES Ellen Caplan

Kathleen Heisinger

Tiffany Momon

Alisa Chiles

Steven Keever

Lindsey Nevin

Colin Fanning

Alexandra Kirtley

Gwendolyn DuBois Shaw

Eleanore H. Gadsden

Debra Myers

Jessica T. Smith

Pure Imaging (John Smiroldo and Phil Lajoie)

Susan Scovill

MARKETING AND DESIGN A&M (Andrey and Melissa) barb barnett graphic design llc E B Design

McClafferty Printing (Francyn Sacks and Mike George)

SHOW OPERATIONS Constellation

Southampton Valet

Eventquip (Ed Knight)

Space Productions (Eric Romano)

Security (Nick Del Borello)

Sue Wolfenden

THE PHILADELPHIA SHOW

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CHRISTIE’S IS PROUD TO SUPPORT THE PHILADELPHIA SHOW AT THE PHILADELPHIA MUSEUM OF ART

JACOB MAENTEL (1778–1863) A pair of portraits of husband and wife watercolor and gouache on paper 12 x 7 3/4 in. (wife); 11 7/8 x 7 3/4 in. (husband) Estimate: $120,000–180,000 Sold for: $562,500 The Collection of Peter and Barbara Goodman, New York, 20 January 2022 Sold prices include buyer’s premium; for full details see christies.com

Auction | Private Sales | christies.com Christie’s Inc. License #1213717

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podcast

magazine

newsletter

YouTube video

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3/28/22 10:41 AM

Discover Freedom MA XIMIZE YOUR POSSIBILITIES

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

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EV1010(0122)

3/28/22 10:41 AM

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CAVIAR COLLECTIONS

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3/28/22 10:42 AM

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Auctioneers and Appraisers

The Outstanding Collection of Drs. Donald & Patricia Herr Lancaster, Pennsylvania June 9th & 10th, 2022

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AUCTIONS ~ APPRAISALS ~ ART ADVISORY ~ ESTATES www.potomackcompany.com

Americana & Silver Auctions Tuesday, May 3

Virginia Collection of 50 Fine American Antique and Vintage Quilts

New York Rosewood Console, Early 19th Century, Andy Warhol Collection, Sotheby’s, #6000, lot 3227, 1988

Joseph Richardson Jr. (1752-1831) Philadelphia Coin Silver Teapot; William Bennett, London 1800, Armorial Sugar Bowl made for the marriage of Elizabeth Copley Greene, daughter of John Singleton Copley

Edmund Henry Osthaus, American, 1858-1928 Dogs, 1897, Oil on canvas: 46 1/2 x 46 in.

Alexandria, VA, (Washington D.C. Area) ~ info@potomackco.com ~ 703.684.4550 ~ VA#0704

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BECAUSE GREAT LEADERSHIP ISN'T UST A S ILL IT'S AN ART FORM. We believe that great leadership transforms people, organizations, and the world. We would now we ve been identif ing, assessing, and placing outstanding executives for more than four decades, across the nation and around the world.

WWW.DIVERSIFIEDSEARCH.COM

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Brunk

Auctions

Rare Early Portrait of a Creole Woman Historically Known as Marie Laveau, to be offered in the May 19-21, 2022 Auction

Honored to Support The Philadelphia Museum of Art brunkauctions.com | Asheville, North Carolina | 828-254-6846 | NCAL 3095

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2022 COMMITTEES

SHOW COMMIT TEE Anne Hamilton*, Honorary Chair Eleanore H. Gadsden*, Co-Chair Ellen Caplan*, Co-Chair Catherine Altman*, President, The Women’s Committee Marta Adelson Cathy Altman* Carol Blank Barsh* Gwen Goodwill Bianchi Reid N. Bodek Ann Calvert Susan Charleston Patty Cheek Amy Coes Candace Coleman Veronica M. Connor Edie Dixon

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Sam Ehlinger

Joan R. Momjian

Ellen B. Simon*

Kirsten Engelman

Martha H. Morris*

Keith Straw

Margo Eremus

Karyn Mullen

Boo Stroud

Katharine Eyre

Liz Murray

Margot Sullivan

Evelyn Fell

Karen R. Nagel

Penny Fox

Carolyn Bedrosian Nagy

Robin Blumenfeld Switzenbaum

Amy A. Fox*

Arlene Olson

Grete Greenacre

Katharine A.S. Padulo

Hannah Henderson*

Zoe Pappas*

Cynthia B. Holstad

Barbara Podell

Angela V.B. Hudson*

Judy C. Pote

Suzanne C. Jacobs

Olivia Rabe

Joan Johnson*

Gretchen Riley

Carol W. Jones

Ann Dee Rome

Anja Levitties

Marsha W. Rothman

Michele Lockwood

Laura Rothrock*

Holly Luff

Anne Rubin*

Linda McCarthy

Susanna T. Saunders

Betty Miller

Sally Sharkey*

Leslie Anne Miller

Stephanie Simmerman

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

2022 COMMITTEES

3/29/22 3:08 PM

PREVIEW PARTY AND 60TH ANNIVERSARY COMMIT TEE Ann Calvert

Grete Greenacre

Linda McCarthy

Eve Walker

Ellen Caplan

Anne Hamilton

Betty Miller

Robin Williams

Patty Cheek

Hannah Henderson

Karyn Mullen

Sam Ehlinger

Michele Lockwood

Anne Rubin

Margo Eremus

Holly Luff

Margot Sullivan

LOAN EXHIBIT COMMIT TEE Joan Johnson

Carolyn Nagy

Alexandra Kirtley

DEALERS’ COMMIT TEE Ed Hild, Chair

Betty Krulik

Richard Rosello

Margo Dolan

Arthur Liverant

Arlie Sulka

THE PHILADELPHIA SHOW

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GIFTS

•

HOME

•

WEDDING REGISTRY

•

STATIONERY

EAGLE VILLAGE SHOPS 503 WEST LANCASTER AVENUE, WAYNE, PENNSYLVANIA 19087 610-688-3222 LITTLEHOUSESHOP.COM

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3/28/22 12:41 PM

A better way to manage risk. We’re not just your broker; we’re your advocate. Our objective, consultative approach to insurance means we’re here to talk through claims scenarios, answer questions and ensure you get the right coverage—for your antiques, fine art and more. While your coverage needs may change, our commitment to helping you never will.

Learn more at www.altuspartners.com

The Philadelphia Show pays tribute to these dealers and colleagues we have lost over the past few years. Their expertise in their respective fields, good humor and friendship are sorely missed. Philip W. Bradley (1956–2021) Joan R. Brownstein (1948–2020) Ralph DiSaia (1949–2019) Christopher Rebollo (1963–2021) Peter Tillou (1935–2021)

THE PHILADELPHIA SHOW

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

Thomas Birch (1779 - 1851) Philadelphia Harbor Oil on canvas ca. 1840 Inscribed on stretcher: Philadelphia im jahre 1840 in dem nachlass van... Canvas size: 20" x 30" Provenance: J. Welles Henderson; Exhibited: Philadelphia, Pennsylvania; Philadelphia Maritime Museum, Thomas Birch, 1779-1851: Paintings and Drawings, 1966

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

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Booth

3/28/22 12:29 PM

William Trost Richards (1833–1905) The Otter Cliffs, Mount Desert, Maine, 1866 Oil on canvas, 36 ½ x 29 inches (92.7 x 73.7 cm), Signed and dated lower right: Wm T. Richards. / 1866

Booth

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

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DIANA H. BITTEL

Celebrating my 40th anniversary exhibiting at The Philadelphia Show, 1982–2022! Bryn Mawr, PA

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610.525.1160 cell 610.715.1595

dhbantique@aol.com

Booth

dianabittel.com

3/28/22 12:30 PM

PHILIP BRADLEY ANTIQUES

A Philadelphia mahogany card table attributed to Adam Hains, c. 1790.

Booth

Philip Bradley Antiques is proud to have exhibited at all sixty Philadelphia antiques shows. P.O. Box 405, Sumneytown, PA 18084 610-269-0427 bradleyantiques@gmail.com Open by appointment Find us on Incollect.com

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Booth

A 14

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MARCY BURNS

American Indian Arts LLC

Quality American Indian basketry, pottery, textiles and jewelry

Booth

B 19

Lakota doll with traditional clothing and moccasins (beaded bottoms), including belt, knife case and strike-a-lite case. Ex: Private Collection.

520 East 72nd Street, 2C, NYC 10021 T: 212.439.9257 By appointment only info@marcyburns.com please visit our website: www.marcyburns.com

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RALPH M. CHAIT GALLERIES, INC . WORKS OF ART

•

CHINESE ART

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

Booth

C 10 CHINESE POWDER BLUE AND FAMILLE VERTE PORCELAIN PLATE Finely decorated with a couple in a palace garden, with a servant bringing them tea. Kangxi period, ca: 1700 AD Diameter: 15¾ inches (40 cm.) Ex: Important Private American Collection

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Very rare mahogany Chippendale marble top pier table. Serpentine front and sides, cabriole legs with acanthus carved knees terminating in claw and ball feet. Philadelphia, circa 1760–70. Once owned by Colonel Tench Tilghman in Washington’s army. Original King of Prussia marble.

Booth

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

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CHARLES CLARK American Antiques of the Classical Period

Booth

B 15

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Lee Lufkin Kaula

Story Time

29 x 24 Inches

Clarke Gallery Rockland Me Info@clarkegallery.com

Newburyport MA

www.clarkegallery.com

978 828 5652

Booth

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Severin Roesen

(Prussian-American, 1815–1872)

Still Life with Fruit and Wine. Oil on canvas, 30 x 40 inches.

Booth

A 15

THE COOLEY GALLERY Fine American Art

25 Lyme Street, Old Lyme, Connecticut ~ 860.434.8807 ~ www.cooleygallery.com

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HUGH HENRY BRECKENRIDGE (1870–1937)

Study for Italian Fruit Dish II, 1931 Oil on board, 10 × 10¾ inches. Signed upper left: Hugh H. Breckenridge Recorded and Illustrated The Paintings of Hugh H. Breckenridge (1870-1937), November 1967: Valley House Gallery, Dallas, Texas, p. 60, # 76.

Booth

B 13

130 Potters Pond Drive

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Phoenixville, PA 19460

610.935.2570

dixonhall@verizon.net dixonhallfineart.com

3/28/22 12:42 PM

Rachel Selekman Stanley Wm Hayter

Distinguished Modern & Contemporary art on paper, canvas & bronze

Norman Lewis

Elizabeth Catlett

DOLAN MAXWELL 2046 Rittenhouse Square Philadelphia Pennsylvania usa 19103 215,732.7787 www.DolanMaxwell.com

Booth

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Margo Dolan Ron Rumford, Director Jon Eckel by appointment only, please

3/28/22 12:43 PM

Booth

ROLLER SKATING BANK Made by Kyser & Rex Philadelphia, Pa. • Circa 1880

DOG CART - OVERSIZED Ives, Blakeslee Company Bridgeport, Ct. • Circa 1880s

“PENN YAN” MOTORBOAT Hubley Manufacturing Company Lancaster, Pa. Circa 1933 • 14" long

Leon Weiss 917-991-7352 leonweiss@me.com

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Gemini Antiques Ltd. P. O. Box 635 Oldwick, NJ 08858 FAX 908-823-4519

Steven Weiss 212-729-0011 sweiss57@me.com

3/28/22 12:44 PM

PHL Show 2022 Gratz Catalogue.pdf 1 2/15/2022 1:33:59 PM

In Celebration of Gratz Gallery’s 40th Anniversary we are honored to present the life work of

Peter Miller

Forgotten Woman of American Modernism April 23 - May 31, 2022 With a special presentation of “A Philadelphia Story” at The Philadelphia Show, April 28 - May 1, 2022 featuring works by Pennsylvania Academy of the Fine Arts students Peter Miller, Leon Kelly, and Leonard Nelson

CMY

The exhibition is accompanied by a comprehensive and fully illustrated monograph on the artist with a text written by art historian Francis M. Naumann

Booth

B 12 5230 Silo Hill Road, Doylestown, PA 18902 / Tel: 215.348.2500 Hours: Wednesday through Saturday 10 - 6, Sunday 12 - 6, and by appointment www.gratzgallery.com / email: pgratz@gratzgallery.com Peter Miller (1913 - 1996), The Alchemist’s Dream 1960s; Light 1930s; Head 1930s; Three Spirits 1940s

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HYDE PARK ANTIQUES, LTD.

FINE ENGLISH 18TH AND EARLY 19TH CENTURY FURNITURE

An Irish George II Mahogany Games Table Circa 1740 H: 32½" W: 22" D: 28½"

Booth

836 BROADWAY, NEW YORK, NEW YORK 10003 212-477-0033 hydeparkantiques.com For the serious collector and true connoisseur

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BI.PhillyAntiqueShow2022.qxp_2022PhillyAntiqShow 3/12/22 2:48 PM Page 1

An exceptional bronze replica of the 5th-century B.C. Greek masterpiece, the Delphi Charioteer, standing with reins in hand, wearing the traditional garb, a xystis, and with characteristic amber eyes. This exact replica produced by Felix de Weldon, around 1950, with the permission of the Greek government was taken from the original ca. 474 B.C statue. 70 ins. high; metal base 24 ins. square (millstone sold separately). The original work resides at the Delphi Archaeological Museum. Provenance: Ex-collection Felix de Weldon (1907-2003), the Austrianborn American sculptor known for his monuments, most famously for the Iwo Jima memorial (1954). This statue was displayed in the gardens at Beacon Rock, Newport, RI, the estate owned by de Weldon from 1951 to 1996. Barbara Israel Garden Antiques specializes in the finest antique garden ornament and furniture from Europe and America. Call to inquire about our on-site ornament placement and design services.

Booth

By Appointment • Katonah, N Y • 212-744-6281 • www.barbaraisrael.com

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Booth

B 17

Bergdorf Goodman 754 5th Avenue, 7th Floor New York, NY 10019 WWW.KENTSHIRE.COM

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Booth

WALNUT STOOL Philadelphia, Circa 1755 An elegant cabriole-leg stool with carved shells on the side rails and knees and bold ball and claw feet. This example is marked “I” on the seat frame and back rail and is identical to two stools marked “II” and “III” in the collection of James Logan’s home, Stenton in Germantown and likely descended in the Logan/Norris/Dickinson families associated with that property. A rare and artistically successful example of mid-18th century Philadelphia seating furniture. All original except upholstery and finish. Height: 17.5” For a detailed discussion of the chairs at Stenton, see Dr. Phillip Zimmerman, “Eighteenth Century Chairs at Stenton,” The Magazine Antiques (May 2003): 122-29. See also PMA, Worldly Goods, fig.158, p. 101 and catalogue entry 108; William Hornor, Blue Book of Philadelphia Furniture, plate 51. SEE US AT BOOTH A-1.

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

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American Art: 1850–1980

Arshile Gorky (Armenian American, 1904–1948) Untitled, c. 1946 Pencil, pastel and wash on paper, 183⁄4 x 245⁄16 inches (47.6 x 61.8 cm) Gorky Foundation Catalogue Raisonne number: D1401 Provenance: Satenig [Adoian] Avedisian, Watertown, Massachusetts Michael and Florence [Avedisian] Berberian, Medﬁeld, Massachusetts by descent in the family

Booth

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BETTY KRULIK FINE ART LIMITED Telephone 917.582.1300 bkrulikfineart@gmail.com www.bkrulikfineart.com

3/21/22 12:33 PM 3/28/22 12:49 PM

Mid Century Modern, 20th Century Decorative Arts and Estate Jewelry

Booth

A 10

Glen Leroux A N TIQU E S, I NC. 56 Riverside Avenue Westport, CT 06880 (203) 227-8030

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3/28/22 12:50 PM

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

Two Rooms In Our New Gallery at 227 West 17th Street New York City Exhibiting at The Philadelphia Show April 29 - May 1, 2022 Booth

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

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Queen Anne walnut veneer lowboy with shell carved apron. Boston School, Massachusetts, 1740 - 1765. Booth

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Established in 1945 in New York City, Lillian Nassau LLC has specialized in the work of Louis Comfort Tiffany and Tiffany Studios for over 75 years

From top: Tiffany Studios Pony Begonia Table Lamp (detail), circa 1906; Tiffany Studios Daffodil Table Lamp (detail), circa 1906; Tiffany Studios Dogwood Table Lamp (detail), circa 1906.

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Visit the gallery Monday through Friday 10:30 AM - 6:00 PM 220 EAST 57TH STREET, NEW YORK NY 10022

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(212) 759-6062

INFO@LILLIANNASSAU.COM

LILLIANNASSAU.COM

@LILLIANNASSAU

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115 East 72nd St, 1B New York, NY 10021 PO Box 718 New Hope, PA 18938

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Peter Pap Oriental Rugs, Inc. DISTINCTIVE ANTIQUE RUGS • ESTABLISHED 1976

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B 10

Bakhshaish 19th Century (4th Q) Persia 12' 3" x 18' 9"

By Appointment 4570 Mission Street San Francisco, California 415.956.3300 By Appointment 1225 Main Street Dublin, New Hampshire 603.563.8717

inquiries @ peterpap.com

View over 1,500 rugs online www.peterpap.com

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Janice Paull International Specialist in Mason’s & other English Ironstone China ca.1790–1845 Oriental Textiles & Art

Japanese Fine Silk Embroidery, Meiji Period ‘Two Lions’ Nishimura Label: Koyoto, Japam Size: 19 x 27 Framed 35 x 27 ins

201 960 0363

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P.O. Box 4707, Greenville, DE 19807 +351 91 543 2863 janice@janicepaull.com www.janicepaull.com

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House Portrait Somerset County, Pennsylvania Circa: 1820-1840 Size: 10" (w) x 7 3/8" (h)

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This deceptively simple work is subtle but remarkably indelible. It is attributed to "The Somerset Artist" because it relates to a small group of associated boxes that share a common aesthetic and craftsmanship of incised, geometric design and a harmonious color palette of red, green, yellow, and black. This panel is the only non-utilitarian work associated with this maker.

Gallery: 53 Stanton Street, New York, NY 10002 | 917.518.0809 | stevenspowers.com Mailing address:109 3rd Place #2, Brooklyn, NY 11231 | member: ADA

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

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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.

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INC. Established 1912

Antique Jewelry ~ Silver ~ Objets ~ Porcelain ~ Glass

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NEW YORK 480 Park Avenue 212.752.6166 info@jrobinson.com

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NANTUCKET 2 S. Beach Street 508.825.8909 Instagram: jamesrobinsoninc

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JAN BALTZELL, Untitled, 2014–2018. Oil on canvas, 48 x 56 inches.

SCHMIDT/DEAN GALLERY 1879 Old Cuthbert Rd Warehouse #32 & 13 Cherry Hill, NJ 08034 215-569-9433 schmidtdean@netzero.net www.schmidtdean.com

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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 LL “Ed Beyer “1855”

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David A. Schorsch ~Eileen M. Smiles

American Antiques

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

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F R I T Z O S S WA L D Boarding the Boat Oil on canvas, 24 × 27 3⁄4 inches

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SCHWARZ www.schwarzgallery.com

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

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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

An Early American Silver Coffee Pot Philadelphia, c. 1800 by Joseph Richardson, Jr. Height: 14 ½”; Weight: 36 oz. 8 dwt.

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We buy silver and jewelry every day. To see more of our inventory please visit our shop, or www.shrubsole.com

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Elle Shushan

Mrs. Moses B. Russell (1809-1854) circa 1850

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Fine Portrait Miniatures www.PortraitMiniatures.com

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Silver Art by D & R

Exceptional suite of four antique French silver candelabras by André Aucoc, Paris, circa 1890. This gorgeous set once belonged to one of France’s most celebrated noble families whose lineage dates back to the 11th century.

ill rse

Ne w

Antique French Silver

Y or

k - Ma

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Jasmine Doussiere

Silv

r t by D & er A

“Your Personal French Antique Shopper”

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

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A 12

jasmine@silverartbydandr.com

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

302-652-0271 | info@somervillemanning.com

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C 12 Bo Bartlett, Limoncello, 2021, Oil on linen, 48 x 48 inches

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Spencer Marks

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

J. E. Caldwell

sterling silver ﬁgural candlesticks, Philadelphia, c. 1890, L: 7.75 inches

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A 13 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

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A 11

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Chippendale Carved Tiger Maple Dressing Table Philadelphia, ca. 1760–1775. Tiger maple, secondary woods; yellow pine, poplar and white cedar. Minor repairs, replaced brass, otherwise original throughout. For a virtually identical example see: Israel Sack Collection Vol. VIII, also shown in Albert Sack’s, New Fine Points of Furniture, as a masterpiece. 32¼" h, 34" x 20¾" (top), 31¼" w (case)

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tillouantiques.com . Litchfield, CT . 860-567-9693

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Earle D. Vandekar OF KNIGHTSBRIDGE, INC.

Chinese Export Porcelain Garniture of Five Vases & Covers with Rust Orange Ground, Circa 1770–80 The Chinese Export five-piece garniture of vases and covers each have a shaped panel painted in underglaze blue with scenes of landscapes with lakes, buildings, and boats to front and back. The ground has underglaze blue flowers and striking rust orange leaves between the molded panels. Dimensions: 9¼ inches high x 3½ inches wide

Specialist in Antique Porcelain and Pottery, Chinese Export as well as Engravings & Sailors’ Woolworks

Mailing address: P.O. Box 586, Downingtown, PA 19335 (212) 308-2022 • email: info@vandekar.com

www.vandekar.com

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C 14

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60TH ANNIVERSARY CONGRATULATIONS to THE PHILADELPHIA ANTIQUES SHOW

Shaker 1991

Children’s World 1993 Miniatures 2009

Tall Case Clocks 2000

Folk Art on Fire 2004

KATHARINE & ROBERT BOOTH / 3B ORTHOPAEDICS ARE GRATEFUL FOR THE OPPORTUNITY TO CREATE AND TO CURATE FIVE DIVERSE LOAN EXHIBITS, EACH OF WHICH COMPLEMENTED OUR OWN ARTIFACTS WITH THOSE OF MANY GENEROUS INSTITUTIONS AND PRIVATE COLLECTORS. WE LEARNED MORE THAN WE TAUGHT. WE ALSO MADE MANY LIFETIME FRIENDS AND CONNECTIONS. 076_TPS22.indd 76

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2022 LOAN EXHIBITION ZERO TO SIXTY

For sixty years the Philadelphia Show has showcased specific genre of museum quality antiques and Americana in the show’s loan exhibit. For the 60th Anniversary the loan exhibit curators have chosen thirteen works that highlight the different genre and breadth of American Decorative Arts. Thank you to the collectors and dealers who have contributed to the overview of the past sixty years. Curated by Alexandra Kirtley, The Montgomery-Garvan Curator of American Decorative Arts at the Philadelphia Museum of Art and Joan Johnson, collector and long time supporter of the show. Unless noted, all essays are written by Alexandra Kirtley

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1974

MINIATURE AND CHILDREN’S FURNITURE

Here at Nathan Liverant and Son Antiques we are lucky to handle some of the finest examples of colonial craftsmanship that have survived. However, one of the most fascinating groups of objects we have encountered is a collection of 45 pieces of miniature furniture made between the 1922 and 1943. But this is not your every day doll house furniture. This is a group of carefully reproduced miniature furniture featuring exceptional examples of early American furniture design. The collection was made by Dr. Ralph H. Keeler (1874-1952), a dentist from New London, Connecticut, as gifts for his daughter, Catherine Keeler Irwin (1919-1983). Several pieces still have a paper labels attached, the earliest example reads, “Made by R. H. Keeler for his daughter, 1922.” We first encountered the work of Dr. Keeler in April of 1966 when we answered a house call. A woman called the Shop and invited Israel “Zeke” Liverant to her home to see a collection of miniature furniture. This was Catherine Keeler Irwin and she had been receiving these delicate treasures as gifts from her father for many years. During the first moments of the visit, Zeke recognized that Dr. Keeler had a passion and a gift. The wide range of periods, styles, and materials was amazing, and the quality was even better. Clearly skilled with his hands, Dr. Keeler was able to downsize the furniture without losing proportion and paid close attention to construction and the quality of the woods. Among the 45 pieces of miniature furniture made by Dr. Keeler, there are 18 full size antiques illustrated by Wallace Nutting in his groundbreaking reference book, “Furniture Treasury,” published in 1928. Several other pieces are miniature copies of furniture in the collections of The Metropolitan Museum of Art and the Yale University Art Gallery. With a diverse group of influences and improved access to fine Americana, Dr. Keeler clearly took advantage of the time and place in which he lived. But beyond time and place, one look at the miniature furniture he created illustrates that his passion was deep. The amount of time and effort Dr. Keeler put into making these tiny masterpieces is on display as we continue to appreciate the life long pursuit of this unusual dentist/cabinetmaker. –Kevin Tulimieri, History Specialist at Nathan Liverant and Son

Selection of miniature furniture Dr. Ralph Keeler (1874-1952) of New London, Connecticut, 1920 – 1945 Collection of Arthur and Gigi Liverant

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1977 • UNDERFOOT: FLOOR COVERINGS USED IN AMERICA Curators, conservators, and scholars contributed essays and expertise to make the 1977 loan exhibit, “Underfoot: Floor Coverings Used in America” a tremendous visual and scholarly success. Beverly Gordon wrote about the colorful braided and hook rugs made and sold by the Shaker communities, whose leader Mother Ann Lee had “admonished her followers to ‘put your hands to work and your hearts to God.’” PMA curator Beatrice B. Garvan co-curated the exhibit with Marion L. Fox, and wrote “Underfoot in America.” Mrs. Garvan opened her essay with a quote from the French revolutionary and abolitionist Brissot de Warville (1754-1793), who observed in Philadelphia that “They have carpets—elegant carpets. It is a favorite taste with the Americans…A carpet in summer is an absurdity; yet they spread them in this season, and from vanity. This vanity exercises itself by saying that the carpet is an ornament…” (Scharf and Westcott, 1884, 2:910). Americans’ tastes ran the gamut from painted floorcloths to imported handknotted rugs but documentation supports the fact that floor coverings were hugely desirable for their practical purposes. Those who could afford them owned them, and those who could be picky had fashionable ones. They nailed imported Brussels (looped pile) and Wilton (cut piles) carpets at the perimeters of their best rooms, placed woven carpets at the center of the best rooms, draped “turkey carpitts” over tables, and placed small hooked and woven (such as ingrain) rugs and woven mats at the side of a bed to ease the shock of a cold floor. Always possessed of good humor in her writing, Mrs. Garvan wrote, “Who knows when walking on flowers became fashionable? It was a literal fact in most buildings before woven carpets appeared. Herbs, rose petals, and sweet hay were strewn over floors and, before being swept out, were bruised with a broom to release their bouquet, which at least nullified odors of dampness and habitation…Flowers, even garden, were worked into the designs of great rugs…but extreme abstractions rendered the plant materials unrecognizable as natural forms.” A vase of arranged cut flowers surely inspired the 19th century Vermont artisans who designed and made this hooked rug. Lively swirls form a border that resembles the Grecian scroll (or wave scroll) often found in neoclassical architecture of the same period. The type of dyes (either natural or chemical) used to color the yarns changed throughout the 19th century, and this rug’s colors are soft and muted today but would surely have been more vibrant when it was first made.

Underfoot: Floor Coverings Used in America, 1977 Wool, 40 x 60 inches Collection of Joan M. Johnson

THE PHILADELPHIA SHOW

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1983 • FLIGHT OF FANCY The 1983 loan exhibit “Flights of Fancy” considered the extraordinary preponderance of birds in early American art. Once again, the inimitable Joan Johnson assembled an astonishingly diverse array of art, from wall plaques and gate weights to fraktur and weathervanes to plates and quilts. The catalogue essays addressed the ways in which artists and artisans employed birds in their art: “Birds as Patriotic Symbols” (Elinor Lander Horowitz); “Decorative Birds in American Furniture” (Albert M. Sack); “The Usefulness of Birds: ‘When Tame Swans Fly Against the Winds’” (Ellen Paul Denker); and “A Survey of the Religious Symbols of Birds” (Anita Schorsch). Denker noted how we “eat them, pluck them, watch them fly south in the winter, welcome them in the spring, and wake to their sweet songs,” (p.83) but for those who came before us birds served an even more important role. And Schorsch wrote that “Here, in America, the inheritors of both medieval iconography and the Puritan kingdom worked their symbols—often birds—into portraits, fraktur, embroidery, book plates, coins, pottery, literature, and even furniture. But the message was invariably the same—either to warn of evil ways with symbols such as the monk’s black bird from medieval manuscripts or to inspire people to the better life with the pelican of charity, the eagle of the reborn, or the dove of peace.” (p.90) Looking back, what should be added here is that the Indigenous People whose lands the Europeans took over in the colonial period had long worshiped, praised, painted, carved, and followed the migrations of the many species of birds found in North America—all with a profound respect for the birds as fellow inhabitants of the land. The carved and painted bird’s yellow beak and head are held high and forward, and its brightly colored plumage—with piqued out designs—and its elegant, s-curved body, is shown in a pre-flight stance. Its design and motifs fall within the traditions representing birds as a decorative subject, particularly to the Pennsylvania Germans. Especially within the agrarian communities, artisans made such representations of nature as either whimsical creations to adorn their houses or as tokens of affection to give as a gift. Given the numerous surviving examples of single birds and bird trees such as that on view in the museum’s gallery 107, birds likely held symbolic and spiritual meanings on a personal basis and within the various communities.

Flight of Fancy, 1983 Painted wood, 10 x 8 inches Collection of Joan M. Johnson

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1985 • NEAT AND TIDY To celebrate her publication Neat and Tidy: Boxes and Their Contents Used in Early American Households (Penguin, 1985), the Massachusetts-based collector and historian Nina Fletcher Little (1903-1993) curated the loan exhibit for the 1985 Philadelphia show. Her essay in the catalogue captured the essence of her book, describing how because many of the purposes for which boxes “were made have become obsolete, they help in the understanding and appreciation of lifestyles that have now disappeared.” (p.103). She divided boxes into those made by artisans and those made in a factory, and then further distinguished them by their use (utilitarian or decorative), ornament (i.e. carved, inlaid, or painted), and form (i.e., plain, footed, or sarcophagus). Most of Little’s primary research focused on New England but, appropriately, most of the boxes in the eye-catching loan exhibit hailed from Pennsylvania. A comprehensive reading of probate inventories from Philadelphia County and parts of Southeastern Pennsylvania reveals a range of box owners (merchants, farmers, doctors) and descriptions (linen, spice, dressing, medicinal). Spice boxes (often described as “spice chest” and “spice cabinet”) were common and were listed in parlors or kitchens from the 1680s and into the 1750s. Commonly misunderstood, the term spice during this period references its Latin root meaning sort, kind, or ware. Thus, it references not seasonings that we think of today, but rather all manner of things, and early spice chests contained treasured items like floral seeds, shells, fossils, ribbons, and money. Dressing boxes like this example often appeared in the same houses as spice boxes, but dressing boxes were found in bed chambers on top of chests of drawers and contained the more personal items of their owners. Elizabeth Holt owned “a Mahogany Chest of Drawers and dressing box” when she died in Philadelphia in 1749 and Chester County farmer Thomas Vallentine owned in 1762 a “Case of Drawers and Dressing Box.” The form of this dovetailed dressing box closely mimics a full-scale chest over drawers that held linens in many 18th-century Pennsylvania houses. The inlaid ornament lightens the dark walnut as well as personalizes it for the owner. The maker used a compass to lay out the interweaving arcs with a mind towards the neoclassical taste of the day as well as creating a scalloped frame for the inscription on the front face and the extraordinary portrait on the ends. Like the inlaid ornament, that follows painted traditions of portraits on chests.

Dressing Box , Berks County, Pennsylvania, Circa 1760 Walnut, white pine, lightwood inlay 14 1⁄4 inches x 21 1⁄4 inches x 11 1⁄4 inches Courtesy of Bernard & S. Dean Levy, Inc.

THE PHILADELPHIA SHOW

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1988 • COURTING THE WINDS In yet another loan exhibit triumph, the 1988 loan exhibit hailed itself as “Courting the Winds” and featured a tremendous array of both silhouette and full-bodied weathervanes. Folk Art dealer Gerald Kornblau (1929-2011) wrote a short essay about the types of vanes and how they were made, followed by an outstanding array of photographs of vanes in situ. Roosters, horse-drawn pumpers, bannerets, fire horns, horses, a stork (Pennsylvania Hospital), and a Paul Cret-designed elephant were among those from buildings in Philadelphia and Southeastern Pennsylvania. Joan Johnson, the longtime loan committee chair who always doubled as the loan exhibit’s silent co-curator, worked with Gerald to amass loans of nearly three dozen vanes from private and public collections to illustrate the gamut of these ornamental yet functional architectural fixtures. Founded in 1852 by Alvin Leonard Jewell (1821-1867) in Waltham, Massachusetts, as a metal castings, machine, and repair shop, the firm of A.L. Jewell & Co. began to specialize in vanes by the early 1860s. Early examples of leaping stag weathervanes by Jewell & Co. are rare, and the blunt-ended, round cornered snout and simple light impressions found on the body distinguish his stags. Jewell offered less expensive weathervanes, hence the lack of details seen on their works. By 1867, when A.L. Jewell fell to his death from a scaffolding erected for him to install a vane, he was advertising that his firm made seventy-eight varieties of vanes. Collectors today not only recognize the influence Jewell’s firm made on the burgeoning market for vanes but also gravitate to their graceful, unfussy forms.

Leaping Stag, Possibly by A.L. Jewell & Company (1852-1867), Waltham, Massachusetts, ca. 1860-1865. Copper, copper tubing, and traces of the original yellow sizing and gilt, 33¾ x 35 x 4¾ inches Courtesy of Jeffrey Tillou Antiques

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1991 • DIVINE DESIGN: A SHAKER LEGACY The collectors and Philadelphia Show tireless volunteers Robert and Katharine Booth opened their essay for “Divine Design: A Shaker Legacy,” the 1991 loan exhibit that they curated, with a concise and profound observation about Shaker design: “It is somehow strangely appropriate that all the celebrated and cerebral principles of Shaker design can be personified in a simple sewing spool. These tiny turnings of figured or brightly painted hardwoods were made purely for the personal daily use of Shaker sisters, yet they reflect the sense of proportion, color, utility, ingenuity, tidiness, and honesty that pervades the best of the Shaker artifacts.” (p.25) Like the originality of Shaker sewing tables (or, as the Shakers referred to them, work stands), tailoring tables like this one allowed for multiple Believers to share a space and collaborate on a project. The design of this table adapts two common forms: a drop leaf table and a chest of drawers. Here, the top has deep overhangs, and the drawers are set at a high podium—where the drawers are elevated off of the floor like a French commode—so that one could be seated at it for work. Raising the drop leaf broadened the workspace, but also allowed for it to be efficiently stowed. Remarkably, the tailoring table retains its mellowed yellow painted surface. The timing for the 1991 loan exhibit coincided with a time of continued and intense interest in the artistic output of the Society as well as the death of Eldress Bertha Lindsay (1897-1990), the last surviving elder of the United Society of Believers in Christ’s Second Coming known as the Shaker Society, and the exhibit was dedicated to her memory. After she lost her sight at the age of 90, Eldress Lindsay had recorded her recollections of her life as a member of the Shaker community at Canterbury, N.H. “I want people to know we did have fun and plenty of it,” she stated in an interview. (NYT, 10/5/1990, D19) The Booths’ loan essay has stood the test of time as a crucial read for students, ably explicating the core tenets linking Shaker theology and design. Appropriately, the essay was elegantly laid out with no extraneous information, exemplifying the Shaker principle that “no task was too small to be done well.” (p.26) Shaker works like the tailoring table “represent the fragile balance between form and function, pragmatism and sublimation, simplicity and novelty…In both concept and execution, they are in total harmony with the Shaker notion that those objects with the highest use intrinsically possess the greatest beauty. Utility and beauty were inexorably linked in the Shaker mind. The very minimalism that made Shaker objects exceptional in their time also underlies their broad appeal today.” (p.25)

Shaker Dropleaf Tailor’s Table Hancock, MA, first half of 19th century 12½ x 35½ x 13½ inches Collection of Robert and Katharine Booth

THE PHILADELPHIA SHOW

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1993 • SEEN BUT NOT HEARD This dynamic continuous arm Windsor highchair stands out for its stately appearance, fine craftsmanship and original condition. Attributed to eastern Connecticut, this highchair combines distinctive elements from New London County, Connecticut and neighboring Rhode Island, with sophisticated details associated with Windsor chairs made in Boston, Massachusetts. As commerce quickly expanded following the Revolutionary War, so did opportunities for Windsor chair makers. Regional styles were shared as these practical and beautiful chairs gained popularity and craftsmen traveled between workshops. The continuous arm Windsor design evolved from the introduction of the bow back side chair in the early 1780s. By the 1790s, continuous armchair production had reached a high level in both Providence and Newport, Rhode Island. Many of these chairs featured tapered and swelled spindles similar to those found on this continuous arm Windsor highchair. The use of the oval shaped saddle seat with legs that terminate inside the seat are elements closely associated with the noted Windsor chair maker, Ebenezer Tracy I (1744-1803) of Lisbon, Connecticut. Interestingly, two of the smallest details illustrate the influence of Windsor chair makers from Boston. The footrest is constructed with the same steam and bend technique used for the crest rail. This unusual design is found used for the stretcher construction in Windsor chairs made by the partnership of Seaver & Frost in Boston about 1800. The other Boston related element is found in the shape of small collars used on the ring turnings of the media stretcher. This intriguing continuous arm Windsor highchair was acquired by Nathan Liverant and Son as part of the single largest purchase in our 100 years of history. In the summer of 1979, we acquired the house and collection of over 1,000 antiques gathered by Robert and Ruth Boyce of Coventry, Connecticut. To close the deal, Zeke Liverant and his wife Sylvia, Arthur Liverant and his wife Gigi, invited Bob and Ruth over to the family home for dinner. “I remember the evening well,” says Arthur, “As we began dinner and were toasting to the success of the deal, Gigi says she has an announcement too, she is pregnant. That was our daughter Hannah. There were about a half a dozen things in the house that I would have loved to keep for my own collection. One of them was a continuous arm Windsor highchair that was really special. So, because of the timing, we kept the high chair.” –Kevin Tulimieri, History Specialist at Nathan Liverant and Son

Continuous Arm Windsor highchair Eastern Connecticut, 1785-1810. Collection of Arthur and Gigi Liverant

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1994 • SPORTING TRADITION Borrowing its title from a poem by William Cullen Bryant (1794-1878), the 1994 loan exhibit “Enter this Wild Wood” celebrated art of the outdoors. Specifically, it followed art of the 19th century and focused on the post Centennial era when Americans who were witnessing the benefits and extreme vices of the industrialization sought spiritual renewal from pursuing recreation in the outdoors. In retrospect, this was also the time when white people conquered the last of the open territories where America’s Indigenous People had thrived for centuries. Additionally, hundreds of animals were killed for sport, making several species extinct and just narrowly averting the extinction of the iconic American bison (or buffalo). Works of art on loan included Pennsylvania German redware plates with hunting scenes, a sheet iron turkey weathervane, paintings by William Tylee Ranney (1813-1857), furniture made for the Philadelphia Centennial Exposition, and a chest made in the Mahantango Valley of Schuylkill County, Pennsylvania, in 1834 for Peter Braun (1811-1878) possibly by his father Michael Braun (1772-1851) and painted with a stag hunting scene. Like most, this chest (currently on loan to the PMA by the Dietrich American Foundation and on view in gallery 107) represented the coming of age of Peter, who would have been 23 when it was made, and was likely filled with blankets and other household textiles. Dishes from the White House china service of President Rutherford B. Hayes (1822-1893) and his reformer wife Lucy Ware Webb Hayes (1831-1889) were loaned by show (and museum) supporters Joan and Set Charles Momjian. The Hayes set was commissioned from Haviland & Co of Limoges, France, and adorned with images painted by Theodore Russell Davis (1840-1894) of America’s vast natural assets of unique flora, fauna, and sport, such as snowshoeing. Numerous pieces from the Hayes set were donated to the museum by Robert L. McNeil, Jr., and are on view in Gallery 106. Hunting paraphernalia was made by talented artisans who, at the encouragement of patrons, often treated the surfaces as decorative canvases. Delaware collector William Kemble du Pont (1938-2020) followed his father and several forebears in the tradition of collecting Americana and hunting—both of which he pursued with a passion. He loaned flintlock rifles, powder horns, and gunpowder flasks. An anonymous but highly talented gunsmith made this early flintlock rifle in the Lower Schuylkill Valley. The rifle is made of highly figured striped maple, with the stock ornamented in inlaid brass with a running deer who leaps forward while looking behind at, presumably, hounds and hunter in pursuit. Such iconography is reminiscent of the often-painted and inscribed scenes found on decorative redware made in Pennsylvania—several of which were also loaned to the 1994 loan exhibit.

“Running Deer” Flintlock Rifle Lower Schuylkill Valley, circa 1760-1770 Maple, brass, steel and iron. 52 caliber, 44¼ inch octagon barrel Courtesy of Kelly Kinzle

THE PHILADELPHIA SHOW

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1995 • THE COOK’S FANCIES “The collecting of culinaria, objects associated with the culinary arts, is by no means a recent development.” That statement in the 1995 catalogue helped curator William Woys Weaver introduce the culture and craze around collecting works of art and cooking utility from 18th and 19th century America—also noting that the ancient Romans collected, recorded, and copied the culinaria of the ancient Greeks and Egyptians. Along with the tools for preparing, concocting, cooking, and baking, published treatises described how to present food and drink in increasingly elaborate silver, glass, porcelain, and earthenware vessels—and even adding more utensils. The display of food constituted a form of art and diners studied how to arrange tables with layers of food surrounding extravagant centerpieces. By the 1760s, long sideboard tables (later simply called sideboards) were placed along the walls of rooms of dining rooms and were intended for the display of dining accouterments as well as serving food. Still life paintings like this one represent a well-stocked, two-tiered sideboard. Luscious, ripe fruit overflows from a tall compote and is flanked by wheels of cheese, pies, pitchers of cream and peppermint punch, and carafes and syllabubs of brandy. Still life paintings of food such as this as well as assortments of game, meat, fish, and breads often decorated the walls of dining rooms, which themselves were rooms newly dedicated to dining.

Still life with Fruit, Cheese, Wine, Milk, Cakes and Peppermint Stick, c. 1850-70 Oil on canvas, 46½ x 54½ inches Courtesy of Olde Hope

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2004 (1980) • FOLK ART ON FIRE Once again in 2004, the dynamic collections, insightful commentary, and snazzy presentations of Robert and Katharine Booth treated visitors at the Philadelphia Show to “Folk Art on Fire,” a follow up to the 1980 loan exhibit “Battle of the Blaze.” The Booths’ collecting bends highlighted their passions for those artisans whose work was often anonymous but brought visual pleasure and delight to the daily lives of regular people. The Booths—fixtures at the Philadelphia Show and most others on the East Coast— assembled parade hats, pumper models, presentation shields, fire horns, and fire buckets from their own collection and others (including dealers) and arranged them in a way that in and of itself created a work of art. Like today, life in the 18th and 19th centuries was “fraught with physical dangers” (p. 82) but they were significantly more poignant and resulted in more deaths before the dawn of modern heating, lighting, and cooking or widespread access to anesthetics, penicillin, and vaccinations. Fire was certainly at the forefront of the mind of William Penn, who after witnessing the burning of London in 1666, arranged the streets and building plots of the “greene countrie towne” of Philadelphia in a grid punctuated by squares for protection from the spread of fire and disease. Enter, “to no one’s great surprise” (p.83), Benjamin Franklin who organized the Union Fire Company on December 7, 1736, the first volunteer fire company in Philadelphia (and most likely America). Along with twentythree others including the silversmith Philip Syng, Jr., Franklin’s Union Fire Company established a model for others in the city. The need for fire companies encouraged membership, and men who—like the later so-called surf men seen in the museum’s treasured “The Life Line” of 1884 by Winslow Homer—were on the fast track to become heroes. Such chivalric aspirations burgeoned membership, and the increasing population expanded the number of fire companies, including the Pennsylvania Fire Company (No. 18), for which this parade hat was commissioned and painted. Elaborate and high-stacked parade hats were initially meant to designate volunteer firefighters at the often-chaotic fire scenes. Soon, they morphed into regalia for the many parades of the 19th century when fire company membership became akin to a fraternity, often signaling a man’s political affiliation, religion, and type of work. Such hats were limited to Philadelphia fire companies, but several fire companies in Baltimore and Washington adopted their use in parades. The well-proportioned parade hat and its energetically painted version of (aptly) the arms of the Commonwealth of Pennsylvania were most likely executed by a free Black couple David Bustill Bowser (a painter) and Elizabeth Harriet Stevens Gray Bowser (a seamstress). David trained with his cousin Robert Douglass, Jr. (1809-1877), the artist who had studied at the Pennsylvania Academy of Fine Arts with Thomas Sully (1783-1872). Together, David and Lizzie Bowser operated a prominent portrait and ornamental painting business, collaborating on the many and various—and usually ephemeral—flags, banners, hats, buckets, horns, floats, and other accouterments of Philadelphia’s parade and procession-loving organizations and citizens. Though free in Philadelphia, the Bowsers lived under the constant threat of being kidnapped and enslaved elsewhere; it was this reality that encouraged their philanthropy and political activity on behalf of Black Americans. The Bowsers’ talents, industry, and intellect earned victories such as full citizenship for fellow free Black community members living in Philadelphia. David was active with the Grand United Order of Odd Fellows, the African-American arm of what was then the all-white Independent Order of Odd Fellows.

Parade Hat, 1850-1860 Attributed to Elizabeth Harriet Stevens Gray Bowser (1831-1908) and David Bustill Bowser (1820-1900) 7 inches high Collection of Robert and Katharine Booth THE PHILADELPHIA SHOW

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2005 • VAULTING AMBITION Scholar-curators Robert F. Trent and H. Mack Truax II organized the 2005 loan exhibit “Vaulting Ambition: Philadelphia Gothic Revival Furniture and other Decorative Arts 1830-1860.” Dedicated to the late Peter L. L. Strickland, the dynamic presentation demonstrated the profound impact of Gothic architecture on the flowering of Gothic forms and iconography in the arts of mid-19th century Philadelphia. Gothic designs and motifs ebb and flow in Western art from the 12th century onwards with great latitude. The English cabinetmaker Thomas Chippendale entitled all three editions of his now-eponymous design book The Gentleman and Cabinet-Maker’s Director: Being a Large Collection of… Designs of Household Furniture in the Gothic, Chinese, and Modern Taste (1754, 1755, and 1763). Elements of fashionable mid18th century furniture and furnishings incorporated patterns whose roots were in Gothic tracery, such as the banisters (or splats) of chairs and the patterns of fretwork found throughout furnishings, decorative architecture, and lighting. Even while neoclassicism took center stage from the 1770s through the 1820s, interest in and elements of Gothic could still be found. Philadelphia’s embrace of the Gothic in the early 19th century had an important genesis with none other than “Mr. Neoclassical” himself, the British-born architect B. Henry Latrobe (1764-1820). Latrobe designed in 1799 a lovely Gothic country house called Sedgeley for the merchant William Cramond (1754-1843) and his wife Sarah Nixon Cramond (d.1865). Cramond suffered bankruptcy, and the house was occupied by James Cowles Fisher (1756-1840) and Ann (Nancy) Wharton Fisher (1770-1852) when the numerous paintings and prints of it and the surrounding parklands were made. They record its design well since only the stable of it survives today in East Fairmont Park. Literature promoted the Gothic style, as did ecclesiastical needs. Latrobe’s architectural protégées such as William Strickland, John Haviland, Robert Mills, Thomas Ustick Walter, John Notman, Samuel Sloan, Napoleon LeBrun, and John McArthur, Jr., followed their teacher’s ideology of promoting classical/Italianate design but peppering it with elements of Gothic style. Often the Gothic furniture and wares were reserved for the garden or library, .like Walter’s 1837 Gothic cottage at Andalusia, the Biddle family’s Delaware River estate. It was during the 1830 to 1860 period that significant amounts of furniture were being made in Philadelphia and exported to plantations in the American South, where landowner’s wealth soared through the work of enslaved workers who cultivated the cotton that was sold and created the immense profits for the merchants of New York, Philadelphia, and all cities in the northern U.S. as well as in Europe. Most famously, the shop of Crawford Riddell made and exported an entire Gothic suite of furniture for “Rosedown,” a St. Francisville, Louisiana, plantation.

Gothic Lamp, c. 1880’s Brass, glass and wood, electrified, 21 inches Collection of John Whitenight and Fred LaValley

Trent and Truax acknowledged not only the numerous scholars who studied and published important research on the Gothic style, but also the later practitioners like Daniel Pabst and Frank Furness who worked in the so-called modern Gothic style. This 1880s lamp brass, glass, and wood lamp (now electrified) has Gothic design elements of a four-lobed flower or quatrefoil, fleur-de-lis and with a pierced crenellated gallery, foliate panels, and incised geometric details, many of which were celebrated in Anna Tobin d’Ambrosio’s The Brass Menagerie (Munson-Williams-Proctor Institute, Utica, NY). Its glass shade is peachblow, with a satin finish exterior that is cut to clear with floral designs.

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2009 • PATRIOTS AND PRESIDENTS The 2009 loan exhibit immersed visitors into the art of miniatures through an extraordinary array of the very personal portraits painted of early Philadelphians “Patriots and Presidents: Philadelphia Portrait Miniatures 1760-1860.” Small in scale and elaborately framed—some encrusted with jewels—the portraits were typically painted in watercolor on ivory discs, and they were hung on ribbons or chains and worn close to the body. They were delicate and fragile and susceptible to fade if exposed to too much light. Like a religious icon, these personal images evoked an emotional response, especially when given as a gift. Carol Eaton Soltis, a curator in the museum’s American art department and an expert in miniatures, opened her essay in the catalogue with a quote from William Dunlap’s History of the Rise and Progress of the Arts of Design in the United States: “The painter of miniatures has…even more than the painter in large…the satisfaction of knowing that he exerts his skill in behalf of the best feelings of our nature…[His] delicate and exquisitely touched work is dependent on…seemingly fragile materials…and [yet] will for years to come, raise sensations in the bosoms of those who gaze on them, which may rival any excited by the works of their brethren, that are displayed in gallery and hall.” (volume 2, 1834; Dover reprint, 1969, p.401). European born and trained artists such as Jean-Pierre-Henri Elouis (1755-1840) and Pierre Henri (1760-1822) passed through Philadelphia in the late 18th century and throughout the 19th century, picking up commissions to paint miniatures. Benjamin Trott (1770-1843) painted miniatures of Philadelphia sitters often after they had sat for full length portraits by Gilbert Stuart (1755-1828) or Thomas Sully (1783-1872. The rich colors and sensitive treatments of Edward Greene Malbone (1777-1807) who hailed from Newport, Rhode Island, made him the most highly desirable miniaturist during his short life. He shared his skills as an instructor in miniature painting with artists such as John Wesley Jarvis, whose work is on view here. While Jarvis’s bespeckled dandy of a sitter is unidentified, his eccentric pose captures today’s viewer by surprise. New Orleans native Elle Shushan, who is internationally accepted as the preeminent dealer and expert in portrait miniatures, wrote of this Jarvis portrait, “The haughty grandeur of his sitter in 1807 Ray Bans…epitomizes his stylish circle. Perfectly illustrating his hide in plain sight rule about backgrounds, the sitter is placed against monochromatic shades of gray.” (from “How American found its face: Portrait miniature in the New Republic,” The Magazine Antiques, April 2009, p.26) In a pendant to Soltis’s Philadelphia-focused essay in the show catalogue, Shushan wrote of how the work of four artists—Malbone, Anson Dickinson (1779-1852), Joseph Wood (1778-1830), and Jarvis—who convened in New York around 1804 created a unique American style in miniature painting.

Portrait of a Gentleman, 1807 John Wesley Jarvis (1780-1840) 3 1⁄8 x 2 ½ inches Collection of Richard and Ginger Dietrich THE PHILADELPHIA SHOW

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2017 • WHAT SO PROUDLY WE HAIL In 2017—two hundred thirty years after the Constitution of the United States was written in Philadelphia—the loan exhibit featured American flags and textiles. The catchy title “What So Proudly We Hail” was borrowed (with slight modification) from the second line of the ode penned by Francis Scott Key (1779-1843) to honor the inspirational sight of our nation’s flag still flying over Baltimore’s severely bombarded Fort McHenry in 1814. Key’s poem “The Defence of Fort M’Henry” was widely published and later set to music, becoming the national anthem in 1931. The post-Civil War 1870s was a period of civic parades galore, and as the country approached its Centennial in 1876, cities like Philadelphia set about creating arms to represent it. This flag features an early variant of the arms of Philadelphia on a white field that helps to date it to around the 1874 adoption of this version of the device, which was designed by the local Union army hero Colonel Frank Marx Etting (1833-1890). According to Philadelphia City attorney and historian Sam Robinson, “The central elements of the current seal date back to the establishment of the modern government of the City in 1789. At the time of the Revolution, the City dissolved the Corporation which had governed since 1701, and in so doing cast off the various trappings of the Corporation, including its seal. It’s not clear who designed the new seal the City adopted, although it shared numerous elements with the arms designed by a three man committee including David Rittenhouse (the astronomer for whom the Square is named) and brought into use on official Commonwealth documents and currency beginning in 1777.” The City selected a shield supported by two female figures, dressed in flowing classical garb, representing Peace, on the left, and Plenty holds [the goddess Ceres], on the right. In the 1789 version of the seal, Peace holds a scroll containing Penn’s plan (and Holme’s survey) for the City, Plenty a cornucopia overflowing with produce.” http://hiddencityphila.org/2013/11/behindphiladelphia-maneto-dissecting-the-city-seal/ The seal on this particular flag presents distinct changes made by Etting in the version adopted in 1874. One is the swapping of Penn’s map for an anchor on the scroll held by Peace, and another the addition of the swag-draped streamer at the bottom with “Philadelphia” to the left and the word “Maneto” on the right, which translates Hebrews 13:1 into Latin. In the King James Bible, this reads “Let brotherly love continue.” The phrase was simultaneously adopted by City Council as Philadelphia’s motto. The white ground, the blended wool and cotton fabric, and the printed and handcolored decoration are typical for the 1870s. An open sleeve of heavy cotton twill binds the hoist, joined with treadle stitching. The flag may have been made by William H. Horstmann & Sons of No. 51 North Third Street, which provided significant military and parade Civil War accouterments and is known to have produced many printed wool flags for the Exposition. The name of a former owner is inscribed on the reverse side of the hoist binding with a dip pen: “Geo. Myers 2021 N. 22nd at Phila.” He may be George H. Myers (1840-1923) who was a member of the 3rd Pennsylvania Cavalry during the Civil War and became a member of the Union League Club of Philadelphia in 1896.

Flag bearing the arms of Philadelphia, about 1874-1876 Printed and hand colored wool and cotton, 24” x 41” Courtesy of Jeff Bridgman Antiques

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Crowd Crowdfavorites— favorites— see seethem themevery everyday day ininour ourgalleries. galleries. Miss Miss T (detail), T (detail), 1969, 1969, by by Barkley Barkley Hendricks Hendricks (Purchased (Purchased with with thethe Philadelphia Philadelphia Foundation Foundation Fund, Fund, 1970-134-1) 1970-134-1) © Barkley © Barkley L. Hendricks, L. Hendricks, courtesy courtesy of the of the artist artist andand Jack Jack Shainman Shainman Gallery, Gallery, New New York York

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REMEMBRANCES OF THE SHOW by Diana Bittel

Inspired by successful antique shows in Boston and New York, 1962 marked the first year of The University Hospital Antiques Show. Collectors were numerous. Ted Kapnek loved samplers and miniatures, while Jack Dorrance sought out great porcelains–especially tureens for all that soup. Henry McNeil was drawn to important American furniture and decorative arts, Robert McNeil liked early Presidential ceramics and Philadelphia furniture, and Welles Henderson and my father were always after marine art and China Trade. Dick Dietrich was fond of great furniture and decorative arts and Julia du Pont Bissell loved anything featuring swans as well as items from Pennsylvania. Newbold Smith was interested in marine prints while his wife, Peggy, bought Pennsylvania furniture and decorative material. Henry Francis du Pont shared his remarkable knowledge and experience by serving on the advisory committee, as did Clement Conger, the premier curator at the White House and Director of the U.S. Department of State Office of Fine Art. It was a powerful and extraordinarily educated group. Aside from these well-known collectors and curators who focused on specific areas were the numerous others who demanded high quality with the knowledge and security that they were purchasing their treasures from the best dealers in the country. While there were new collectors always showing up to buy the best in every category, tastes gradually changed and many collectors appeared on the scene who wanted different objects from different times. The adage that “antiques” for the show were defined as being “over 100 years old” no longer stood up. One hundred years old now included objects made in 1900 and later which in most minds, was not considered “antique.” Machine made furniture certainly wasn’t included in the merchandise guidelines for the original show. Folk art collecting exploded and gathered major attention. Old datelines were discarded and stretched. Today contemporary material is included if it is “show worthy” and represented in significant museum collections. Due to these and many other factors, there has been a thoughtful realignment of the type of material which needs to be included. The Show has actively sought out design dealers and more painting dealers of contemporary art. The Show is seeking to provide the younger generation with what they want and what they find interesting, while at the same time offering them what has always been appreciated in the past. Young collectors should pay attention when an 18th century tiger maple highboy sells for under $10,000 and a reproduction is more expensive. English dealers who were very well represented in the early years of the show have become less so as the show shifted focus to American objects in the late ‘70’s. Many things have changed in sixty years and, to The Philadelphia Show’s credit, much has not. While we have been relocated like gypsies many times from our long time home at the 33rd Street Armory, to passenger terminals at the Navy Yard, to the Convention Center, back to a tent in a beautiful field at the Navy Yard, then to a very cold field at the Navy Yard, to a Navy Yard parking lot, and now to the East Terrace of the Philadelphia Museum of Art, the spirit of Ali Brown and the original committee has remained. The Philadelphia Show has had to be flexible in its location but has maintained its status as the top show in the country offering the finest objects to collectors.

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Diana Bittel with Robert and Katharine Booth at the 2019 Philadelphia Show

The inaugural show committee chose to hire a manager to organize everything related to the dealers, from set-up to break down. Over the past sixty years, the Show was privileged to work with several outstanding managers with Gresham Wilson as the first, followed by John Fiefield, Russell Carrell, Sandy Smith, Josh Wainwright, Catherine Singer Sweeney, and DiSaia-Bittel. In 2018, the Philadelphia Museum of Art, as the new beneficiary, assumed responsibility with the Women’s Committee for production of the Show, with Huntley Platt named as manager of the Show. In the early years of the Show, the enthusiastic volunteers of the Show committee managed the creation and planning of the Show. Not only did they encourage the public to attend, but they also planned the preview evening dinner, invitations, and decorations, developed ideas for lectures, and organized tours for out-of-town visitors as well as house tours of incredible local collections. They sold advertising and created a program catalogue as well as assisted with the loan exhibition. The committee was dedicated to creating a successful show to support the Hospital of the University of Pennsylvania, as it was then known, and the list of committee members totaled over 250 ladies. Collectors, who were committed to having one of the best shows in the country, were seriously interested in providing the very best dealers and sat on the advisory committee. Later, this committee was well known and included not only avid collectors, but also many knowledgeable people in the antiques world. Captivating collections, which included important and often previously unseen objects graciously lent by private owners and museums, were presented to the public in themed loan exhibits. The loan exhibit was featured prominently at the show, often including its own full-time guard, and has traditionally set the “mood” for the show whether through lectures, decorations or invitations. The loan exhibit continues to be a key element of the Show. Dealer booth talks have also become a popular means to educate the public as each dealer can share their unique knowledge with visitors. The committee solicited financial support and advertising from many businesses in the city. The catalogue included over 300 pages with paid advertising from the dealers and local organizations. In the beginning, the catalog was simple and printed in black and white. In the 1970s, color printing was added for a professionally designed and beautiful new look. The catalogue was impressive and filled

THE PHILADELPHIA SHOW

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with a variety of interesting articles from collectors and museum curators. Advertisers recognized that participation was worthwhile as ads were seen by a specific, sophisticated audience. Years ago, a dealers’ committee was instituted so that dealers could offer advice and suggestions as to the appropriate exhibitors to include. The show committee agreed it would be helpful and the dealers’ committee has been very active in offering advice. In the past, the advisory committee kept up with the dealers and investigated when new ones came to light who might be suitable. In the early years, there were no written guarantees from the dealers. Potential clients did not bring black lights and flashlights to inspect paintings and furniture when they came to the show. They did not ask to pull out drawers, take off brasses, turn pieces upside down or move out from the walls so they could see the backboards, nor did they stand on chairs to see the tops of high furniture. They trusted the dealers who had passed muster with the selection and advisory committees and did not doubt their expertise. The fact that they were included in this important show said more than enough and basically vouched for their knowledge and integrity. These days buyers are more interested in doing their own research to ensure everything is as advertised. Dealers now write up a full description of a piece including its faults and provenance as customers deserve full disclosure and the right to return an object if it is not as advertised. Today, so much information is available. Collectors are serious and research endlessly. They read antique magazines and they know what things sold for at various auctions. They follow what they love and become experts in their own rights. They trust their dealer friends, but they confirm for themselves. The best dealers are forthright and ethical; if not, they will be exposed by the customer or another dealer. Mistakes can be made but must be acknowledged and corrected immediately. Evolution of shows continues. The Boston Antiques Show no longer exists; Washington includes a variety of different dealers and New York has opened its arms to many international dealers so their once American emphasis has shifted dramatically. Delaware, like Philadelphia, maintains its mission to focus on American material with the assistance of Winterthur. The Philadelphia Show continues its extraordinary reputation for featuring American objects. The Philadelphia Show has maintained many of the unique characteristics that make it distinct and special. The volunteer committee continues to be as dedicated, hardworking and essential for the success of the show as they were from the beginning. While the cast of characters has changed from the daring ladies of the Board of Women Visitors of the Hospital of the University of Pennsylvania who took a chance on a fresh idea for a fundraiser, to the equally committed Women’s Committee of the Philadelphia Museum of Art in tandem with members of the former Antiques Show committee, the enthusiasm and energy remains. The Park House Guides still provide tours as they have for so many years. While there is no longer a fancy seated preview dinner, there are wonderful cocktails and light fare to enjoy while you move about the show floor. The loan exhibit continues to delight and

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Large Single Sailor’s Shellwork Valentine, c. 1870 Silk background with a wreath of shell flowers and a center spray

educate by featuring items from private collections and museums. Collectors and curators share their knowledge and passion through lectures and, in our ever-changing environment, webinars and virtual presentations. As a young, inexperienced dealer, I tried to do every show I could to prove I was serious. So, I considered myself extremely fortunate to be invited to participate in The Philadelphia Antiques Show in 1982. Encouraged by a loyal show committee, my hopes to do “the show” that every dealer wanted to do were realized. Forty years later, I am grateful—in more ways than one—to still be involved. From the beginning, The Philadelphia Antiques Show was exceptional; a dedicated committee backed by passionate collectors who were determined to create success for “their” dealers. Fortunately, I had a useful connection since my father was involved from the early days on the advisory committee. Obviously, the committee was being nice to me because they liked my father; it was pure luck rather than deserving to be included. Sixty years is an impressive milestone for this enterprise we all love. Anyone who appreciates the past should be impressed by The Philadelphia Show’s history, quality and ability to adapt to an everchanging marketplace without diminishing its standards of excellence. Personally, it has been a very interesting forty years; from an invitation I probably did not deserve, to managing the show, to today as a grateful exhibitor. Congratulations to The Philadelphia Show for sixty impressive years and thank you for including me for the last forty.

THE PHILADELPHIA SHOW

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A L O O K B A C K AT THE PHILADELPHIA SHOW

In 1962 an enthralled nation celebrates as John Glenn orbits the Earth. Kennedy and Khrushchev stand toe to toe for 13 tense days in October. The Beatles release “Love Me Do”, while Bob Dylan sings “Blowing in the Wind”. And in Philadelphia a team of spirited women led by Ali Brown introduces the inaugural University Hospital Antiques Show to the city, a tradition that would continue for 60 years. Early in 1962, Jackie Kennedy traveled to London to seek antiques. Philadelphians, however, needed only to venture as far as the 103rd Engineers Armory at 33rd and Market to explore a treasure trove of 18th century cabinetry and furniture. For five days—and for a mere $1.50—collectors viewed and purchased the wares of 50 dealers from throughout the Eastern United States. Collectors, dealers, and volunteers alike have appreciated and benefited from sixty years of The Philadelphia Show since the event launched on April 24, 1962. Several have contributed their memories of the show:

Ali Brown (center) at the Philadelphia Antiques Show

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Skip Chalfant of HL Chalfant, West Chester, PA HL Chalfant has been an exhibitor since 1984

Southeastern Pennsylvania Cupboard

“In the early days, you would back your truck right up to your booth to unload. We were considered a ‘dealer’s dealer’ so, as we were unloading, other dealers were buying things as they were coming off the truck. It was happening so quickly that we sometimes forgot who bought what objects and what price we quoted! I also acquired an important piece at the show — a Southeastern Pennsylvania Cupboard which I sold, bought back and then sold again five minutes later to a client. Many years later I purchased it again and still have it.”

Paul Vandekar of Earle D. Vandekar of Knightsbridge, Inc., Downingtown, PA Earle D. Vandekar of Knightsbridge, Inc. has been an exhibitor since 1981

Chinese Export Porcelain Oxhead Tureen Cover and Stand, c. 1795

“The Philadelphia Show has evolved over the years to include not just antiques but Folk Art, Americana, and paintings. One thing that has not changed is that it is considered one of the top shows in the country. At one show, while I was sitting at a dinner, I received a tap on the shoulder. A guest at the dinner wanted to meet with me and proceeded to buy all the major pieces in my booth. I returned to the dinner with a huge smile and have been always waiting for that ‘tap on the shoulder’ ever since. At another show I acquired a Weldon coffee pot. We sold so many of our important pieces at the Philadelphia Show including a Chinese export porcelain ox head tureen cover and stand.”

THE PHILADELPHIA SHOW

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Arthur Liverant of Nathan Liverant and Son, Colchester, CT Nathan Liverant and Son has been an exhibitor since 1992

“Ours has been a family business for 101 years. I joined my father after college and one of my first requests was to exhibit in Philadelphia. Dad, better known as Zeke, thought the idea was a waste of time but said, ‘OK, but you are on your own!’ When he came to check on me at the preview in 1992, he was smitten, and then spent many years holding court in a chair in front of our booth. Zeke was a fixture of the show!” Arthur and Zeke (seated) Liverant

Steven Chait of Ralph M. Chait Galleries, New York, New York Ralph Chait Galleries has been an exhibitor since 2002

Chinese Famille Verts Porcelain Dragon and Phoenix Plate Kangxi Period, 1662-1722

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“Twenty years ago, Chinese decorative arts dealers, like ourselves, were more of a niche market at the Show, which was more dominated by American art, furniture, and folk art. Since then, the scope of the show has grown. The greater interest in Chinese decorative arts has led to more interested collectors in our field. I fondly remember from our earlier days at the Show. Ned Johnson, from Boston, who was a devoted collector and came every year. It was a pleasure to see his enthusiasm for collecting across the Show in many fields.”

A LO O K B AC K

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Tim Martin of S. J. Shrubsole, New York, NY: Shrubsole has been an exhibitor since 1969

“With the advent of the internet, we’ve learned that things we used to think of as fantastically rare are in reality more commonly found. Subsequently, prices on those items have come down. As an example, in 1993 a George III period teapot seemed like a unique and worthwhile find. Today, however, a google search will show that it is a more readily available object which decreases its value. In contrast, an early 16th century Elizabethan object can be verified as exceptionally valuable because its rarity can be confirmed. Thus, prices on those items have risen accordingly. My stepfather (who ran the business before Tim joined the firm) would say ‘back in the day you could wear out five pair of shoes walking around Paris or London to verify an item’s availability’. Today you simply need to spend a few hours on the internet. One of my favorite acquisitions at the show was a large square Paul de Lamerie 18th century salver. It was a great find.”

THE PHILADELPHIA SHOW

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Hannah Henderson: Collector and Volunteer “I remember the marine dealer, Hyland Granby, who exhibited for many years at our show. My husband, Welles, bought many wonderful objects from him. Years later Welles gave many of them to the Independence Seaport Museum here in Philadelphia.”

Alan Granby and Hannah Henderson

Joan Johnson: Collector, Volunteer and Loan Exhibit Expert

Colonel Ebenezer Tracey Windsor Writing Armchair

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“While decorating a ‘country’ guest room for Ted Kapnek, a prominent collector of formal furniture, he asked me to get involved in the Philadelphia Antiques Show. That led to over 30 years of curating the Loan Exhibit. I was so lucky to get superb collectors to co-chair each exhibit and learned so much from each experience. That led to my husband Vic and me becoming passionate collectors of many of those subjects. My favorite Loan Exhibit was my first in 1976, where we introduced Folk Art to an audience that never considered it important. My latest purchase at the show was inspired by our chair exhibit from a few years back. It is a rare Windsor writing armchair made in Connecticut by Colonel Ebenezer Tracey purchased from the dealer, Arthur Liverant.”

A LO O K B AC K

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Joe Gromacki: Collector, Chicago, IL and Kelton House Farm, outside Milwaukee, WI

18th century Stretcher Table

“The Philadelphia Antiques Show always offers special material for collectors. Over the last few decades, I have tried to make the trip from Chicago to the preview party, as the show is a highlight of the year. One of my favorite acquisitions at the show was an early eighteenth century stretcher table with an untouched original surface, having a provenance linking its origin to the Ephrata Cloister in Lancaster County. I acquired this piece nearly two decades ago from the long-time and highly regarded dealer in Pennsylvania furniture and decorative arts, Philip Bradley, and it formed the basis for an important grouping of early Pennsylvania furniture assembled over many years.”

Connie Mayock and Holly Luff: Two generations of Show Chairs

Connie Mayock and Holly Luff

“We were the first mother-daughter duo both to chair the show. My mother, Connie Mayock, chaired in 1975 and 1976 and I chaired in 2000. The show was an integral part of my childhood in the 60’s. The committee made all the food offered in the Eagle Café. I absolutely remember clearing plates and glasses and wiping the tabletops when I was in middle school. Years later I remember being nine months pregnant and waiting in the printer’s office for the catalogue delivery. That catalogue arrived before the baby, but just barely. I also remember my mother, on the last night of the show, pushing the bar cart around in her fuzzy pink slippers!”

THE PHILADELPHIA SHOW

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Beatrice B. Garvan: Volunteer and Curator Emerita, Philadelphia Museum of Art Chest over Drawers, 1792, Formerly attributed to John Beiber, American, 1768-1825. Made for Magdalena Leabelsperger, American, 1772-1884. Philadelphia Museum of Art: Purchased with the Thomas Skelton Harrison Fund, the Fiske Kimball Fund, and the Joseph E. Temple Fund, 1982, 1982-68-1

“I volunteered at the Philadelphia Antiques Show for many years. I distinctly remember chairing the 1977 loan exhibit, Underfoot: Floor Coverings Used in America. And, of course, when I was a curator at the museum for many years, we bought from the dealers. I got to know the dealers—and that was as important as anything for the museum. For instance, I was particularly excited when the dealers Jim and Nancy Glazer whom I had gotten to know called me about a zinger of a Pennsylvania German chest they had acquired. I took a look and sure enough, the museum acquired it and it remains one of the anchors of the Pennsylvania German collection.”

Robert and Katharine Booth: Collectors “Antiques have added so much to our lives, creating new scholarship and dear friendships lasting many years. Collecting antiques and connecting with friends during the Philadelphia Antiques Show has been a treasured tradition.”

Robert and Katharine Booth

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A LO O K B AC K

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Anne Hamilton: Collector, Show Chair in 1999, 2016, 2017, 2018 and Honorary Chair for life

Anne Hamilton

“In the 70s, we had a group of women who did everything for the Antiques Show. We sold tickets, made sandwiches for the cafe, arranged flowers, counted the money, pushed the bar cart, announced dinner seating by walking the aisles with large balloons, and even found cars for guests who could not remember where they parked! We worked hard, made lifelong friends, and raised lots of money for the beneficiary, at that time the Hospital of the University of Pennsylvania. The show, a city icon, is ready for another sixty years under the auspices of the Philadelphia Museum of Art.”

THE PHILADELPHIA SHOW

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The following are excerpts from THROUGH THE LOOKING GLASS written by Jenny Campbell in collaboration with Sophie B. Donaghy in honor of the 35TH PHILADELPHIA ANTIQUES SHOW IN 1997 When the first Show opened April 24, 1962, after 18 months of planning, the Board of Women Visitors of the University Hospital chose its thrift shop, the Nearly New Shop, and the Chapel, as the first recipients of the proceeds. According to the women on that first Antiques Show Committee, those proceeds far exceeded everyone’s expectations. More than 5,000 visitors came to that first Show which raised $30,000. Mrs. Alice (Ali) Barbour Brown, who initiated the concept of the Show in 1961, and then served as its guiding light until her death in 1981, said that the figure was three times more than she had anticipated. One aspect of the 35-year-old Show is undisputed. If there had not been an Ali Brown, there would not be a Philadelphia Antiques Show. Ali Brown, the wife of investment banker Moreau D. Brown of Brown Brothers Harriman and Company, for all intents and purposes, ran the Show from its inception until her death in 1981. Even today, she is the subject of endless adjectives by those who knew her, or merely knew of her. She created, then shaped the Antiques Show into a wild success. She continues to be described in terms like “colorful” and “feisty,” “the soul of generosity,” and “a great lady.” As Chairman, Mrs. Brown brainstormed a massive fundraising effort in 1959. In January of 1960, Mrs. Brown was having lunch in New York with friends from Boston when her companions mentioned the antiques show they had just staged in Boston as a fundraiser-the Ellis Memorial Antiques Show. They were enthusiastic about the Show and excited by the money they had raised. Intrigued, Mrs. Brown spent that lunch endlessly querying her friends for details. “I said, ‘How did you do it? How much money did you make? And why was it fun?’” she recalled early in the interview. Satisfied that she had found the perfect fundraiser, she took the idea to the Board of Managers of the hospital, and it was immediately approved. “Philadelphia, of course, as everybody knows, has the finest antiques and furniture in the world.” she said. “We can really have an enormous show. There are many smaller shows around, and many good little shows. But not a national, outstanding type of show. So, taking a deep breath, we started to go ahead on it.” Organizing and staging the first show was a task, “a learning experience,” as Mrs. Brown understated it. But the nature of Ali Brown and the dedicated volunteers persevered. From that first year, the Show exceeded everyone’s expectations Stories of the colorful lady involve her dogged determination to raise money for the hospital. The bottom line, she often said, was all-important. Her concern for it was exceeded only by her eternal optimism. There is a famous Ali Brown quote that became her battle cry and is often quoted. “The principal usefulness of a volunteer is to raise money,” she said in 1973. The idea was a good one, and the Board of Managers knew it right away. Said Mrs. Brown in an early interview, “Throughout the entire colonial period, people came from all over to have their furniture

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T H RO U G H T H E LO O K I N G G L AS S

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Cover of Through the Looking Glass Image on cover: The Rittenhouse Orrery from the University of Pennsylvania Left: 103rd Engineers Armory, Philadelphia, PA

made in Philadelphia, and then took it home. The best cabinet makers were here.” It only made sense that Philadelphia should have its own show of American antiques. But the realities of staging a show were imposing. Where to have it, who should manage it, and how to attract the best dealers? It was decided that the show would run Monday through Saturday (although it now runs Friday to Wednesday). The rationale, in the words of Ali Brown, was simple. “You cannot get a Philadelphian off his golf course on a Sunday, and I believe there is a blue law that we cannot sell on Sundays, so it was planned not to run over a Sunday.” The die was cast; and the week was chosen: April 24 through 28, 1962. Finding a venue for the Show was difficult. For that job, Gresh Wilson, the first Show Manager, arrived from Boston so he and Mrs. Brown could look for a location to hold the Show. An armory in University City was suggested. After an initial inquiry, that site, the 103rd Engineers Armory, at 33rd and Market Streets in West Philadelphia became available, and an agreement was signed. Luring the country’s best dealers of American antiques to their fledgling show may have been the highest hurdle of all for Mrs. Brown and her board of volunteers. The Board agreed that only the finest dealers be invited. Said Mrs. Brown, “Unless we could have what we considered absolutely top dealers in the country, we were not going to go through with it.” Mrs. Brown, almost single-handedly, put together an Advisory Committee of collectors who knew which dealers were top of the line. The Committee then contacted those dealers and extended the invitation. Some of the dealers were skeptical. There were only one or two who accepted readily. Said one New York dealer, “We were not reluctant because we were doing a lot of business with some real biggies in Philadelphia, and they were the ones who asked us. We were doing quite a fancy business in Philadelphia. It was in our best interest to participate in the show.’’ Two of the earliest dealers to sign on, both from New York, were prominent in America, and were joined by two prestigious Philadelphia dealers. From there the seed was planted, and soon 50 dealers had accepted, three of whom are still exhibiting at the Show today. Meanwhile, Gresh Wilson was busy on the logistics and the set up. He planned for 50 booths, most about 10 by 20 feet, and each decorated as an exquisite room. In addition, he had to attend to such

THE PHILADELPHIA SHOW

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Dealer booths at the Armory

details as changing the lighting for a softer look, lowering the large lights on the ceiling of the Armory and other physical challenges. Members of various Show committees themselves also were ironing out the details of that first, nervewracking Show. Food and parties were an issue. This being a social event there was much discussion about both. According to Mrs. Brown, most shows offer a cocktail party on the preview night. She knew, in order to set this Show apart, a mere cocktail party would not do. Instead, the ladies planned a preview party dinner. “If you don’t feed a Philadelphian, he goes away quietly,” Mrs. Brown joked in 1966. Of course, she added, the other consideration for feeding the party-goers was that the West Philadelphia site was nowhere near a restaurant or hotel. The timing was important as well, they decided. They scheduled the party early on preview night, so that the men could come directly from work and meet their wives. To cap off the evening, a valet parking service was hired, ensuring that patrons could deliver themselves directly to the front door. Nailing down a price for the whole thing was another decision new to the Board. According to Mrs. Brown, there was quite a bit of “hassling around” over it. Eventually, the decision was made to charge a little more than the New York and Boston shows charged, since those two events only offered cocktails. Said Mrs. Brown, “Philadelphia does not like to pay very much for anything; but finally, we took a deep breath and raised the price by $5 that first year, to $20 a ticket. That included having your car parked and getting into the preview and having a very nice dinner.” With the specifics pretty much taken care of Mrs. Brown and her compatriots watched the Show take shape. Quickly, the walls of the booths went up, the wallpaper went up, and the furniture began to arrive. Meanwhile, the Decorating Committee set to work arranging flowers and polishing the ambiance. “It’s the greatest fun in the world to see a Show go up.” gushed Mrs. Brown. “I really couldn’t believe it.” The vision was becoming a reality. And the success, or failure, was about to be realized. The stars of that first Show were the antiques themselves. The conscious effort to make the Show purely American had been a good one, and the patrons fawned over the dealers’ wares. Mrs. Brown

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T H RO U G H T H E LO O K I N G G L AS S

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noted that on that opening night, once the patrons noticed the dealers’ booths, they stopped greeting their friends and did a lot of buying. The Philadelphia Inquirer noted in its 1963 article about the upcoming, second annual Show, “the Antiques Show set a high record in 1962 as the women’s first venture. Dealers who needed a bit of persuasion then sent in reservations for space early this year, and a waiting list developed. More than 6,000 visitors turned out for the 1962 Show.’’ The experiment had been a success, setting the stage for future antiques shows and future dollars for the University Hospital. By the time the first Show closed, the Board of Women Visitors was stunned by its apparent success. According to Mrs. Brown, the Committee had hoped to make $10,000 that first year. But the total came to $30,000, and the Committee and Hospital alike were thrilled. Said Mrs. Brown, looking back in 1966 to that first Show, “We started with our hearts in our mouths; but, as soon as our publicity went out, we had people telephoning for tickets.” As the Show grew and matured over the years, so did Philadelphia’s reputation as a good market for antiques, squashing the fears of those first reluctant dealers. Said one of the earliest dealers, “The University Hospital Antiques Show proved, especially in the first 15 to 20 years of its existence, that here were a number of Philadelphians who for one reason or another, either wanted to supplement what their ancestors had left them, or did not have the things that their ancestors had left. They wanted to build up collections, and they were able and interested in doing so.’’ “It educated a number of people who probably would not have been educated as well,” said an early dealer. “People bought books, went to museums and started to study. And they might not have done that if they had not been stimulated by the Show.’’ Said one former Chairman, “Our clientele are enormously knowledgeable about antiques. They come because of the thrill of seeing an exquisite piece of museum-quality furniture. The Show obviously provides an opportunity to buy things, but it also provides an education. It’s a museum, as well.” “If something is of enormous interest to you,” she added, “you can have a dealer let you touch it, pick it up, sit on it, tell you about it. You can even take it home with you if you have enough money. You would not find that at an auction, or a museum. Talking to people, and teaching people about antiques is what they (the dealers) enjoy.” Another aspect of the show that has not changed much over the years is that the committee is beloved by the dealers. The graciousness of the women seems to have carried over from those early days and as a result, the dealers still feel a real affection for The Philadelphia Show. Added a former Chairman and longtime committee member, “We feel a deep regard and affection for the dealers. They are the stars of our show, the ones the public clamors to see.”

THE PHILADELPHIA SHOW

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to toobsession obsession

Admission Admissionisisalways always Pay PayWhat WhatYou YouWish Wish

Hand of of Rodin Holding a Torso, 1917, by by Auguste Rodin andand Paul Cruet Hand Rodin Holding a Torso, 1917, Auguste Rodin Paul Cruet (Rodin Museum, Philadelphia: Bequest of of Jules E. Mastbaum, F1929-7-109) (Rodin Museum, Philadelphia: Bequest Jules E. Mastbaum, F1929-7-109)

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DEALERS’ FIRST YEARS at the S H O W

1962

Philip H. Bradley

1969

Paul Cooley

1992

Nathan Liverant & Son

1993

Peter Pap

S. J. Shrubsole Tillou Gallery Ralph M. Chait

1994

Olde Hope Antiques

Kelly Kinzle

James Robinson Inc.

Lillian Nassau, LLC

Jayne Thompson Antiques

2010

2018

Janice Paull

2011

Gemini Antiques

Jeff Bridgman American Antiques

1976

1997

2012

Moderne Gallery

Kentshire

Steven S. Powers

1995

Graham Arader

Hyde Park Antiques, Ltd.

Avery Galleries

1972

Ginsberg and Levy

2017

2009

2019

Silver Art by D & R

2020

Dixon-Hall Fine Art

Dolan/Maxwell

Glen Leroux

Peter & Jeffrey Tillou

1981

Earle D. Vandekar of Knightsbridge

1982

Diana H. Bittel Frank S. Schwarz & Son

1984

Chalfant and Chalfant

1999

Marcy Burns American Indian Art

2004

2013

Somerville Manning Gallery

Francis J. Purcell

2016

2006

Clarke Gallery

Barbara Israel Garden Antiques

Schmidt/Dean

2014

Elle Shushan

Charles Clark

Gratz Gallery and Conservation Studio

Betty Krulik Fine Art, Ltd. Spencer Marks David A. Schorsch~ Eileen M. Smiles

THE PHILADELPHIA SHOW

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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

1977

1983

Underfoot: Floor Coverings Used in America Régéthermic Food System

Flight of Fancy Resuscitation Area Support Systems, Emergency Department

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

Mrs. Moreau D. Brown Benjamin Franklin Chapel

1964

Mrs. Moreau D. Brown Federal Furniture Air Conditioning, Patient Areas

1965

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

110

Mrs. Brooke Roberts Mrs. Benjamin H. Barnett

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

1971

Mrs. Benjamin H. Barnett Mrs. Stuart B. Andrews Signers of the Declaration of Independence Heart Station, Gate 9

1972

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

1973

Mrs. Stuart B. Andrews 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

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

Mrs. Erwin R. Schmidt, Jr. and Mrs. E. Newbold Smith

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

1980

Mrs. Samuel S. Stroud and Mrs. Thomas W. Langfitt

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

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

Mrs. Martin L. Beller and Mrs. William C. Buck

1984

Mrs. William C. Buck Mrs. William J. Erdman II Philadelphia’s Irish Legacy 1740-1840 Department of Dermatology

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

Battle of the Blaze New Enlarged Dialysis Treatment and Rehabilitation Area

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

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1986

1991

1996

2001

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

Devine Design: A Shaker Legacy Department of Radiation Oncology

A Touch of Class: Silver in Social Settings The Scheie Retina Center at Penn

In Celebration: Needlework Treasures from the Philadelphia Museum of Art Department of Medicine

1987

1992

1997

2002

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

This Glorious House Stenton Institute for Environmental Medicine

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

Mrs. Cletus W. Schwegman and Mrs. John B. Doherty The Federal Procession: A Salute to the Constitution Center for Human Appearance, Division of Plastic Surgery, Department of Surgery

1988

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

Mrs. Leonard Jarett and Mrs. John B. Hagner

Mrs. John B. Hagner and Mrs. Clyde F. Barker The Art of Embellishment: Painted and Stenciled Masterworks from the Museum of American Folk Art Multidisciplinary Procedures Unit

1993

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

1989

1994

Portraits Plain and Fancy: American Portraiture, 1760–1840 Division of Neurosurgery

In the Sporting Tradition Chemotherapy and Oncology Short Procedure Unit

Mrs. Giuseppe G. Pietra and Mrs. Harry G. Rieger, Jr.

Mrs. Thomas A. Gennarelli and Mrs. Robert F. Grieb

Mrs. Mark A. Kelley and Ms. Dale D’Angelo

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

2003

Mrs. James L. Mullen and Mrs. Thomas B. Helm

Mrs. David M. McCarthy and Mrs. S. Matthews V. Hamilton, Jr. America’s Painted and Guilded Legacy: Nineteenth Century Painted Furniture Complex Aortic Surgery Program

1999

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

1990

1995

Undercover: Sewing & Symbolism Department of Anesthesia

The Cook’s Fancies The Trauma Center at Penn

2000

Mrs. Robert F. Grieb and Mrs. Mark A. Kelley

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

1998

Sassy Seating: Brewster to Stickley Otolaryngology Consultation Center at Penn

Mrs. Harry G. Rieger, Jr. and Mrs. Leonard Jarett

Mrs. Peter D. Quinn and Mrs. A Richard Gerber

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

Historical Blue Straffordshire Apheresis/Infusion Unit

2004

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

2005

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

It’s About Time Institute on Aging

THE PHILADELPHIA SHOW

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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

2006

2011

The Schuylkill Villas Department of Surgery, Division of Cardiothoracic Surgery

Celebrations: Antiques that Mark the Moment Penn Center for Ovarian Cancer Research

2007

2012

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

Mrs. Joseph E. Smith and Mrs. Gerald R. Williams, Jr.

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 Cavanaugh-Kerr and Mrs. Theodore G. Cheek A Call to Arms: Chinese Armorial Porcelain Penn Center for Ocular Imaging

112

Mrs. Theodore G. Cheek and Mrs. J. Barton Riley

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

2013

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

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

2018

2022

Eleanore H. Gadsden, Co-Chair Ellen Caplan, Co-Chair Anne Hamilton, Honorary Chair Zero to Sixty Division of Digital Resources and Content Strategy, Philadelphia Museum of Art

Anne Hamilton and Nancy Taylor Philadelphia Collects Philadelphia The Pine Building at Pennsylvania Hospital

2019

Eleanore H. Gadsden, Chair Anne Hamilton, Honorary Chair 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

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

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Spring 2022

magazine

ANTIQUES + ART + DESIGN

Antiques & Fine Art Magazine in now Incollect Magazine, an exciting evolution in our 22-year history. We will be expanding our editorial mission to encompass the full range of antiques, art and design on our successful sister marketplace Incollect.com. This commitment to expanding the publication content comes with a commitment to expanding our audience for antiques, folk art and Americana, which will remain the core DNA of Incollect Magazine.

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ADVERTISER INDEX

Page 33

Page 14

Page 128

Page 119

Page 117

Page 113

Altus Partners American Fine Art Magazine Page 118

Antiques & Auction News Page 121

Antiques in Manchester Page 27

Archer & Buchanan Architecture Page 76

Chubb County Lines Magazine Page 18

CSI International Page 124

Delaware Antiques Show Page 28

Diversified Search Inside Back Cover

Doyle

Robert and Katharine Booth

Page 115

Page 29

Page 2

Brunk Auctions Page 19

Christie’s

114

Eldred’s Firstrust Pages 7 & 9

Freeman’s

Incollect Incollect Magazine Inside Front Cover

Justi Group, Inc. Page 23

LAGOS Page 32

Little House Shop Page 22

Maguire Foundation Page 13

Morgan Lewis Page 91 & 108

Philadelphia Museum of Art Page 116

Page 125

Philadelphia Print Shop Page 25

Pook & Pook Page 26

The Potomack Co. Page 15

Sotheby’s Page 20

The Magazine Antiques Page 12

Treadwell Page 24

Turon Travel Page 127

The Winter Show

Philadelphia Museum of Art Contemporary Craft Show

ADVERTISER INDEX

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Refine Your

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rge Copeland Ault • Milton Avery • Jean-Michel Basquiat • Gustave Baumann • Romare Bearden • Thomas Hart Benton • O erninghaus • Albert Bierstadt • Isabel (Wolff) Bishop • Robert Blackburn • Fidelia Bridges • Roy Henry Brown • Charl hfield • Ned Burgess • James Edward Buttersworth • Alexander Calder • Elizabeth Catlett • Elizabeth Rebecca Coffin • Th • Colin Campbell Cooper • Edward S. Curtis • Florence Maria Cushing • Gerard Curtis Delano • Arthur Dove • Frank Vin Mond • Abastenia St. Leger Eberle • Henry Francois Farny • Ralph Fasanella • Nicolai Fechin • William J. Glackens • Adolph Go rsden Hartley • Childe Hassam • George Peter Alexander Healy • Robert Henri • Trew Hocker • Harriet Goodhue Hosm n Houser • William Franklin Jackson • Sargent Claude Johnson • Joe Jones • John Frederick Kensett • Joseph Kleitsch • Lee Kr ob Lawrence • Norman Lewis • Joseph Christian Leyendecker • Reginald Marsh • Peter Miller [Henrietta Myers] • Joan Mit orgeMiyasaki Michael ShaneNeal • Georgia O’Keeffe • Maxfield Parrish • Robert Peak • Bernard Peters • Howardena Pi les Peale Polk • Margaret Foster Richardson • Norman Rockwell • Julius Rolshoven • Percival Leonard Rosseau • Aug An Indispensable Resource -Gaudens • Aimee Schweig • Olaf Seltzer • Maurice Sendak • Mitchell Siporin • Joseph Solman • Lilly Martin Spencer • Ev For Collectors Dealers ce • D. Owen Stephens • Harry Sternberg • Gilbert Stuart • Henry Ossawa Tanner • Johnand Henry Twachtman • Elihu Ved h Walter • Harry Willson Watrous • William Clothier Watts • Todd Webb Weber •American Guy WigginsArt • Hale Woodruff • Edm of• Max Historic ry Wuerpel • Andrew Wyeth • William Zorach • George Copeland Ault • Milton Avery • Jean-Michel Basquiat • Gustave Baum mare Bearden • Thomas Hart Benton • Oscar E. Berninghaus • Albert Bierstadt • Isabel (Wolff) Bishop • Robert Black elia Bridges • Roy Henry Brown • Charles E. Burchfield • Ned Burgess • James Edward Buttersworth • Alexander C

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EXHIBITOR INDEX

Page 34 Booth C5

Arader Galleries 1308 Walnut Street Philadelphia, PA 19107

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

Page 35 Booth B4

Avery Galleries 100 Chetwynd Drive Bryn Mawr, PA 19010

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

Page 38 Booth A14

Page 42 Booth B15

Page 46 Booth A7

York County, Pennsylvania

35 Main Street North PO Box 884 Woodbury, CT 06798

2046 Rittenhouse Square Philadelphia, PA 19103

Jeff R. Bridgman American Antiques Phone: 717-676-0545 Alt Phont: 717-502-1281 jeffbridgman.com

Page 39 Booth B19

Marcy Burns American Indian Arts LLC By Appointment Only 520 East 72nd Street, 2C New York, NY 10021

Page 36 Booth C3

Phone: 212-439-9257 info@marcyburns.com marcyburns.com

By appointment 510 Fishers Road Bryn Mawr, PA 19010

Page 40 Booth C10

Diana H. Bittel Antiques Phone: 610-525-1160 Alt Phone: 610-715-1595 dhbantique@aol.com dianahbittel.com

Page 37 Booth C9

Philip Bradley Antiques

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

Ralph M. Chait

Galleries, Inc. 16 East 52nd Street, 10th Floor New York, NY 10022 Phone: 212-397-2818 info@rmchaitgal.net rmchait.com

Charles Clark

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

Page 43 Booth B14

Clarke Gallery

94.5 Lime Street Newburyport, MA 01950 and 338 Main Street Rockland, ME 04841 Phone: 978-828-5652 info@clarkegallery.com clarkegallery.com

Page 44 Booth A15

The Cooley Gallery 25 Lyme Street Old Lyme, CT 06371

Phone: 860-434-8807 jeff@cooleygallery.com cooleygallery.com

Page 45 Booth B13 Page 41 Booth C4

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

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

Dolan/Maxwell Phone: 215-732-7787 info@dolanmaxwell.com dolanmaxwell.com

Page 47 Booth B9

Gemini Antiques Ltd. PO Box 635 Oldwick, NJ 08858

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

Page 48 Booth B12

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

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

Page 49 Booth A4

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

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

Page 50 Booth B1

Barbara Israel Garden Antiques By appointment only Katonah, NY

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

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

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SAVE THE DATE

2022 August 10th -11th 10 am - 6 pm both days

Sullivan Arena, on the beautiful campus of St. Anselm College, Manchester, NH http://antiquesinmanchester.com

ALL APPROPRIATE COVID PROTOCOL WILL BE FOLLOWED, DEPENDING UPON THE SITUATION IN AUGUST

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Presented by:

DISAIA MANAGEMENT www.disaiamanagement.com • 860-908-0076 • disaiamgt@gmail.com

ADMISSION $15.00 ON SITE SHIPPER, MASTERCARD & VISA

3/29/22 2:44 PM

EXHIBITOR INDEX continued

Page 51 Booth B17

Kentshire

Bergdorf Goodman 754 5th Avenue, 7th Floor New York, Ny 10019 Phone: 212-421-1100 info@kentshire.com kentshire.com

Page 52 Booth A1

Kelly Kinzle

P.O. Box 235 9 Center Square New Oxford, PA 17350 Phone: 717-495-3395 Alt Phone: 717-624-9084 kelly@kellykinzleantiques.com kellykinzleantiques.com

Page 56 Booth C2

Page 60 Booth B10

168 South Main Street Colchester, CT 06415

128 Presidio Avenue San Francisco, CA 94115 and 1225 Main Street Dublin, NH 03444

Nathan Liverant & Son, LLC Phone: 860-537-2409 mail@liverantantiques.com liverantantiques.com

Betty Krulik Fine Art Ltd. 260 Birch Lane Irvington, NY 10533

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

Page 54 Booth A10

Glen Leroux

56 Riverside Avenue Westport, CT 06880 Phone: 203-227-8030 glenaleroux@yahoo.com

Page 55 Booth A6

Bernard & S. Dean Levy, Inc. 227 West 17th Street New York, NY 10011

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

Page 57 Booth B8

Moderne Gallery

2220 East Allegheny Avenue Philadelphia, PA 19134 Phone: 215-923-8536 info@modernegallery.com modernegallery.com

Page 58 Booth B2 Page 53 Booth B7

Peter Pap Rugs, Inc.

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

Phone: 212-759-6062 info@lilliannassau.com lilliannassau.com

Page 59 Booth C1

Olde Hope, 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

Page 64 Booth A8

James Robinson, Inc. 480 Park Avenue New York, NY 10022 and 2 South Beach Street Nantucket, MA 02554 Phone: 212-752-6166 info@jrobinson.com jrobinson.com

Page 61 Booth A19

Janice Paull Antiques and Design PO Box 4707 Greenville, DE 19807

Phone:201-960-0363 janice@janicepaull.com Janicepaull.com

Page 62 Booth C8

Steven S. Powers 53 Stanton Street New York, NY 10002

917-518-0809 steve@stevenspowers.com stevenspowers.com

Page 63 Booth B16

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

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

Page 65 Booth C6

Schmidt/Dean Gallery

1879 Old Cuthbert Road Warehouse 32 Cherry Hill, NJ 08034 Phone: 856-520-8458 schmidtdean@netzero.net Schmidtdean.com

Page 66 Booth C7

David A. Schorsch ~ Eileen M. Smiles American Antiques 358 Main Street South Woodbury, CT 06798

Phone: 203-982-7574 contact@schorsch-smiles.com schorsch-smiles.com

Page 67 Booth A3

Schwarz Gallery 1806 Chestnut Street Philadelphia, PA 19103

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

Phone: 212-628-7088 frank@levygalleries.com levygalleries.com

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Page 68 Booth A2

S.J. Shrubsole, Corp. 26 East 81st Street New York, NY 10028

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

Page 69 Booth B3

Elle Shushan By appointment Philadelphia, PA

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

Page 73 Booth A11

Jayne Thompson Antiques 847 Kennedy Bridge Road Harrodsburg, KY 40330

Phone: 859.748.5628 info@jaynethompsonantiques. com jaynethompsonantiques.com

Page 74 Booth A17

Jeffrey Tillou Antiques PO Box 1609 Litchfield, CT 06759

Page 70 Booth A12

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

By appointment Baltimore Phone: 202-257-4448

Page 75 Booth C14

Silver Art by D&R Marseille, France Phone: +33 6 11 67 16 08 jasmine@silverartbydandr.com silverartbydandr.com

Page 71 Booth C12

Somerville Manning Gallery

Earle D. Vandekar of Knightsbridge PO Box 586 Downington, PA 19335 Phone: 212-308-2022 info@vandekar.com vandekar.com

101 Stone Block Row Greenville, DE 19807

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

Page 72 Booth A13

Spencer Marks

PO Box 330 Southampton, MA 01073 Phone: 413-527-7344 info@spencermarks.com spencermarks.com

THE PHILADELPHIA SHOW

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DASPhiladelphiaAntiquesshowCatTrade2022.qxp_Layout 1 2/16/22 2:19 PM Page 1

SAVE THE DATE

NOVEMBER 11–13, 2022 800.448.3883 • winterthur.org/DAS

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3/29/22 2:43 PM

A Treasure Trove of History

with Over 10,000 Prints & Maps Curated Over 40 Years

David Mackey, Proprietor with Quincy Williams, Jane Toczek

106 E. Lancaster Avenue, Wayne, PA 19087 610-808-6165 | PhilaPrint@PhilaPrintShop.com Shop online: PhilaPrintShop.com

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C14

CAFE

B19

Earle D. Vandekar of Knightsbridge

C12

B17

Somerville Manning Gallery

B16

Marcy Burns American Indian Arts

Kentshire

A17

Francis Purcell

Jeffrey Tillou Antiques

A19

Janice Paull

A14

Jeff R. Bridgman American Antiques

B15

B14

Charles Clark

A13

Clarke Gallery

Spencer Marks

A15

The Cooley Gallery

A12

Silver Art By D&R

Philip Bradley Antiques

David Schorsch and Eileen Smiles

C10

B13

Ralph M. Chait Galleries

A10

Dixon-Hall Fine Art

Glen Leroux

B10

Steven S. Powers

Gemini Antiques

Arader Galleries

A11

Gratz Galleries Jayne Thompson Antiques

James Robinson

Schmidt/ Dean

B12

Peter Pap Rugs

HL Chalfant American Fine Art and Antiques

Moderne

Loan Exhibit

Bernard & S. Dean Levy

Dolan/Maxwell

Betty Krulik Fine Art

Hyde Park Antiques

Diana H. Bittel Antiques

Nathan Liverant and Son

Avery Galleries

Lillian Nassau

Schwarz Gallery

S.J. Shrubsole

SEATING AREA

Olde Hope Antiques

Elle Shushan

Kelly Kinzle Antiques

Barbara Israel Garden Antiques

MAIN ENTRANCE

< PHILADELPHIA MUSEUM OF ART

126

Exhibitor Lounge

Show Office

BENJAMIN FRANKLIN PARKWAY / CITY HALL >

F LO O R P L A N

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SEE YOU IN JANUARY 2023 THEWINTERSHOW.ORG @THEWINTERSHOWNYC Images courtesy of Maison Gerard, David A. Schorsch ~ Eileen M. Smiles American Antiques, andThomsen Gallery

TWS2023 Ad for Catalogue.indd 1 127_TPS22.indd 127

3/25/22 4:11 PM 3/29/22 2:42 PM

Congratulates The Philadelphia Show on 60 Years of Continued Success

Kelly Kinzle

Lillian Nassau

Moderne Gallery

Earle D. Vandekar of Knightsbridge

Bernard & S. Dean Levy

Jeﬀrey Tillou Antiques

Philip Bradley Antiques

Shop the world’s ﬁnest art, antiques, jewelry and design by masters of the 18th through the 21st-century, commission free, from over 600 of the world’s ﬁnest dealers on Incollect.

Marcy Burns American Indian Arts Scan QR code to view all items available on Incollect

VISIT INCOLLECT.COM

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3/29/22 4:02 PM

American AmericanPaintings, Paintings, Furniture, Furniture,Silver Silver&& Featuring Decorative DecorativeArts ArtsFeaturing The TheChristine ChristineBiddle Biddle Wainwright WainwrightCollection Collection AUCTION AUCTION May May 4, 4, 2022 2022 EXHIBITION EXHIBITION April April 3030 - May - May 2, 2, Noon-5pm Noon-5pm 175 175 East East 87th 87th Street Street New New York York City City View View Catalogue Catalogue and and Place Place Bids Bids at at DOYLE.COM DOYLE.COM

Thomas Thomas Sully, Sully, Portrait Portrait of of Commodore Commodore James James Biddle, Biddle, 1839. 1839. Chippendale Chippendale Mahogany Mahogany Dressing Dressing Table, Table, Philadelphia, Philadelphia, circa circa 1775. 1775. Luigi Luigi Perisco Perisco Plaster Plaster Bust Bust of of Nicholas Nicholas Biddle. Biddle. Thomas Thomas Fletcher Fletcher and and Sidney Sidney Gardiner Gardiner Pair Pair of of Classical Classical Silver Silver Twin-Handled Twin-Handled Footed Footed Vases Vases of of Historic Historic Importance, Importance, Philadelphia, Philadelphia, 1832. 1832.

DOYLE DOYLE CHICAGO CHICAGO

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AUCTIONEERS AUCTIONEERS & & APPRAISERS APPRAISERS

CONNECTICUT CONNECTICUT

LONG LONG ISLAND ISLAND

NEW NEW YORK YORK

MASSACHUSETTS MASSACHUSETTS

CALIFORNIA CALIFORNIA NEW NEW JERSEY JERSEY

FLORIDA FLORIDA

WASHINGTON WASHINGTON DCDC

NORTH NORTH CAROLINA CAROLINA

PENNSYLVANIA PENNSYLVANIA

3/28/22 11:03 AM

C E L E B RAT I N G

60 Y E A R S

BENEFITING THE PHILADELPHIA MUSEUM OF ART

thephiladelphiashow.com

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3/29/22 10:47 AM