The Philadelphia Show 2023

2023

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EAS CARPENTERS PROUDLY SUPPORT

THE PHILADELPHIA SHOW

William C. Sproule

Anthony N. Abrantes

Executive Secretary-Treasurer

Asst. Executive Secretary-Treasurer

The Eastern Atlantic States Regional Council of Carpenters is part of the United Brotherhood of Carpenters and Joiners of America and represents 41,000 highly skilled men and women, 2500 businesses, 15 regional offices, 175 staff members, 22 Local Unions, 18 Training Centers and 4000 apprentices living, working and operating in Delawxare, Maryland, New Jersey, Pennsylvania, Washington DC ., Virginia and West Virginia. @EASCARPENTERS

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Learn more at EASCarpenters.org

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

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Welcome

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Calendar of Events

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Sponsors

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Antique Print Re-Mix Maria Dumlao & Suchitra Mattai

by Heather Moqtaderi

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Dealers’ First Year at the Show

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Individual Underwriters

Chairs, Loan Exhibitions and Beneficiaries

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121

Acknowledgments

Advertiser Index

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123

Committees

Exhibitor Index

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127

Loan Exhibit Faces in the Crowd

by Alexandra Kirtley

Floorplan

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The Proof is in the Portrait: A Close Look at an Antebellum Portrait of a Free Black Woman Painted in Philadelphia

by Lucia Olubunmi R Momoh

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ON VIEW Isaac Julien: Lina Bo Bardi—A Marvellous Entanglement Through May 29

Oneness: Nature & Connectivity in Chinese Art Ongoing

Judith Joy Ross Opens April 24

Clockwise from left: Installation view of Isaac Julien: Lina Bo Bardi — A Marvelous Entanglement; installation view of Oneness: Nature and Connectivity in Chinese Art; Celia, 1980, by Judith Joy Ross (© Judith Joy Ross, courtesy Galerie Thomas Zander, Cologne)

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Presenting our 61 st A N N UA L S H O W CA S E of A N T I Q U E S , A R T and D E S I G N

Welcome to The Philadelphia Show: Antiques, Art & Design. We worked hard to assemble a diverse array of dealers who will present everything from antiques, fine art, and period furniture to folk art, ceramics, jewelry, and textiles. We know that you will have a great time!

This year the proceeds from the Show will benefit the Philadelphia Museum of Art’s Division of Learning and Engagement. Ticket sales from the Show help to sustain and expand year-round family programming, partnerships with local community organizations, and free and low-cost museum visits for students and educators from the School District of Philadelphia.

The Show is made possible by a slate of community and business leaders without whom it would not be possible. We are grateful for the investment of our two Presenting Sponsors: Eastern Atlantic States Regional Council of Carpenters and IBEW 98/NECA LMCC. We are also fortunate to have received support from our Premier Sponsors: Firstrust Bank; Justi Group, Inc.; Plumbers Union Local 690; and Steamfitters Local Union 420; as well as our Principal Sponsors: Bricklayers & Allied Craftworkers Local Union No. 1 PA / DE; Hindman; and IUPAT District Council 21. We would also like to thank the following organizations for their contributions as Supporting Sponsors: Christie’s, CHUBB, Elevator Constructors Local 5, Freedom Mortgage Corporation, Freeman’s, Jonathan Bassman Interior Design LLC, LF Driscoll, Morgan Lewis, Pennsylvania Lumbermens Mutual Insurance Company, PNC Private Bank, Roofers Local 30, Sotheby’s, Sprinkler Fitters Local 692, and Treadwell.

Many individuals have played vital roles in making the Show a reality. The Philadelphia Show Committee and The Women’s Committee of the Philadelphia Museum of Art are the backbone of this event, and we salute the tireless efforts of their members. Thank you as well to the staff of the Philadelphia Museum of Art, particularly the departments of Development; Membership; Public Programs; Diversity, Equity, Inclusion and Access; as well as Visitor Experience, not to mention the curators within the departments of American Art and European Decorative Arts who helped shape the Show and its associated events. Of course, Anne Hamilton, Honorary Chair, is synonymous with the Show, and continues to be the heart of the event. Many thanks are also due to Huntley Platt, Manager of the Philadelphia Show, for being the hub of this collaborative project.

Lastly, thank you to our outstanding dealers for bringing exceptional decorative arts, fine art, and design to Philadelphia, and to the very steps of the museum itself.

Dr. Sasha Suda George D. Widener Director and CEO

Ellen T. Caplan Show Chair and Trustee

Catherine Altman President, Women’s Committee

THE PHILADELPHIA SHOW

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

THURSDAY, APRIL 27

Preview Party 5:00 P.M.–9:00 P.M.

Early Admission

6:00 P.M.–9:00 P.M.

Admission

The Preview Party is your opportunity for a first look at the finest art and antiques offered at this 61st edition of The Philadelphia Show: Antiques, Art & Design. Preview Party attendees receive early access to the best selections in fine art, Americana, period furniture, folk art, ceramics, porcelain, silver, jewelry, textiles, and decorative accessories from over 40 galleries and antiques dealers.

2023 LOAN EXHIBIT

Faces in the Crowd This year’s loan exhibition, Faces in the Crowd, celebrates the range of faces found on works of art. On small- and large-scale paintings and on ceramic vessels, furniture, and architectural elements, faces are incorporated in art as both anonymous characterizations and identifiable portraits. The loan exhibit is curated by Alexandra Kirtley, the Montgomery-Garvan Curator of American Decorative Arts, at the Philadelphia Museum of Art and Joan Johnson, the collector, designer, museum trustee, and long-time loan exhibit curator.

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

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

Dealer Talks These casual conversations will be held throughout the day in various dealer booths.

Six show dealers will share their expertise in their respective fields.

FRIDAY, APRIL 28

Of Silver and Crystal: the Light and Lightness in 1:00 P.M. Antique French Silver Jasmine Doussiere, Silver Art by D and R

3:00 P.M. The Connecticut Bed Rug: Beauty and History Woven Together

Arthur Liverant, Nathan Liverant and Son

SATURDAY, APRIL 29

American Studio Furniture 1:00 P.M.

RobertAibel, Moderne Gallery

3:00 P.M. Rediscovering the Wyeth Legacy

Vickie Manning, Somerville Manning

SUNDAY, APRIL 30

Sailor’s Woolworks: The What, When and Why 1:00 P.M.

Paul Vandekar, Earle D. Vandekar of Knightsbridge

3:00 P.M.

F orm Surface and History: The Copland Collection Comes to Philadelphia Arthur Liverant, Nathan Liverant and Son

THE PHILADELPHIA SHOW

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

Tours FRIDAY, APRIL 28

11:00 A.M.–12:00 P.M.

SATURDAY, APRIL 29

11:00 A.M.–12:00 P.M.

SUNDAY, APRIL 30

11:00 A.M.–12:00 P.M.

Philadelphia Show Committee members lead groups to various dealers where they share knowledge in their areas of expertise. Reserve your place on a tour that features notable objects offered by the exhibitors and takes a closer look at the loan exhibit Faces in the Crowd. Reservations required. Ticket price: $25

Children's Events TREASURE HUNT SATURDAY, APRIL 29

11:00 A.M.–6:00 P.M.

SUNDAY, APRIL 30

11:00 A.M.–5:00 P.M.

Attendees of all ages are invited to take part in a self-guided treasure hunt. Visitors begin their search with a treasure map that is found at the entrance of the show. The hunt continues inside the museum in the Early American galleries.

ART TABLE SUNDAY, APRIL 30

11:00 A.M.–5:00 P.M.

Create some of your own art with members of the Philadelphia Show committee.

Activity is inspired by the loan exhibit Faces in the Crowd and developed by museum staff from the Education Department. If you’re under the age of 14 be sure and bring your parent with you!

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

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JUSTI GROUP, INC.

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California Chemical Specialties Linwood, PA

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SPONSORS

PRESENTING SPONSORS

PREMIER SPONSORS

PRINCIPAL SPONSORS Bricklayers & Allied Craftworkers Local Union No. 1 PA / DE

Hindman

IUPAT District Council 21

Jonathan Bassman Interior Design LLC

Roofers Local 30

SUPPORTING SPONSORS Christie’s CHUBB Elevator Constructors Local 5

LF Driscoll Morgan Lewis

Freedom Mortgage Corporation

Pennsylvania Lumbermens Mutual Insurance Company

Freeman’s

PNC Private Bank

Sotheby’s Sprinkler Fitters Local 692 Treadwell

MEDIA SPONSORS American Fine Art Magazine

Incollect

The Magazine Antiques

TRAVEL SPONSOR Turon Travel

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SPONSORS

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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 Ellen and Ronald Caplan Mr. and Mrs. S. Matthews V. Hamilton Jr.

Susanna Lachs and Dean Adler

Stephen S. and Dolores R.† Smith Foundation

The Leslie Miller and Richard Worley Foundation

BENEFACTOR Robert and Julie Jensen Bryan Edith R. Dixon

Hannah L. Henderson Leigh P. and John S. Middleton

Martha Hamilton and I. Wistar Morris III Mr. and Mrs. Jeffrey S. Yass

KEYSTONE John Alchin and Hal Marryatt

Amy A. Fox and Daniel H. Wheeler

Ronald and Debra Pook

Barbara Gisel and Albert C. Oehrle

Quaker City Foundation

Sarah Miller Coulson

PHILADELPHIAN Catherine K. Altman Mr. and Mrs. William C. Buck †

Sophie Donaghy Marlene and Brian Dooner Peter C. Egan Julia and David Fleischner Anne D. and David Ford Mr. and Mrs. Christopher H. Gadsden Shanta Ghosh

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Mr. and Mrs. Thomas A. Leonard The McCausland Foundation

Olivia Rabe Marsha W. Rothman Anne and Steve Rubin Irene and Fred† Shabel

Mr. and Mrs. Peter C. Morse

Sally Sharkey

Zoë S. Pappas

Boo and Morris Stroud

Marsha and Jeffrey Perelman

Judith Taylor

Barbara A. Podell and Mark G. Singer

Constance and Sankey Williams Robin and Jerry Williams

INDIVIDUAL SPONSORS

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4/5/23 10:00 PM

PATRIOT Marta and Robert Adelson

Dr. and Mrs. G. W. Crooks

Michele and Paul Lockwood

Mr. and Mrs. John A. Affleck

Marianne N. Dean

Mr. and Mrs. James L. Alexandre

Romulo L. Diaz Jr. and Dennis J. Bann

Dr. Jess H. and Mrs. Ami Lonner

Jill and Paul Aschkenasy Carol and Horace Barsh Mr. Thomas L. and Mrs. Carolyn Bennett

Ellen and Mickey† Simon

Kirstin and Jeffrey Engelman

Mr. and Mrs. Robert D. McNeil

Keith R. Straw

Katherine and Bill Eyre

The Hon. John J. Medveckis and Marina Kats

Kathy and Ted Fernberger Penny Fox

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

Mr. and Mrs. Martyn Greenacre

Michele and Jeff Brotman

Mrs. Henry F. Harris

Mr. and Mrs. R. Kent Cadwalader

Hollie and Jamie Holt

Nicole A. Cashman and Nigel T. Richards Sara Cerato Mr. and Mrs. George Chou Ms. Kristine Christensen Peggy Cooke

Stephanie F. Simmerman

Linda McCarthy

Lawrence and Julie Berger

Ann and Jerry Calvert

Mr. and Mrs. Samuel R. Shipley III

Honickman Foundation Ruth and Richard Horowitz Mr. Thomas K. Johnson II Susan and Leonard Klehr Richard J. Green and Amy Klumpp Judy and Peter Leone

Janice and Britt Murdoch

Joan Thalheimer Elissa Topol and Lee Osterman Stephen Varenhorst and Teresa Fink

Karen Nagel and Steve Kamp Mr. and Mrs. Henry Nassau Heidi and Paul Nichini Louis and Katharine Padulo Louise and Alan† Reed Ms. Jennifer S. Rice and Mr. Michael C. Forman

Mr. and Mrs. William D. Walker John N. Whitenight and Frederick LaValley Mr. and Mrs. Lars Williamson Nanette and Robert Zakian Dr. and Mrs. David S. Zelouf

Ms. Caroline B. Rogers Kirk and Laura C. Rothrock

Peter and Eliza Zimmerman

Mark and Robin Rubenstein

LIBERTY Gwen Goodwill Bianchi

Anja and Matthew Levitties

Mr. and Mrs. Frank G. Binswanger, Jr.

Dana and John Levitties

Janice Block Robin Blumenfeld Dr. and Mrs. Robert W. Connor Joan M. Johnson

Sueyun Locks Mary P. McPherson Harvey S. Shipley Miller Karyn Mullen Carolyn Bedrosian Nagy

Aleni Pappas and Anthony Kyriakakis Keith M. Robinson Lyn M. Ross Katherine Sachs

Mrs. Ellen C. Silberman Susan Vitale Wendi Justi Wheeler Beverly M. and Norman T. Wilde

Susanna T. Saunders Douglas Schaller

deceased

†

List as of March 24, 2023

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THE PHILADELPHIA SHOW

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www.plumbers690.org 2791 Southampton Road Philadelphia, PA 19154 215-677-6900 BUSINESS MANAGER SECRETARY-TREASURER GEORGE C. PEGRAM ASSISTANT BUSINESS MANAGER THOMAS P. GOLDEN BUSINESS AGENTS P. DARBY DOYLE JAMES A. FRIEL JOSEPH P. MCMONIGLE JOSEPH P. MULHOLLAND, JR. DON SNYDER ORGANIZER PATRICK A. CROWTHER ADMINISTRATOR THOMAS MCNULTY

FIELD REPRESENTATIVE KEVIN DEAN

TRAINING DIRECTOR/PRESIDENT MIKE LAVELLE TRAINING INSTRUCTORS BRIAN GILBERT JOHN QUIRK EDDIE BAHAMONDE PETE BYRNE, JR. JIM DEVER MORRIS ELLIS

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OFFICERS DENIS FITZGERALD STEVEN KEENAN, JR. JEFF LEWIN MATT MCMONIGLE EARL OFFENBACK

CHRIS ROLA ROBERT SULLIVAN RICH TRIEBL JIM VERNACCHIO

4/5/23 11:26 AM

JAMES SNELL Business Manager

THOMAS REDDEN III Financial Secretary-Treasurer

STEAMFITTERS LOCAL UNION 420 WE DO IT RIGHT THE FIRST TIME! Since 1903, we have been providing Southeastern Pennsylvania with the safest, most qualified Steamfitters, Welders & HVAC Technicians.

PETROCHEMICAL

COMMERCIAL REAL ESTATE

PHARMACEUTICAL

RESIDENTIAL HVAC

NUCLEAR/ENERGY

SERVICE & INSTALLATION

GAS PIPELINES

COMMERCIAL HVACR

HEALTH CARE

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INSTRUMENT CALIBRATION

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ACKNOWLED GMENTS

The Philadelphia Show gratefully acknowledges the following individuals and businesses who have given their time, energy, and resources to support the 2023 Show.

Our continued success is due in large measure to their considerable generosity.

The Philadelphia Museum of Art recognizes Philadelphia as part of the ancestral homelands of the Lenape peoples. This museum and our staff strive to understand our place within the legacy of colonization and to act as allies to Lenape people and their vibrant communities today, including the federally recognized Nations: Delaware Tribe, Delaware Nation, and the Stockbridge-Munsee Community. We pay honor and respect to Lenape ancestors by committing to build a more inclusive and equitable space for all.

VOLUNTEERS Ellen Caplan, Chair Amy Fox, Vice-Chair

Anne Hamilton, Honorary Chair The Philadelphia Show Committee

The Women’s Committee Dealers’ Committee

MUSEUM STAFF

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Al Atkins

Lauren Hunter

Jonathan Peterson

Marcia Birbilis

Steve Keever

Kelsey Rhodes

Katie Costello

Norman Keyes

Justin Romeo

Warren Duane

Alexandra Kirtley

Jessica Sharpe

Simon Elisii

Michael Maniero

Jessica T. Smith

Leslie Essoglou

Levi Martin

Sasha Suda

Nancy Finn

Debra Myers

Al Suh

Joshua Frank

Lindsey Nevin

Angela Thompson

Elizabeth Freeburg

Caroline New

Kate Virdone

Kathleen Foster

Nancy O’Meara

Morgan Webb

Karleen Gardner

Jennifer Pardee

Andy Wurst

Kitty Bowe Hearty

William Petersen

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

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LECTURE SERIES Peter Barberie

Nonie Gadsden

Zoë Pappas

Alisa Chiles

Steven Keever

Eric Pryor

Colin Fanning

Alexandra Kirtley

Zoë Ryan

Kathleen Foster

Louis Marchesano

Sasha Suda

Eleanore H. Gadsden

Debra Myers

LOAN EXHIBIT Robert and Katharine Booth

Alexandra Kirtley

Jessica Smith

Collin Gleason

Leslie Miller and Richard Worley

Morgan Webb

Andrey & Melissa

E B Design

McClafferty Printing

Barb Barnett Graphic Design LLC

John Smiroldo and Phil Lajoie

Silverlake Digital

EventQuip and Ed Knight

Sue Wolfenden

Joan Johnson

MARKETING AND DESIGN

BUILD AND OPERATIONS Nick del Borello, Sr. and Nick del Borello, Jr.

Space Productions and Eric Romano

THE PHILADELPHIA SHOW

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Proud sponsor of the 61st year of The Philadelphia Show

Dennis J. Pagliotti President & Business Manager BAC Local 1 PA/DE 2706 Black Lake Place Philadelphia, PA 19154 P:215-856-9505 |F:215-856-9515 | www.bac-1.org Representing the best hands in the business and building the Delaware Valley since 1865

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Compliments of

Your Friends at

District Council 21

International Union of Painters and Allied Trades Of Eastern Pennsylvania, Delaware and New Jersey Francis McLaughlin

Business Manager / Secretary Treasurer

Bernie Snyder

Matthew Trzaska

Director of Servicing

Director of Organizing

Michael Previtera

Fund Administrator

Business Representatives & Organizers

Mark Allendorf Frank Alvarez A.J. Casparro Joe Charles Bernie Cooke Matt Cortez Tim Crowther Frank Faiella Chris Fiegel Ed Flanagan Gary Forte Dion Frasca Albert Galvez Robert Griffiths James Kearns Bill Kresz Vinny Lane Mike Laughlin John Marino Kyle Mulderig Emilio Muracchioli Ed Paley Scott Poluchuck Ramon Quinones Dave Rezes Roberto Rios Jr. Andre Sousa Michael Valco Raphael Vargas Mike Varnes Frank Watton, Jr. Joseph Weiss Bob Wood

Director of Training Martin McNulty

Assistant Director Erin O’Brien-Hofmann

Training Instructors Neil Amadio Jim Hyland

Tureka Dixon Steve Metzger

Charlie Eck Ronnie Moore

Drew Heverly Dave Tomczak

Headquarters – 2980 Southampton Road, Philadelphia, PA 19154 www.dc21.org

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COMMITTEES

SHOW COMMIT TEE Sarah Coulson*

Ami Lonner

Laura Rothrock*

Edie Dixon

Holly Luff

Anne Rubin*

Sam Ehlinger

Linda McCarthy

Susanna T. Saunders

Kirstin Engelman

Betty Miller

Sally Sharkey*

Margo Eremus

Leslie Anne Miller

Genvieve Shields

Katharine Eyre

Joan R. Momjian

Stephanie Simmerman

Evelyn Fell

Martha H. Morris*

Ellen B. Simon*

Marta Adelson*

Grace Fitts

Karyn Mullen

Keith Straw

Carol Blank Barsh*

Amy A. Fox*

Liz Murray

Boo Stroud

Gwen Goodwill Bianchi

Penny Fox

Karen R. Nagel

Margot Sullivan

Janice Block

Linda Fuller

Carolyn Bedrosian Nagy

Nancy Taylor

Robin Blumenfeld

Eleanore H. Gadsden*

Arlene Olson

Elissa G. Topol

Reid N. Bodek

Grete Greenacre

Katharine A.S. Padulo

Nathalie Verma

Michele Brotman

Hannah Henderson*

Zoë S. Pappas*

Susan Vitale

Ann Calvert

Cynthia B. Holstad

Barbara Podell

Eve Walker

Susan Charleston

Angela Hudson*

Sharon Pollack

Beverly M. Wilde

Patty Cheek

Suzanne C. Jacobs

Judy C. Pote

Robin Williams*

Kris Christensen

Joan Johnson*

Olivia Rabe

Lisa Williamson*

Dunham Townend Churchill

Carol W. Jones

Gretchen Riley

Pam Yih

Candace Coleman

Anja Levitties

Ann Dee Rome

Susan Zelouf

Veronica M. Connor

Michele Lockwood*

Marsha W. Rothman

Anne Hamilton*, Honorary Chair Ellen Caplan*, Chair Amy Fox*, Vice-Chair Catherine Altman*, President, The Women’s Committee

*Steering Committee

PREVIEW PARTY COMMIT TEE Margo Eremus, Co-Chair

Grace Fitts

Karen Nagel

Stephanie Simmerman

Eve Walker, Co-Chair

Michele Lockwood

Sharon Pollack

Dunham Townend

Janice Block

Linda McCarthy

Anne Rubin

Robin Williams

Ed Hild, Chair

Betty Krulik

Richard Rosello

Margo Dolan

Arthur Liverant

Arlie Sulka

DEALERS' COMMIT TEE

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2023 COMMITTEES

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CONGRATULATIONS TO

THE PHILADELPHIA SHOW LOAN EXHIBIT

“FACES IN THE CROWD”

KATHARINE & ROBERT BOOTH, MD 3B ORTHOPAEDICS “A Carved Figural Marble Bowl, Circa 1840, Probably By An African-American Quarry Worker, Whose Likeness Is By Legend The Black Face On The Bowl.”

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Connecting cities nationwide to the global art market

ATLANTA BOSTON CHICAGO CINCINNATI CLEVELAND DENVER DETROIT MIAMI MILWAUKEE NAPLES NEW YORK PALM BEACH SAN DIEGO SCOTTSDALE ST. LOUIS WASHINGTON, D.C.

202.853.1638 HINDMANAUCTIONS.COM WASHINGTONDC@HINDMANAUCTIONS.COM

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JULY/AUGUST 2015

COVERING ANTIQUES & FINE ARTS Since 1922

JANUARY/FEBRUARY 2022

MARCH/APRIL 2021

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TRAINING THE NEXT GENERATION THE CRAFTS OF CARPENTRY GENERAL CARPENTERS FLOOR COVERERS INTERIOR SYSTEMS LATHERS CABINETMAKERS MILLWRIGHTS RESIDENTIAL CARPENTERS PILEDRIVERS TRADESHOW CARPENTERS

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4/5/23 11:28 AM

IBEW Local Union 98 / NECA Is Proud to be a Sponsor of

The Philadelphia Show

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Christie’s proudly supports the Philadelphia Show

Auction | Private Sales | christies.com

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Proud to Support Philadelphia Museum of Art

Chubb. Insured.

SM

chubb.com

© 2023 Chubb. Coverages underwritten by one or more subsidiary companies.

Not all coverages available in all jurisdictions. Chubb®, its logo, and Chubb. Insured.SM are protected trademarks of Chubb.

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WELCOME TO IUEC LOCAL 5

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Freedom to Own Your American Dream Proudly supporting the 61st Philadelphia Show benefitting the Philadelphia Museum of Art.

FreedomMortgage.com

Freedom Mortgage Corporation, NMLS # 2767 (www.nmlsconsumeraccess.org), 951 Yamato Road, Boca Raton, FL 33431. 800-220-3333. Licensed by the N.J. Department of Banking and Insurance. Licensed Mortgage Banker – NYS Department of Financial Services and Exempt Mortgage Loan Servicer Registration. © 2023 Freedom Mortgage Corporation.

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EV1208(0323)

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American Furniture, Folk and Decorative Arts May 2 INQUIRIES Lynda Cain | 267.414.1237 | americana@freemansauction.com

fr e e ma n s a u c tion .c o m 2 4 0 0 M a r k e t St P h i l a d e l p h i a PA

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J O N AT H A N B A S S M A N INTERIOR DESIGN LLC

Proud to Support the 61st Annual Philadelphia Show 215.546.5530

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Philadelphia Museum of Art Core Project

We manage construction projects of all sizes and budgets, helping clients enhance and expand their facilities.

LF Driscoll is an equal opportunity employer.

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We are proud to support

THE PHILADELPHIA SHOW and salute its outstanding work for the

Philadelphia Museum of Art

www.morganlewis.com ©2023 Morgan Lewis | Morgan, Lewis & Bockius LLP, a Pennsylvania limited liability partnership

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What’s your

why?

ART HELPS US SEE DIFFERENTLY, AND I WANT IT TO BE AVAILABLE TO EVERYONE. For different reasons, art inspires all of us. And because it does, it inspires passionate people in our community to make it available for all to experience and enjoy. We’re proud to support the visual arts in Philadelphia and those who share their talents with the world around us.

Proud supporter of The Philadelphia Museum of Art, The Philadelphia Show.

Let’s talk about your why.

Contact Mary Ashenbrenner, PNC, at 215-585-1041 or mary.ashenbrenner@pnc.com, or visit pnc.com/privatebank.

The PNC Financial Services Group, Inc. (“PNC”) uses the marketing name PNC Private Bank∑ to provide investment consulting and wealth management, fiduciary services, FDIC-insured banking products and services, and lending of funds to individual clients through PNC Bank, National Association (“PNC Bank”), which is a Member FDIC, and to provide specific fiduciary and agency services through PNC Delaware Trust Company or PNC Ohio Trust Company. PNC does not provide legal, tax, or accounting advice unless, with respect to tax advice, PNC Bank has entered into a written tax services agreement. PNC Bank is not registered as a municipal advisor under the Dodd-Frank Wall Street Reform and Consumer Protection Act. Bank deposit products and services are provided by PNC Bank, National Association, Member FDIC. “PNC Private Bank” is a service mark of The PNC Financial Services Group, Inc. Investments: Not FDIC Insured. No Bank Guarantee. May Lose Value. ©2023 The PNC Financial Services Group, Inc. All rights reserved.

INV WM PDF 0621-081-1854703

TRUST AND ESTATE ADMINISTRATION | WEALTH PLANNING | INVESTMENT MANAGEMENT | CREDIT AND CASH MANAGEMENT

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UNITED UNION OF ROOFERS, WATERPROOFERS WORKERS, LOCAL 30 UNITED UNIONAND OFALLIED ROOFERS, WATERPROOFERS

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UNITED UNION OF ROOFERS, WATERPROOFERS AND ALLIED WORKERS, LOCAL 30

TOM PEDRICK INTERNATIONAL VICE PRESIDENT SHAWN MCCULLOUGH BUSINESS MANAGER BRIAN PLEIS EXECUTIVE BOARD KEN DEVENNEY EXECUTIVE BOARD PAT KINKADE EXECUTIVE BOARD PAUL PETERSON TOM PEDRICK TOM PEDRICK EXECUTIVE BOARD TOM JONES INTERNATIONAL EXECUTIVE BOARD INTERNATIONAL VICE PRESIDENT VICE PRESIDENT ERNEST WASHINGTON EXECUTIVE BOARD SHAWN MCCULLOUGH

6447 Torresdale Ave. SHAWN MCCULLOUGH BRIAN PLEIS Philadelphia, PA 19135 KEN DEVENNEY BRIAN PLEIS Phone 215-331-8770 PAT KINKADE KEN DEVENNEY Fax 215-331-8325 PAUL PETERSON PAT KINKADE TOM JONES PAUL PETERSON ERNEST WASHINGTON 409 Crown Point Rd. TOM JONES Westville, NJ 08093 ERNEST WASHINGTON Phone (856) 349-7548 6447 Torresdale Ave. Philadelphia, PA 19135 Phone 215-331-8770 FaxAve. 215-331-8325 6447 Torresdale

Philadelphia, PA 19135 Phone 215-331-8770 Fax 215-331-8325

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409 Crown Point Rd. Westville, NJ 08093 Phone (856) 349-7548

409 Crown Point Rd. Westville, NJ 08093

BUSINESS MANAGER

1500 Caton Center Dr. Suite J BUSINESS MANAGER EXECUTIVE BOARD Baltimore, MD 21227 EXECUTIVE BOARD EXECUTIVE BOARD Phone 1-800-993-9929 EXECUTIVE BOARD EXECUTIVE BOARD EXECUTIVE BOARD EXECUTIVE BOARD EXECUTIVE BOARD EXECUTIVE BOARD EXECUTIVE BOARD EXECUTIVE BOARD EXECUTIVE BOARD

1500 Caton Center Dr. Suite J Baltimore, MD 21227 Phone 1-800-993-9929

1500 Caton Center Dr. Suite J Baltimore, MD 21227 Phone 1-800-993-9929

4/5/23 11:31 AM

Consign your collection with Sotheby’s Sotheby’s has sold more single owner Americana collections than any other auction house in America. We are proud to have brought legendary collections from Mrs. Paul Bunny Mellon, George S. Parker II from the Caxambas Foundation, Irving and Anita Schorsch, E. Newbold And Margaret Du Pont Smith, and William K. du Pont to the open market over the past decade. We are always pleased to discuss and advise on the current art and antiques marketplace. Please call to consign today.

ENQUIRIES +1 610 649 2600 DUNHAM.TOWNEND@SOTHEBYS.COM © SOTHEBY’S, INC. 2023

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SCAN TO LEARN MORE

4/5/23 11:31 AM

Sprinkler Fitters Local 692 is proud to support the 61st annual Philadelphia Show 036_TPS23.indd 36

4/5/23 11:31 AM

© 2023 Applied Underwriters, Inc. Rated A- (Excellent) by AM Best. Insurance plans protected U.S. Patent No. 7,908,157

Martha Walter (1875 - 1976) Philadelphia Impressionist, Crowded Beach (detail), Image courtesy of Thomas Colville Fine Art.

Passion Meets Expertise

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

4/5/23 11:31 AM

A LA VIEILLE RUSSIE Established in Kyiv 1851

Specialists in Antique Jewelry, Gold Snuff Boxes, and Fabergé

Booth

F4

White enamel and 18k gold Edelweiss flower brooch set with a cluster of natural pearls. Tiffany & Co., Paris, ca. 1890. H: 2 in.

Original fitted case.

Gold-mounted hinged box with purple enamel cover, moonstone finial, and smoky quartz base. Fabergé, Moscow, ca. 1895. H: 2 in.

745 Fifth Avenue, 4th Floor • New York City • 10151 • +1.212.752.1727 • ALVR.com

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4/5/23 11:40 AM

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

THOMAS BIRCH (1779 – 1851)

Paul Beck’s “Shot Tower” Oil on canvas laid down on panel Canvas size: 31 ¼ x 41 ¼ in. Frame size: 37 ¼ x 47 in.

Booth

C2

1016 Madison Avenue New York, NY 10075

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1308 Walnut Street Philadelphia, PA 19107 215-735-8811

29 East 72nd Street New York, NY 10021

4/5/23 11:41 AM

Edward Potthast (1857–1927) The Beach, c. 1910–20

Booth

B5

Oil on canvas on board, 12 x 16 inches (30.5 x 40.6 cm) Signed lower left: E Potthast

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

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4/5/23 11:42 AM

DIANA H. BITTEL RARE HISTORICAL NEEDLEWORKS

NEW YORK HARBOR An oversized Lady Liberty off Castle William, flowered wreath in one hand, bold American flag in the other, welcoming various American flagged ships in the harbor, with a spread winged eagle above. Seven car locomotive heads towards the river amidst buildings with two ladies and man on horseback. Signed “Mrs. A Seymoure, 18?6”. 24¼" x 29½".

Booth

C1

THE PHILADELPHIA WATERWORKS, SCHUYLKILL RIVER AND LAND WHERE PHILADELPHIA MUSEUM OF ART RESIDES Silkwork of Philadelphia landmarks with small steamer and several boats on the water.

Original gold gilt frame. Circa 1840. 31" x 38"

510 Fishers Road, Bryn Mawr, PA 19010 Tel / Fax: 610.525.1160 www.dianabittel.com dhbantique@aol.com

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Cell: 610.715.1595

4/5/23 11:42 AM

Booth

G3

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4/5/23 11:43 AM

MARCY BURNS

American Indian Arts LLC

Quality American Indian basketry, pottery, textiles and jewelry

Yavapai or Western Apache basket late 19th-early 20th century

Booth

G7

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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4/5/23 11:43 AM

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

RARE PAIR OF CHINESE EXPORT “URNE MYSTERIEUSE” PISTOL HANDLED VASES AND COVERS, CIRCA 1795

Each with the secret design showing the silhouettes of Louis XVI and Marie Antoinette.

Made during the French Revolution for loyalists as a remembrance of the deposed monarchy.

Height: 14 ⅞ inches (37.8 cm.)

Booth

A6

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4/5/23 11:44 AM

Rare Mahogany Chippendale dressing table. Superior carving.

Attributed to Richard Butts of Philadelphia, circa 1760–75.

Booth

D4

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

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4/5/23 11:44 AM

Harry Bertoia

Standing Willow

66 x 37 inches

Clarke Gallery 19th and 20th Century Art Newburyport, Ma Rockland, Maine info@clarkegallery.com

978 828 5652 www.clarkegallery.com

Booth

D6

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4/5/23 11:48 AM

MARY E. MARSHALL (1868–1942)

North Shore Wild Flowers Oil on canvas, 34 × 30 inches. Signed lower left: Mary E. Marshall. Original Newcomb-Macklin frame.

Exhibited Pennsylvania Academy of the Fine Arts, 1933, #242.

Booth

D3

130 Potters Pond Drive

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Phoenixville, PA 19460 610.935.2570

dixonhall@verizon.net dixonhallfineart.com

4/5/23 11:49 AM

MICHAEL CANNING

JACOB LAWRENCE

Booth

E3

Distinguished Modern & Contemporary art Dolan/Maxwell

2046 Rittenhouse Square Philadelphia Pennsylvania USA 19103 215,732.7787 info@DolanMaxwell.com Dolan/Maxwell.com Margo Dolan Ron Rumford Jon Eckel

ANNE RYAN SAM BROWN

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4/5/23 11:49 AM

Booth

D2

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

4/5/23 11:49 AM

A rare pair of stoneware figures representing Commerce and Knowledge, possibly produced

by Doulton & Co. of Lambeth, England, the figure of Commerce depicted as a youthful Hermes, the figure of Knowledge depicted as a youth with open book in proper left hand and stylus in proper right hand, English, ca. 1870, on associated composition stone pedestals.

Figures: 47 inches high.

Booth

A4

By Appointment • Katonah, NY • 212-744-6281 • www.bi-gardenantiques.com

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4/5/23 11:50 AM

Booth

G6

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

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4/5/23 11:51 AM

SIR WALTER RALEIGH TOBACCO TRADE FIGURE This unique version of Sir Walter Raleigh is one of the most historically significant tobacco trade figures known. With a solid provenance dating to its original creation, our acquisition marks the first time the figure has been publicly offered.

Attributed to the shop of Samuel Robb, New York, the figure was made for the J.G. Flynt Tobacco Company for the launch of their Sir Walter Raleigh Pipe Tobacco in 1884. The brand and figure were acquired by Brown and Williamson Tobacco Company in 1925 and the figure gifted to a company executive in 1964.

Illustrated in Cigar Store Figures in American Folk Art (p. 26).

White pine; retains an historic period paint surface. 79" high

Booth

G1

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

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4/5/23 11:51 AM

American Art: 1850–1980

Arthur Wesley Dow (American, 1857–1922) Sunset at Gay Head, Martha’s Vineyard, MA, ca.1917 Oil on linen, 14 x 18 inches Provenance Private collection, Massachusetts Spanierman Gallery, 1999 Private collection, New York, 1999 to the present

Booth

Exhibition: Spanierman Gallery, New York, Arthur Wesley Dow, His Art and His Influence, November 9, 1999–January 31, 2000, cat. no. 23, p. 138, color illustration, p. 139

D1

K Krulik Philadelphia ad 2023.indd 1 053_TPS23.indd 53

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

3/13/23 2:49 PM 4/5/23 11:52 AM

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

Booth

G2

Glen Leroux A N TIQU E S, I NC. 56 Riverside Avenue Westport, CT 06880 (203) 227-8030 gleneroux antiques @ incollect.com 054_TPS23.indd 54

4/5/23 11:53 AM

A VERY FINE CHIPPENDALE SERPENTINE FRONT CARD TABLE NEW YORK, POSSIBLY ALBANY CIRCA 1770 Booth

A2

227 West 17th Street, New York, NY 10011 (917) 841-3824 • Frank@Levygalleries.com Visit us on our website at www.levygalleries.com, and Instagram/Facebook @levygalleries.

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4/5/23 11:54 AM

A rare polychrome blue wool bed rug featuring the initials of the maker, “J.J”.

Attributed to Jerusha Foote Johnson (1755-1831) of Colchester, Connecticut, dated 1782.

80 1/4” x 82 1/2” Booth

B6

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From the Susan and Rick Copeland Collection.

4/5/23 11:54 AM

Since 1988 Specializing in African American Art

Charles White, Dream Deferred, I Have a Dream Series #2, 1968, pen & ink, 57⅛ × 43 inches

Booth

B4

2501 East Chapman Avenue, Suite 235, Fullerton, CA 92831 657.217.5043 www.mhanksgallery.com

Tune in to our podcast on African American Art Visit Eric’s Perspective website: www.ericsperspective.com

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4/5/23 11:54 AM

ModerneGallery Design for Living

Specializing in important works from the 20th and 21st century

Booth

E1

Moderne Gallery 2220 E. Allegheny Avenue Philadelphia, PA 19134 modernegallery.com 215.923.8536

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4/5/23 11:55 AM

Established in 1945 in New York City, Lillian Nassau LLC is recognized as the premiere specialist in the work of Louis Comfort Tiffany and Tiffany Studios with close to 80 years of expertise

A selection of Tiffany Lamps showcasing spring florals in leaded Tiffany glass.

Visit the gallery Monday through Friday, 10:30 AM - 6:00 PM 220 East 57th Street New York NY 10022 (212) 759-6062 info@lilliannassau.com www.lilliannassau.com @lilliannassau

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Visit us in Stand B2 at

THE PHILADELPHIA SHOW

Booth

B2

4/5/23 11:55 AM

AMERICAN ART

FROM 1700 TO CONTEMPORARY

Benton Spruance, Color study for "Riders of the Apocalypse", 1943.

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

INC.

C5

WWW.OLDPRINTSHOP.COM ROBERT K. NEWMAN HARRY S. NEWMAN 49 WEST 24TH STREET, 2ND FLOOR NEW YORK, NY 10010 TEL 212.683.3950

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INFO@OLDPRINTSHOP.COM

4/5/23 11:57 AM

Booth

A8

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4/5/23 11:58 AM

Philadelphia_2023-Final:Pap

3/25/23

10:38 AM

Page 1

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

Bakhtiari carpet c. 1910 in a Philadelphia house designed by Horace Turmbauer in 1911.

Interior by Eve Wildrick Design.

Tues–Sat 10–5 1225 Main Street Dublin, New Hampshire 603.563.8717

inquiries @ peterpap.com Instagram- @peterpaprugs

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Booth

By Appointment 4570 Mission Street San Francisco, California 415.956.3300

E4

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

4/5/23 11:59 AM

Janice Paull

Specialist in Early English Ironstone China & fine Japanese Silk Embroideries, of the Meiji Period.

English Ironstone Soup Tureen and Stand ‘Hicks & Meigh’ Ironstone China Pattern: ‘Water Lily’ c.1820 Size: 13 ins High x 14 ins.

201 960 0363

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Booth

G4

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

4/5/23 12:01 PM

Francis J. Purcell, Inc. (267) 4 96-8161 251 N. 3rd St. Phila., Pa. 19106 E-mail: fjpurcell2@aol.com francisjpurcell.com

Booth

F3

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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4/5/23 12:01 PM

American Made 19th & 20th Century Signed Jewelry

Booth

A3

INC. Established 1912

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NEW YORK 480 Park Avenue 212.752.6166

NANTUCKET 2 S. Beach Street 508.825.8909

info@jrobinson.com instagram: jamesrobinsoninc

4/5/23 12:02 PM

Booth

B 10

RUTH THORNE THOMSEN, DUET, 1993, Pin-hole photograph.

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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Booth

D5

4/5/23 12:02 PM

H E N RY M c C A RT E R Rolling Pennsylvania Hills Oil on canvas, 30 × 36 inches

Booth

B1

SCHWARZ www.schwarzgallery.com

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

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4/5/23 12:03 PM

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

Booth

A1

An English Silver Salver of Virginia Provenance London, 1749 by John Swift Diameter: 9¾" Made for the Chapman Family of Summer Hill Plantation, Arlington Co., Virginia.

We buy silver and jewelry every day.

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

068_TPS23.indd 68

4/5/23 12:03 PM

Elle Shushan

Actual size

Charles Willson Peale (American, 1741–1827) circa 1780

Booth

A7

Fine Portrait Miniatures www.PortraitMiniatures.com 069_TPS23.indd 69

4/5/23 12:04 PM

Silver Art by D & R Specializing in Antique French Silver and Antique French Fine Arts

Antique French Louis XVI Style Silver Surtout and Jardinière by Emile Puiforcat, Paris, circa 1865.

Booth

F2

202-257-4448 jasmine@silverartbydandr.com www.silverartbydandr.com

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Antique French Silver Candelabras by André Aucoc, Paris, circa 1890.

4/5/23 12:04 PM

ANDREW WYETH | JAMIE WYETH | N.C. WYETH ANDREW WYETH | JAMIE WYETH | N.C. WYETH

Andrew Wyeth (1917-2009), Apple Orchard, 1963, watercolor and oil on paper, 11 1/2 x 17 1/4 inches Andrew Wyeth (1917-2009), Apple Orchard, 1963, watercolor and oil on paper, 11 1/2 x 17 1/4 inches

Booth

F1

Breck’s Mill, 2nd Floor, 101 Stone Block Row Wilmington, Delaware Breck’s Mill, 2nd Floor, 101 Stone Block19807 Row

302-652-0271 | info@somervillemanning.com Wilmington, Delaware 19807 302-652-0271 | info@somervillemanning.com

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4/5/23 12:06 PM

Spencer Marks

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

Booth

A5

Gorham

antique sterling silver after dinner coffee service in the Persian taste, Providence, RI, 1896/97, H: 13.25 inches

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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4/5/23 12:07 PM

SUSAN TELLER GALLERY AMERICAN PAINTINGS, PRINTS AND DRAWINGS, OF THE 1920S TO THE 1950S

Hugh Mesibov, Philadelphia Orchestra with Leopold Stowkowski Conducting, 1938, oil on canvas, 20 x 25 inches

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

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Booth

F5

4/5/23 12:07 PM

EDWARD MORAN (American 1829-1901)

Union Volunteers Hospital, Philadelphia,1865 Oil on canvas, 16 x 28 inches

Signed and dated E.Moran 1865 lower left

Booth

C4

| 1000 Madison Avenue, New York, NY 10075 212-879-9259 www.thomascolville.com | By Appointment

111 Old Quarry Road, Guilford, CT 06437 203-453-2449

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4/5/23 12:08 PM

RARE DIMINUTIVE DROP LEAF TABLE WITH BALL AND CLAW FEET New England, possibly Boston Mahogany Circa 1760 25½" x 28¾" (open), 10½" (closed) W x 29½" D

Booth

C3

116 W. Washington Street, Middleburg, Virginia 20117 (270) 404-1558

075_TPS23.indd 75

taylor@thistleamericana.com

thistleamericana.com

4/5/23 12:08 PM

JAYNE THOMPSON ANTIQUES

Booth

E6

A profusely carved solid rosewood armchair in the manner of Gillows. Covered in old leather.

English, circa 1835. 24” wide, 24” deep, 37.75” high overall, 19” seat height.

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

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4/5/23 12:08 PM

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

Rare Double-Wheeled Horse and Sulky Weathervane Harris and Co, Boston, Massachusetts, ca. 1875.

Full body molded copper, copper tubing, iron spokes.

Over-all in fine condition, replaced front ball finial, exceptional verdigris surface with traces of original gilt.

Provenance: Steve Miller, New York. Edmund I. Fuller, Woodstock, New York. Thomas J. Rizzo, New York.

Important Americana, Sotheby’s, 1988. Private Collection of Robert Walin, Woodbury, Connecticut.

This rare double-wheeled sulky being pulled by a running horse with a seated driver captures both form and movement.

The fine detailing of the molded copper is complimented with an exceptional surface.

Literature: Steve Miller, The Art of the Weathervane, Exton, 1984, p. 135 and in a reproduced page from the Harris and Co. catalogue, p. 19.

24½" h, 49½" w, 8½" d

Booth

G5

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4/5/23 12:09 PM

GUSTAVE LOISEAU

(French, 1865–1935) Tournant de Rivière, L’Eure,1926 Oil on canvas Signed ‘G Loiseau’ (lower right) 26 x 32 inches

Trinity House

Booth

E5

CHICAGO • THE COTSWOLDS • NEW YORK

International Art Dealers & Advisors COTSWOLDS 35 HIGH STREET, BROADWAY, COTSWOLDS, UNITED KINGDOM T: 212.813.0700

ART@TRINITYHOUSEPAINTINGS.COM • WWW.TRINITYHOUSEPAINTINGS.COM

078_TPS23.indd 78

4/5/23 12:09 PM

Earle D. VanDekar of Knightsbridge, Inc Outstanding Decorative Arts from the 17th to the 20th century.

18th-century Bow Porcelain Models of South American Parrots, Circa 1758-62 These beautiful Bow porcelain birds are naturalistically modeled, each perching on a flowering stump issuing from a rococo-scroll molded base. They are both standing on one leg and holding a peach in the other claw, one is bringing the fruit up to its beak to eat.

The pair are after parrots made at the Meissen factory and first modeled by J.J. Kändler in 1741.

Dimensions: Green Parrot 7 1/2 inches high x 5 1/2 inches wide ; Blue Parrot: 7 inches high x 5 1/2 inches wide

Booth

G8

Paul Vandekar

Earle Vandekar of Knightsbridge, Inc. PO Box 586, Downingtown, PA 19335 Tel: (212) 308-2022

Website: www.Vandekar.com

Member of the British Antique Dealers’ Association (BADA), Art & Antique Dealers League of America & Antiques Council

079_TPS23.indd 79

4/5/23 12:10 PM

FA C E S I N T H E C R O W D Th e Ph ilade lp h ia Sh ow 2023 by alexandra kirtley

The Montgomery-Garvan Curator of American Decorative Arts at the Philadelphia Museum of Art

Quite literally, faces animate a work of art. As the most revealing lens into the human psyche, faces are found on works of art of all media and while the motives and meanings may vary, the tradition of incorporating a face into a work of art—whether it be on a door handle or a painted canvas— transcends time and culture. Artists around the world have employed and continue to employ faces, and we see them as classical masks, emotive faces, and silly caricatures as well as likenesses—or portraits—of people who are intentionally anonymous and others who are well known; through time, some sitters have lost their identities. “Faces in the Crowd” celebrates the range of faces in a selection of works of American art, drawing attention to reading cues in individual portraits, identifying the range of faces incorporated in paintings, sculpture, and decorative arts, considering the artist or artisan who made the work of art, and observing the various emotions read in faces in the crowds— old and young, new and familiar—such as those who attend The Philadelphia Show each spring, and the Philadelphia Museum of Art throughout the year.

Two white painted tables (Figures 1 and 2) are punctuated by a slew of anonymous yet highly expressive masks. Their location on the rails and at the corners above the legs follows a Western tradition of incorporating masks into the design of such tables. Probably made in Ohio or the upper Midwest (Wisconsin) in the late 19th century, these tables have their anthropomorphic qualities exaggerated not only by the size of the masks but also by the multiple different faces that are depicted. Rather than being one idealized face that looks more like a medallion or coin or identifiable “type” of face, these faces are carved in deep two-dimensional relief and have distinctive features that suggest they may have been well known and easily identifiable by members of the community where the tables were made.

The cherubic face of the winged angel found on the front rail of one of the tables (Figure 1) and in triplicate on an eave ornament (Figure 3) derives from the image of seraphim in early Greek Orthodox Church icons, mosaics, and paintings; like on these works of art made in the United States, the seraphim was incorporated in individual works of art and decorative elements in architecture.

Seraphim means “burning ones” because these particular angels were tasked with flanking and protecting God, who was understood to be “a consuming fire” (Hebrews 12:29). Their wings are often depicted in multiples of six (which we see here) and are notably full, dynamic, and expressive. On the eave ornament, the wings’ feathers spray out in a flourish and the top boney elements of the wings (called the coverts) are curvy volutes. The fussiness of the feathers of the seraphim stands in contrast to the placid surfaces of the faces, which are rendered with minimal details: broad foreheads and cheeks, almond-shaped eyes, long, thin noses, and pursed lips. Curiously, the uppermost face of the eave ornament is frowning, and the lower two faces are smiling, though each of their expressions seem almost forlorn. On the watch holder (Figure 4), the stylized and flowing curls of the hair serve a similar purpose as the wings by framing a face that is comprised of simple forms and smooth surfaces. That face stares out at the viewer, and the entire head is set above a temple-shaped frame in which a watch is hung for both safekeeping and observation. The location of the face may be a riff

80

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2 0 2 3 LOA N E X H I B I T

4/5/23 12:46 PM

FIGURE 1: Table, Ohio or Wisconsin, 1880-1890 Painted wood (probably pine and butternut) 28 1/2”h x 41”w x 21 1/4”d Collection of Dr. and Mrs. Robert E. Booth, Jr.

FIGURE 3: Eave Ornament, Southeastern Pennsylvania, about 1765 Painted wood, iron 32”h x 22 1/2”w Collection of Dr. and Mrs. Robert E. Booth, Jr.

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FIGURE 2: Table, Ohio or Wisconsin, 1880-1890 Painted wood (probably pine and butternut) 28 1/2”h x 39 1/2”w x 26 1/2” d Collection of Dr. and Mrs. Robert E. Booth, Jr.

FIGURE 4: Watch holder, Probably Pennsylvania, early 19th century Stone 12”h x 9”w x 5”d Collection of Dr. and Mrs. Robert E. Booth, Jr.

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FIGURE 5: Bowl, Probably Pennsylvania, early 20th century Marble 6”h x 10”diam.

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

FIGURE 6: Milliners’ or Wig Mounts, Probably France, 1840-1880 Papier-mâché, painted decoration Center: 15 1/2”h x 6 1/2”w x 7”d Collection of Leslie Miller and Richard Worley Photo by Gavin Ashworth

on the anthropomorphic qualities of architecture (and furniture), where the pediment is commonly referred to as the head. The wing-like hair may be an iteration of the familiar wings on a timepiece, referencing Virgil’s cautionary phrase tempus fugit, the time flies. The mask-like faces of the seraphim on the tables and eave ornament as well as the watch holder are designed and executed with a seeming knowledge of the reductive qualities found in the faces of Cycladic art of the 4th to 2nd centuries BCE that had been excavated, collected, copied, and printed and was widely available to American artists and artisans of the 19th century.

A ring of faces of exaggerated sizes, some atop figures, forms the outward surfaces of a carved marble bowl (Figure 5). Each face varies and while it is possible that the faces are caricatures of specific personalities, the exact meaning or derivation of the composition is unclear. Similarly, nineteenthcentury French milliners and wig makers used life size bust-like mounts made of papier-mâché to display hats and wigs (Figure 6). The shapes of the mounts vary, possibly corresponding to the various shapes of the women whose heads they were adorning, and many were imaginatively painted with facial features that also seem to be caricatures rather than portraits in the true sense.

The faces on the stoneware vessels (Figure 7) that are picked out in cobalt are adapted to the bulbous shape of the front of the various jugs. The noses, eyes, tooth-filled mouths, chins, and ears are separately molded and added to the vessels, while facial hair is suggested by incised lines. The spouts, handles, and openings make for provocative and often amusing crowns and headdresses on what were presentation vessels known as harvest jugs..

Distinctive from the stoneware vessels with cobalt decoration are the faces on the alkaline-glazed stoneware vessels made by enslaved Africans and free Black potters in the Edgefield district of South Carolina. On these much smaller vessels, the fine-grained white clay called kaolin (here, unglazed) has been used to form and emphasize the facial features. As the main ingredient in porcelain, kaolin was sacred to many including West Africans from Congo, where its use for ritual purposes is well documented. It is significant that some of the enslaved Africans who worked at Edgefield-area potteries had been illegally brought from Congo on the eve of the Civil War when many of these

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FIGURE 7: Presentation Harvest Jug, Probably made by the Remmey Pottery, Philadelphia (fl. 1827-c. 1900), 1855-1865 Glazed stoneware with incised and applied ornament, cobalt blue decoration About 9 1/2”h Collection of Dr. and Mrs. Robert E. Booth, Jr

FIGURE 8: Face vessel, Edgefield, South Carolina, 1850s to 1880s Alkaline glazed stoneware, unglazed kaolin Collection of Joan M. Johnson

vessels were made. Adrienne Spinozzi (The Metropolitan Museum of Art), Ethan W. Lasser (Museum of Fine Arts, Boston), and Professor Jason R. Young (University of Michigan), the co-curators of the ongoing exhibition “Hear Me Now: The Black Potters of Old Edgefield, South Carolina” (currently at the MFA, Boston), have unearthed much of this provocative history.

Enslaved African and later free Black potters made these vessels and the hundreds of thousands of other alkaline-glazed stoneware vessels that were sent all over the United States, creating prosperity for the white manufactory owners.

In 1904, Philadelphia Museum of Art curator and later director Edwin AtLee Barber (1851-1916) was among the first to acquire the so-called face vessels for a museum (on view in Gallery 216, the McCausland Gallery). He speculated in 1893 on their makers and their meaning using descriptive language that today we would condemn.1 In his recent essay, Professor Young places these vessels within the context of the 1895 poem “We Wear the Mask” by the Black poet Paul Laurence Dunbar (1872-1906). Young persuasively links the range of grimaces on the face vessels to the emotions that Black people felt and continue to feel in the face of racial prejudices.2 The faces on Edgefieldmade vessels survive as some of the most provocative expressions of Black artisans who, against the challenge of unimaginable conditions, refused to be suppressed fully.

Faces that appear in portraits address an audience or viewer, and the person is depicted in a setting that can be either contrived or personal. Portraiture was a crucial medium for early American artists, and patrons commissioned them intentionally, with the desire that their power and life’s achievements would be well portrayed and preserved for generations to come. Often we can see when the artist feels most inspired or moved by their sitter. For instance, perhaps the most compassionate renderings ever painted by the Swedish émigré artist Gustavus Hesselius (1692-1755) are his mid1730s portraits of the Lenape chiefs Tishcohan (or, He Who Never Wears Paint) and Lapowinsa (or, Gathering Fruit). These portraits are generously on loan to the PMA from The Atwater Kent Museum, Historical Society of Pennsylvania Collection, and the City of Philadelphia, and they can be found in the early American art galleries (Gallery 100, the Bill and Laura Buck Gallery). Portraiture fills the suite of early American galleries, with a large concentration by Philadelphia’s Charles Willson Peale

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FIGURE 9: Portrait of Yarrow Mamout (Mamadou Yarrow, c. 1736–1823), Washington, D.C., 1819 Charles Willson Peale (American, 1741–1827) Oil on canvas 24” x 20” Philadelphia Museum of Art, Purchased with the gifts (by exchange) of R. Wistar Harvey, Mrs. T. Charlton Henry, Mr. and Mrs. J. Stogdell Stokes, Elise Robinson Paumgarten from the Sallie Crozer Hilprecht Collection, Lucie Washington Mitcheson in memory of Robert Stockton Johnson Mitcheson for the Robert Stockton Johnson Mitcheson Collection, R. Nelson Buckley, the estate of Rictavia Schiff, and the McNeil Acquisition Fund for American Art and Material Culture, 2011-87-1

(1741-1827) and members of his artistic dynasty-like family (see Gallery 104, The Lyn and George M. Ross Gallery). Like most painters, the Maryland-born and London-trained Peale developed an identifiable style of representing his sitters, who were mostly wealthy and white and, in general, wanted to convey the message of status and success to their viewers. However Peale revealed his talent in a sympathetic rendering of a sitter who did not dress like or share the experiences of anyone else he had painted: the formerly enslaved African- and Muslim-American Yarrow Mamout (Mamadou Yarrow, c. 1736-1823) of Washington, D.C. Peale, who had manumitted his three enslaved people and came to support abolition, met Mr. Mamout while visiting Washington, D.C. in 1819. He felt a connection with and admired the fortitude of Mr. Mamout. Peale painted him then and brought the completed portrait back to Philadelphia to display in his museum alongside his portraits of other notable men (Figure 8).

Peale is one of many early American artists who created the most personal of portrait types for his clients in the format of a miniature. Painted mostly in watercolor on paper-thin slivers of ivory, miniatures were small portraits intended for one’s personal delight, and they therefore often lack the pretense artists may include in larger format portraits. The presentation is usually what we today would call a “head shot.” Like a favorite photograph, miniatures could be squirreled away and reserved only for private viewing or they could be worn as jewelry (including mourning jewelry), mounted as a pin or hung on a necklace like a watch or fob. (See, for instance Gilbert Stuart, Portrait of Anne Willing Bingham, 1797, in Gallery 105, Flammer Gallery). If the identity of a sitter in a miniature has been lost, clues can be difficult to find since the intended recipient was someone who knew the

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FIGURE 10: Benjamin Clark Cutler (1756-1810), Massachusetts, c. 1794 Walter Robertson (c. 1750-1802) Watercolor on ivory, gold, enamel, hair, glass 2 1/2”h Collection of J. Collin Gleason

FIGURE 11: Mr. Wilcocks (likely Samuel Wilcocks, 1785-1824), Philadelphia, circa 1810 Benjamin Trott (1770-1843) Watercolor on ivory, gold, glass 3 7/16” h Collection of J. Collin Gleason

sitter; for instance, the cabinetmaker Benjamin Randolph (1737-1791, PMA 1990-21-1 in Gallery 103, Leslie Miller and Richard Worley Gallery) by Charles Willson Peale is shown as a nicely dressed man in a powdered wig rather than someone carrying the tools of his trade or standing in front of his iron furnace in New Jersey. Of the sitters whose identities are known, the biographies of the sitters and the artists demonstrate the range of people and experiences that make up our history. Benjamin Clark Cutler (1756-1810) of Massachusetts was a Boston merchant who was painted in about 1794 by Walter Robertson (c. 1750-1802) (Figure 9), a native of Dublin, Ireland who only painted miniatures in the US for four years. He portrayed Mr. Cutler—who was the sheriff of Norfolk County, Massachusetts, from 1798 until he died in 1810—as a man possessing a self-conscious air of accomplishment. Robertson’s style appears to reflect his friendship with Gilbert Stuart, who brought Robertson from Ireland to the United States in 1794. Benjamin Trott (1769-1843) was one of the finest America’s finest and most heralded miniaturists and like many portrait painters, he often led a peripatetic life. Traveling to fulfill commissions in the major cultural centers of the United States, Trott was considered the foremost miniaturist in Philadelphia from 1800 to 1825. Here, Trott has painted the scion of a prominent Philadelphia family, the merchant Samuel Chew Wilcocks (1785-1824) (Figure 10), In 1810, about the year of this portrait, Wilcocks was a man-about-town in Philadelphia—active in the social swirl of up-and-coming prosperous white men who were searching for a suitable wife. In 1816, he married Harriet Manigault (1793-1835), a native of Charleston who each year spent time with relatives in Philadelphia when she was escaping the heat and disease of the South Carolina summer.

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FIGURES 12: Portrait of a Boy, Baltimore, c. 1804 Joshua Johnson (c. 1763-1830) Oil on canvas, 25 7/8”h x 21”w Collection of Leslie Miller and Richard Worley

Presiding over the loan exhibit with charm and grace are three portraits by known artists of as-yet unnamed sitters whose identities are the source of continued research. The two children standing in front of the flowering rose bushes were painted by Joshua Johnson (c.1763-1830) (Figures 12 and 13), who was born in Baltimore to a white man and an enslaved African mother. His father George Johnson (sometimes Johnston) acknowledged Joshua as his son, purchased him, put him out as an apprentice to a blacksmith, and eventually manumitted him in 1782. Johnson advertised only twice during his fairly lengthy career, describing himself in a newspaper advertisement as, “a self-taught genius, deriving from nature and industry his knowledge of the Art, and having experienced many insuperable obstacles in the pursuit of his studies.” (The Baltimore Intelligencer, December 12, 1798).

He lived in three different locations around the city and supported himself with a full docket of commissions from people who, as recent scholarship has proven, were his neighbors. This Baltimore community, including progressive merchants and artisans who sought a free and equal market and supported abolition, patronized Johnson throughout his life. He painted their portraits as upwardly mobile citizens in the accessible early 19th century limner style. Stylistically, the poses of his sitters, his flattened perspective, and his use of devices places him alongside as well as in competition with the influential members of the Peale family who had established satellite studios and a museum in Baltimore by 1813.

Johnson’s distinctive hand as a portrait painter was first identified by Dr. J. Hall Pleasants (18731957), a Baltimore physician who made a second career for himself as an art historian. Others—

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FIGURE 13: Portrait of a Girl, Baltimore, c. 1804 Joshua Johnson (c. 1763-1830) Oil on canvas, 24 5/8”h x 18”w Collection of Leslie Miller and Richard Worley

including the artist Romare Bearden (1911-1988)—showed interest in Johnson’s paintings, leading to the first solo exhibition of his work in 1987. “Joshua Johnson, Freeman and Early American Portrait Painter” was organized by curators Stiles T. Colwill (Maryland Historical Society) and Carolyn K. Weekley (Colonial Williamsburg Foundation) and shown at the MHS in Baltimore, the Abby Aldrich Rockefeller Museum in Williamsburg, and the Whitney Museum of American Art in New York City and Stamford, Connecticut. In 2021, curator Dennis Fulco mounted “Joshua Johnson: Portraitist of Early American Baltimore” at the Washington County Museum of Fine Arts in Hagerstown, Maryland. (Both exhibitions had accompanying catalogues.)

This pair of portraits of a young boy and girl surfaced only in 2019 from descendants of the sitters (whose exact identities are not confirmed), and they incorporate a readily identifiable set of devices found in other Johnson portraits of children. Children appear in nearly half of Johnson’s work either with their parents or on their own, like this pair are, and they are often set in a garden, holding an object (here a bow and arrow for the boy and some sort of crop for the girl), and gesturing towards a moth. The boy wears a blue suit known as a skeleton suit because it was form fitting and showed off a young lad’s physique. The girl wears a double strand of coral, which was commonly associated with dispelling illness in children; such jewelry is often found in early portraits and repeatedly in Johnson’s. The moth, a symbol of the fleeting nature of childhood, is most likely a Brimstone moth (Opisthograptis luteolata), identifiable by the spots on its vibrantly yellow wings. Brimstone moths appear in gardens nocturnally from April through October, feast on flowers found on shrubs in the

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FIGURE 14: Portrait of a Woman with Pink Ribbons (possibly Melinda Ann Arnold Johnson, 1808-1842), New York State, 1833 Ammi Phillips (1788-1865) Oil on canvas 31 ¾”h x 27”w Collection of Leslie Miller and Richard Worley

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rose family (Rosacea including hawthorns and blackthorns) and, like all moths, are drawn towards light—all of which fits in with Johnson’s use of a strong light directed on the young subjects who appear in a garden in front of a flowering bush.

While one can clearly identify the artist’s personal style, Johnson painted the faces of these two children with remarkable deftness. He rendered them as individuals who do not share facial characteristics with others of his sitters, and it is clear they are siblings, if not twins. Their blue eyes are evenly set in their lid sockets and framed by gently arched brows. The relatively long noses tip up at the end to form a distinctive philtrum above the upper lip, and their puffy cheeks and indistinct chin speak to their age.

This most revered portrait by the much heralded artist Ammi Phillips (1788-1865) packs a powerful visual punch not just because of the masterful way he has handled color, but also because of the way he has brought the sitter forward within the composition so that the viewer can absorb and digest the face of the seated woman (Figure 14). Recent research has aligned this painting with identified portraits of a husband and wife from 1833, suggesting that this is quite possibly their daughter Melinda Ann (Arnold) Johnson (1808-1842). That date comports with dress of the sitter: the hairstyle of four bold curls emerging from a lace-lined bonnet, the wide pink ribbons that cinch the bonnet and frame her face as they lay across her front and back, and the low-shouldered dress with the exaggeratedly puffy sleeves of the upper arms and fitted form of the lower arms. Her heart-shaped face—distinguished by gently curved cheeks between a wide forehead and narrowing jawline—is complemented by her deep-set eyes below thick brows, the shock of rouge on her cheeks, and the light that picks out the long philtrum above her neatly pursed lips colored to match her cheeks.

Phillips’ prowess as a colorist shines through in his depiction of her dress, which is made of a material that changes with the light (probably an expensive brushed cotton or shot silk), revealing tones of pink emerging from the layers of green. Former curator and deputy director of the American Folk Art Museum, Stacy C. Hollander, curated a groundbreaking exhibition in 2008 that brilliantly introduced and explored this concept by comparing Phillips’ presentation of color in his compositions to the work of the modernist artist Mark Rothko (1903-1970): “The Seduction of Light: Ammi Phillips and Mark Rothko, Compositions in Pink, Green, and Red.” Phillips’ strong light on the sitter is emphasized by drawing out the pink tones on the arms and body of the dress, creating a swirl of color in the foreground that stands out from his blocks of dark green and pink and reflects the shapes and colors on her face. In a provocative twist, she wears a thin gold chain that is doubled around her neck and clearly carries something that is tucked into her waistband with no indications of what it is. If it is a portrait miniature like that worn by Anne Bingham, the viewer is left with only their imagination as to that person’s identity.

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The large, bright, and energetic depiction of Spring Sale at Bendel’s (1921) by New York artist Florine Stettheimer (1871-1944) is chock full of individualized depictions of those taking part in the spring ritual—nearly a sport—of bargain shopping at one of 20th century-New York City’s most iconic events (Figure 15). Each figure is painted as a caricature of a type of fashionable shopper who was most-likely well known to Stettheimer, though not of her socio-economic class. Stettheimer and her sisters Carrie and Ettie were members of an elite Jewish community in New York and were well known for entertaining wonderfully motley combinations of intellectuals, artists, and socialites in their Manhattan apartment. Curtains are drawn on either side that conform to the building’s staircase but frame the scene and give the viewer the sense that they are getting a sneak-peak into this exciting (but chaotic) event. Each of the figures’ faces, stance, and vitality contributes to the energy of the crowd but Stettheimer has also rendered at least one portrait. The founder and owner of the store, the Louisiana born Henri Willis Bendel (1868-1936), is depicted in the foreground at left. For this daytime affair, Bendel dons a debonair tuxedo as he stands sentry, surveying the scene and appearing almost as if he were a circus ringmaster.3 Bendel was a well-known figure in New York City. He had elite taste and was an afficionado of women’s fashion as well as being a designer of millinery and a full range of women’s garments. Bendel was married to Blanche Lehman Bendel (1862-1895), and after her death spent the remaining thirty years living quite publicly with a man named Abraham Beekman Bastedo (1877-1953). When Bendel died, he bequeathed his entire substantial estate to Bastedo, who was described as a faithful employee and aide and eventually became the president of Bendel’s. The two share a grave that is prominently marked with their names and an elaborate sculpture of an angel in Westchester County, New York. Other than Bendel, figures and faces in this crowd are sketches of characters, including the man in the lower right foreground who is a stereotypical representation of what was known then as an “urban fairy.” Stettheimer signed the painting with her initials on a monogrammed sweater worn by the Pekingese dog in the foreground.

The loan exhibit highlights a range of depictions of faces and portraits. We encourage you to savor and enjoy the faces of the many people visiting The Philadelphia Show, find faces in the works of art at The Show and to explore the faces on works of art in the rambling galleries inside the museum now and throughout year.

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FIGURE 15: Spring Sale at Bendel’s, New York, 1921 Florine Stettheimer (1871-1944) 50”h x 40”w Philadelphia Museum of Art, Gift of Miss Ettie Stettheimer, 1951-27-1

NOTES 1 See Jason R. Young, “‘But Oh the Clay is Vile:’ Edgefield Pottery in Life and Death,” in Adrienne Spinozzi, editor, Hear Me Now: The Black Potters of Old Edgefield, South Carolina (New Haven: Yale University Press in partnership with The Metropolitan Museum of Art, 2022): 71.

2 See J.R. Young in Spinozzi, 2022, p. 74-75 3 This was an observation by Lily Scott, the Barra Fellow in American Art at the Philadelphia Museum of Art. The author thanks Lily for this specifically and generally for assisting her in analyzing the people in this painting.

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THE PROOF IS IN THE PORTRAIT: A C l o s e Lo ok a t a Por tra it of a F re e B la c k Woman f rom An te b e llum Ph ilade lp h ia b y l u c i a o l u b u n m i r. m o m o h

C o n st a n c e E . C l a y t o n C u ra t o r i a l Fe l l o w a t t h e P h i l a d e l p h i a M u s e u m o f Ar t

Should you explore the Early American galleries at the Philadelphia Museum of Art, you will eventually come across a portrait of a free Black woman painted in Philadelphia before the Civil War. The only known surviving signed work by the Philadelphia-based painter Franklin R. Street (c.

1816–1882), Portrait of Elizabeth Brown Montier (c. 1822–1852) (Figure 1) was likely created in the artist’s studio on Chestnut Street. Dated to December 1840, months before the young sitter would wed local shoemaker Hiram Montier (c. 1818–1905), the painting resembles a traditional wedding portrait, a portrait painted immediately before one’s wedding. In the 1990s, one of Elizabeth’s descendants discovered her portrait along with the slightly larger one of Hiram (Fig. 2) underneath the bed of a family member. While a significant discovery, both were in very poor condition, and the family had the paintings conserved in 2006. Deciding their family’s history needed to be shared, descendant William Pickens lent the pair to the PMA, where they are now displayed together in gallery 108.

Elizabeth’s portrait reveals both the social standing and ambitions of a young bride-to-be. Dressed in the latest fashion, she sits upright while resting her arm on the scroll end of a carved wooden seat that is placed before rich emerald and scarlet draperies. The draperies cast their shadows upon a neoclassical column separating the serene space in which our sitter resides from a lush and volatile landscape covered in dark storm clouds. She wears what was possibly her wedding dress, a billowy ivory gown featuring a wide, lace-trimmed neckline and long, puffy sleeves accented with layered ruffles and cinched wrists. Adorned with gold rings and a necklace featuring a cross charm topped with a heart charm, she holds in her right hand a little book, and in her left she grasps a silk, rosecolored sash that drapes around both her shoulders, bringing out a slight flush in her cheeks. Framed by full arched brows, her large brown eyes engage us. Her gaze, a potential window into her soul, leads me to wonder, “Just who was Elizabeth Brown Montier?”

As many a Black scholar has lamented, it remains difficult to locate documents detailing the intimate thoughts, hopes, and dreams of Black women during the era of slavery. Because, in many states and territories, it became illegal to teach Black people to read and write, scant writings by free, freed, or enslaved Black women from the era of slavery exist today. What little survives—such as the poetry of Phillis Wheatly (see, Fig. 3) or the narrative of Harriet Jacobs—offers us a glance into the psyche of a few women, though far from comprehensive. Furthermore, official records documenting history are both patriarchal and racially prejudicial in nature and thus rarely recorded the words of Black women. For example, in many states Black people (both free or enslaved) were not permitted to testify in courts of law, and in early census records recorders listed data for entire families under the name of their patriarch.

What little we know about Elizabeth Brown Montier comes from a single line in an 1850 census record and a possible burial record from the now-defunct Lebanon Cemetery date to 1852.1 The census notes that Elizabeth—a mother of two boys at the time: Adrian (b. 1842) and Joseph (b.

1848)—was born around 1822 in Maryland, making her about 18 in December 1840 when she sat

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FIGURE 1. Portrait of Elizabeth Brown Montier (c. 1822–1852), 1840 Franklin R. Street (American, c. 1815–1882) 32 x 26 inches On loan from the Collection of Mr. and Mrs. William Pickens, III, 192-2022-2

FIGURE 2. Portrait of Hiram Montier (c. 1818–1905), c. 1841 Attributed to Franklin R. Street (American, c. 1815–1882) 35 x 28 inches On loan from the Collection of Mr. and Mrs. William Pickens, III, 192-2022-1

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FIGURE 3. Phillis Wheatley (1758–1784), ca. 1773 Unknown artist, 5 x 3 ⅞ inches.

Image provided courtesy of Artstor. The Metropolitan Museum of Art, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, 1949, 49.40.24

for Street, and just 30 years young when she passed in 1852.2 With no birth certificate, baptismal, or manumission records yet to be located, her life before she met and married Hiram Montier remains a mystery.3 However, as art historian and curator Gwendolyn DuBois Shaw noted in the catalogue for Portraits of a People: Picturing African Americans in the Nineteenth Century, images of the self provide precious information about the status and aspirations of their sitters, their place within the dominant hierarchy, and their anticipated or imagined potential for movement beyond it.4 Portraits, according to Shaw, operate as purveyors of knowledge about African American history.

Thus, information can be gleaned from Elizabeth’s portrait that is not readily available to us via spotty archival sources. A deeper reading of the painting thus enriches our understanding of a woman about whom little is ultimately known.

In the portrait of Elizabeth, painter Franklin R. Street employed a mixture of real and imagined elements to capture the character of his young sitter and commemorate an important life event.

While there is no way of knowing which items Elizabeth owned and which Street imagined for her, I would like to cautiously speculate that what Elizabeth touches, she possessed. This would include her jewelry, sash, book, and her dress. What she did not own was borrowed or imagined with a purpose.

For example, the seat in which Elizabeth rests may have been a prop from the painter’s studio; the four-petaled floral motif on the end of the carved scroll arm could signify the young bride’s purity and fertility—a woman’s pride and promise, so to speak, at this time—as well as her impending union.

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FIGURE 4. Sacred Heart of Jesus, 19th century Nathaniel Currier (American, 1813-1888) Ackland Art Museum, University of North Carolina at Chapel Hill. Image provided courtesy of Artstor.

FIGURE 5. Inlay, ankh, was scepters, 100 BC–100 AD Unknown artist (Egypt, c. 1st Century AD) 1 ½ x 1 ¼ inches Metropolitan Museum of Art, gift of Helen Miller Gould, 1910, 10.130.2704

Meanwhile, Franklin Street likely fabricated the dramatic drapery and classical columns behind Elizabeth as references to antiquity, a visual culture tradition that dates to aristocratic portraiture in England that Americans adopted to establish their high-class aspirations.

Street invented the turbulent weather in the distance. Featuring sunlight cutting through dark storm clouds, it could signify the hope for brighter days ahead. It is worth noting that the 1830s, part of the Jacksonian Era, saw a nation-wide increase in violence enacted against Black residents. In Philadelphia, angry mobs attacked free Black people in the streets and set fire to Black churches and residences. As Emma Jones Lapsansky demonstrated, these incidences especially targeted affluent members of the Black community, such as the Montiers.5 In spite of their free status and their location in a free city, the actions of many white residents reminded them of the precarious nature of all they possessed. Meanwhile, the limited number of surviving portraits of Black sitters speaks to the impact of this violence. It is possible that Elizabeth and her family hoped her wedding would mark a new period of peace and prosperity for the young free Black couple—a bright light signaling the end of a volatile storm. Challenging the racist notions of many, the portrait’s setting positions Elizabeth as a woman with means, character, and potential, while her possessions potentially reveal her sentiments, tastes, and accomplishments.

Street took time to render Elizabeth’s jewelry with enough detail that the items stand out as unique, signifying that her rings and necklace were likely personal pieces brought to the studio. The top ring featured on her right hand appears to be floral in form. The repeated presence of flower patterns in the young bride’s portrait further emphasized her feminine qualities and virtues. Additionally, her

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FIGURE 6. Queen Victoria’s wedding dress, 1840 Mary Bettans (British, 19th century), The Royal Collection Trust, RCIN 71975

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FIGURE 7. Wedding Dress, 1841 Maker unknown [worn by Mrs. Isaac Paschall Morris (Rebecca Thompson), American (Philadelphia), 1811 - 1881] 48 1/16 x 18 ½ inches.

Philadelphia Museum of Art, bequest of Lydia Thompson Morris, 1932-45-60.

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necklace appears to be composed of two overlapping charms, a heart and a cross. The position of the heart overlapping the upper section of the cross is almost an inverted reference to the Catholic Sacred Heart (see, Fig. 4); however, with the heart’s position in relation to the plain cross also recalls the Egyptian Ankh symbol (see, Fig. 5). Often referred to as the Key of Life or Key of the Nile, the Ankh is an ancient form—from which it is said the cruciform derived—that signifies eternal life. In Elizabeth’s necklace the top of the key (normally a reverse teardrop) has been replaced with a heart tilted slightly off-center. Could it be that the positioning of Elizabeth’s necklace fuses African and Christian symbols to convey eternal love and devotion for her groom? This possibility becomes all the more attractive when considering that Elizabeth was to marry a young man presumed to be of Haitian descent via his patriarchal line. Vodou, the prominent religion in Haiti, is a fusion of different African religions whose followers utilized Catholic iconography to conceal spiritual emblems.6 Of course, it is also possible that Elizabeth simply found the heart-shaped emblem endearing; however, because so much of this portrait adheres to European-American standards of beauty and respectability, I am tempted to search for African-rooted influences. Regardless, the necklace Elizabeth wears represents a unique and charming addition to her portrait that speaks to the young lady’s faith.

Likewise, her dress, an elegant ivory ensemble, tells us that Elizabeth kept up with the latest fashion trends coming out of Europe, as the design mimics the dress worn by Queen Victoria (Fig. 6) at her wedding to Prince Albert earlier that year.7 Prior to Queen Victoria’s wedding, most women simply wore their best dress of any color at their wedding. However, the young monarch’s wedding dress—a voluminous ivory-colored gown with a corseted bodice featuring an off-the-shoulder neckline trimmed with lace—ignited the tradition of brides wearing white (or, in this case, more of an ivory) on one’s wedding day. Not necessarily associated with purity, (off)white fabric, because it has always been difficult to keep clean, instead established the affluence of the wearer. A similar dress (see, Fig. 7) in the museum’s collection worn as a wedding dress in Philadelphia in 1841 speaks to the popularity of this style in the region. Additionally, in their time, Queen Victoria and Prince Albert represented the public’s ideal of domestic bliss; thus, in emulating their actions and tastes people also demonstrated a want for loving unions.

Finally, the book held within Elizabeth’s right hand tells us that in addition to being affluent, sweet, and fashionable, she was also literate. In many states it was illegal for enslaved people to learn to read and write, as enslavers understood how dangerous access to information could be. Thus, education remained especially important for free Black individuals as a marker of liberty. Demonstrating one’s wealth of knowledge clearly informed Hiram’s portrait, in which the young bootmaker chose to be depicted with the Holy Bible and a book titled History of the World, along with two unlabeled books, possibly a business ledger and personal journal—each item indicating aspects of a well-rounded education. Other portraits demonstrate that Black people emphasized literacy when able, as seen in William Matthew Prior’s (1806–1873) Portrait of Mrs. Nancy Lawson (1810–1854) (Fig. 8). Seated before a window covered in scarlet drapery, Nancy Lawson wears a conservative dark green dress with

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FIGURE 8. Nancy Lawson (1810-1854), 1843 William Matthew Prior (American, 1806–1873) 30 x 25 inches Shelburne Museum, Shelburne, Vermont

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a white embroidered collar and bonnet. She holds in her right hand a small leather-bound volume, potentially a prayer book, into which she’s placed her thumb, as if holding her spot so that she can return to her studies after engaging us for a brief moment. Both living in free states, Nancy Lawson and Elizabeth Brown utilized their portraits to further emphasize the significance of education—as precious as the portraits that depict them.

Knowing the challenges Elizabeth Brown faced as a young Black woman in Philadelphia, the fact that she was able to commission her portrait and that it survives is remarkable. While a number of questions remain unanswered, this portrait of the soon-to-be Mrs. Montier reveals a great deal about the youthful ambitions of a free Black woman, who was living—and seemingly thriving—in Philadelphia during the antebellum era.

NOTES 1 A record from the city’s archives dated to 1852 notes the death and burial of an “Elizabeth A. Montier” at Lebanon Cemetery.

Lebanon was established in 1849 in South Philadelphia and was one of the first African American burial grounds. It closed in 1908 and all those interned there were purportedly moved to Eden Cemetery in Collingdale, PA. However, neither the online burial records for Lebanon and Eden note the burial of an Elizabeth Montier. Moreover, the author has yet to locate a record that notes Elizabeth’s middle name to confirm that this Elizabeth A. Montier is the same Elizabeth Brown Montier who married Hiram Montier in 1841. “Elizabeth A. Montier,” in the Philadelphia, Pennsylvania, U.S., Death Certificates Index, 1803–1915. Access via Ancestry.com on August 11, 2022.

2 “Elizabeth A. Montier,” in the Philadelphia, Pennsylvania, U.S., Death Certificates Index, 1803–1915.

3 Manumission was the process by which enslaved people purchased or were granted their freedom. Had Elizabeth been born into slavery, this record would tell us how she was freed and from whom. It is possible that, like her husband, Elizabeth had been born free. In which case, she would have carried freedom papers to prevent capture or imprisonment. Other records, such as a baptismal record, would likely provide us with the names of her mother and father as well as her godparents, giving us a sense of who made up her community.

4 Gwendolyn DuBois Shaw and Emily K. Shubert, Portraits of a People: Picturing African Americans in the Nineteenth Century (Andover, Mass.: Seattle: University of Washington Press, 2006), 27.

5 For more information on the rise of race-based violence in Philadelphia in the 1830s, see Emma Jones Lapsansky, “‘Since They Got Those Separate Churches’: Afro-Americans and Racism in Jacksonian Philadelphia,” American Quarterly 32, no. 1 (1980), 54–78.

6 It should be noted that this this syncretic practice is more prevalent with Santería, or Lukumí, in Cuba and Candomblé in Brazil than in Haitian Vodou, which has a more prominent African influence. For more information on these differences and on Haitian Vodou, see Patrick Bellegarde-Smith, “Broken Mirrors: Mythos, Memories, and National History,” in Haitian Vodou: Spirit, Myth, and Reality (Bloomington : Indiana University Press, 2006), 7. For more information on the evolution of the tradition of the wedding dress across time and place, see Summer Brennan, “A Natural History of the Wedding Dress,” JStor Daily published September 27, 2017 https://daily.jstor.org/a-natural-history-of-thewedding-dress/

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ANTIQUE PRINT RE-MIX M ar ia Dum lao & Suc h itra Mat tai b y h e at h e r m o q ta d e r i

Fo u n d e r & Ar t i st i c D i re c t o r, Pa st P re s e n t P ro j e c t s

Past Present Projects brings together contemporary art with historic spaces and artifacts.

We are a non-profit based in Philadelphia, where we organize site-responsive exhibitions and publish a bi-annual journal, Past Present. The artists Maria Dumlao and Suchitra Mattai are interviewed in Past Present Issue no. 2.

Before the invention of photography, printed books and journals disseminated global culture and natural history to western audiences. From fashion to fauna, antique print “plates” are embedded with political charge. Even the most seemingly innocuous images are often implicated in the history of western colonialism. While an early 19th century aquatint of a pineapple, for example, wasn’t printed explicitly to promote western imperialism, it connects to a broader history of displacing native people from their land. This article explores the work of two contemporary artists who adapt and interrogate antique British and French prints to unravel colonial histories.

Suchitra Mattai is a contemporary artist who seeks to “expand our sense of history” through her interdisciplinary artistic practice. She incorporates found objects that connect to her multi-layered Indo-Caribbean identity, such as vintage saris and ghungroo bells, along with materials that reflect the broader framework of western colonialism, like European prints. The Past is Present is a smallscale artwork that began as an antique fashion plate by the Ukrainian-French illustrator Adele-Anaïs Toudouze for the French magazine La Mode Illustrée. The original print expresses the 19th century European taste for goods sourced from colonial territories, such as the textile draped across an armchair, a long-necked bottle resting on the pier table, and a houseplant native to tropical climates.

It is an image intended to convey fashionable taste, centered on two French women conversing in a parlor. This is a spellbinding image of not only fashion but domestic comfort. (Peeking from the seated woman’s skirt, notice a dainty coral slipper resting on a cushion!)

The fashion plate suggests a picture-perfect world, and yet we know that French and English taste for non-western design was linked to the subjugation of people on the Indian subcontinent and the Caribbean. Mattai’s own ancestors were among those in 19th-century British-ruled India who essentially had no choice but to cross the sea and live as indentured laborers in Guyana. The system of indentured servitude on sugar plantations fueled the French and British economies, as well as western taste for sweets and non-western design. Mattai contends with this disjuncture – between the elegant tableau in La Mode Illustrée and its underlying colonial context – through manipulating the print. She quite literally disrupts the illusion of serenity by cutting and stitching into the image. She “shatters” the pier glass and window with her scissors. Laser beam-like colored threads seem to project from the standing woman’s eyes, piercing through her companion and the walls of the room, as well as the illusion of the picture-perfect scene.

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The Past is Present, 2017 thread and cut 19th century print Suchitra Mattai Bittersweet, 2020 gouache and page from The Grammar of Ornament Suchitra Mattai

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Local Extinction, 2022 Archival Inkjet Print Maria Dumlao

American bison with bristly locust, 1729-1747 Plate XX from The Natural History of Carolina, Florida, and the Bahama Islands Mark Catesby (British, 1679-1749)

In another series, Mattai creates mixed media collages using plates from a 19th century design book.

British designer and educator Owen Jones published Grammar of Ornament in 1856 as a compendium of patterns and design motifs from around the world. Mattai uses pages from a 20th century edition as the foundation for new artworks that tell her story. The chapters of Grammar of Ornament are divided by cultures, and Mattai selected Plate XLIX from the chapter on Indian design for Bittersweet.

Owen Jones felt that Indian design was superior to British design, and looked to patterns on Indian goods for inspiration. Jones remarked that the designs from this plate were mostly derived from silver huqqa bases. He viewed many of these huqqa designs at the Great Exhibition of 1851 and wrote that they were “all remarkable for elegance of outline, and for such a judicious treatment of the surface decoration that every ornament tended to farther develope [sic] the general form.”

In Grammar of Ornament, Jones compartmentalizes cultures throughout the world into tidy little boxes. The text throughout the book contextualizes – patronizingly – global design as the result of successive cultural take-overs. In the Indian chapter, he writes: “The Tunisian still retaining the art of the Moors, who created the Alhambra; the Turk exhibiting the same art, but modified by the character of the mixed population over which they rule; the Indian uniting the severe forms of Arabian art with the graces of Persian refinement.” In Bittersweet, Mattai challenges this compartmentalization by hand painting a female character over the huqqa patterns that attempt to pin down Indian identity. Her long braid extends to the bottom of the page, where it becomes a snake, connecting to Hindu mythology of the naga. She describes this female character as “tender and

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Naturalized, 2022 Archival Inkjet Print Maria Dumlao

Smooth Leaved Green Antigua Pine, Plate XLIV from Pomona Britannica:, or a Collection of the Most Esteemed Fruits at Present Cultivated in Great Britain; Selected Principally from the Royal Gardens at Hampton Court, and the Remainder from the Most Celebrated Gardens Round London; Accurately Drawn and Coloured from Nature, printed 1812 George Brookshaw (English, 1751-1823),

vulnerable but also strong.” Despite the fact that she is turned away from us, we feel her as a person – an individual who doesn’t conform to a cultural stereotype. Mattai describes her own relationship with Indian culture as complicated. The loss of language among Indian communities who came to Guyana as indentured servants has forever fractured Indo-Caribbean relationships with Indian culture.

Cultural fracturing and displacement are key themes in addressing the global history of colonialism, and Mattai’s approach directly interrogates period imagery. Maria Dumlao is an interdisciplinary artist who likewise addresses colonial histories through archival print sources. Rather than manipulating original prints, Dumlao blends digitized archival images within layered composite prints. For example, in Local Extinction, Dumlao appropriates an early 18th century engraving of a bison that once inhabited the eastern United States. The original illustration was rendered by Mark Catesby, a British naturalist who traveled to the eastern United States in the early 18th century. As settlers from Europe pushed west, the bison became increasingly endangered, and extinct in the eastern United States.

Dumlao titled the print Local Extinction, referring to how the bison once inhabited the eastern United States but is now extinct in this terrain. Dumlao places Catesby’s bison in a scene she photographed in Philadelphia’s wooded northwest. The bison stands above its reflection, and we might read this as a “ghost bison” of the east and its living counterpart in the west.

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Naturalized considers the role of the pineapple as an icon of western colonization by merging two unexpected image sources. The antique source is an early 19th century book titled Pomona Britannica, which illustrates varieties of fruit grown in the greenhouses of British royal palaces and country houses. Since pineapples require a warm, humid climate for cultivation, wealthy British and European aristocrats of the period built special hothouses at enormous expense. The fruits of these labors – pineapples – were prominently displayed on banquet tables. The pineapple was a symbol of expanded colonial empires in tropical climates, and the wealth generated through imperialism that funded topical microclimates (aka extravagant hothouses). In Pomona Britannica, George Brookshaw presents a royal hothouse pineapple in an anthropomorphic “portrait” that resembles a head with a spiky plume of hair. The blurred line between human and tropical “crop” is indicative of the imperialist attitude toward individuals in territories under colonial rule. This brings us to the next chapter in the global history of the pineapple, in Hawai’i.

In her statement for Naturalized, Maria Dumlao notes that the pineapple is not a native fruit to Hawai’i. It is thought that the South American pineapple may have been first introduced in Hawai’i in the 18th century, but it wasn't until the late 19th century that pineapples became a commercial crop. The development of pineapple farming in Hawai’i is directly tied to the overthrow of the native Hawaiian Kingdom to suit western business interests. The Dole family had settled in Hawai’i as missionaries, and became key figures in the settler movements to westernize the island kingdom. Sanford B. Dole, who was born in Hawai’i in the 1840s, contributed to the 1887 “Bayonet Constitution'' that transferred power from Hawai’i’s royal government to American, European, and native elites. In 1893, the same group of overthrowers led a coup against the Hawaiian Kingdom’s Queen Lili’uokalani, and Sanford Dole became the territory’s president. He invited his cousin, James Dole, to join him in 1899, which set the Dole pineapple commercial farming in motion.

The coup against the Hawaiian Kingdom was linked to western business interests, but also to American imperialism in the Philippines. Hawaii was viewed as a strategic base for naval operations in the South Pacific in the Spanish-American War, which led to the United States taking colonial control over the Philippines from the Spanish in 1898. Maria Dumlao immigrated to the United States from the Philippines, and much of her artistic production unpacks the legacy of this history.

Grounding her work in a symbol like the pineapple, she presents layered narratives that illuminate and complicate these histories. Another “naturalized” product is layered within the pineapple image.

Cans of Spam – yes, the canned salted meat – are embedded in the fruit of the pineapple below its tall crown of leaves. As a shelf-stable protein, Spam was a staple food of American GI soldiers stationed in the South Pacific during World War II, and then became assimilated in Hawai’i as well as the Philippines as a result of the American colonial presence. The terms “naturalization” and “assimilation” typically refer to people. By linking these terms to agricultural products, Dumlao illuminates the connections between industry and overthrow.

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Naturalized print viewed through colored lenses Maria Dumlao

Naturalized and Local Extinction are printed in a palette of red, green, and blue. When the prints are exhibited, visitors view them through colored lenses. Using the theory of color cancellation, parts of the imagery disappear or become more prominent according to what color is canceled. The lenses become a tool that visualize new ways of representing colonial narratives. This parallels ways in which histories become “canceled,” and it takes extraordinary effort and vision to make them visible.

Both Maria Dumlao and Suchitra Mattai embody a model of careful research, personal experience, and radical vision in re-presenting colonial histories through archival imagery.

To learn more about Past Present Projects and read the full interviews with Maria Dumlao and Suchitra Mattai, visit PastPresentProjects.org.

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2023 ADA/HISTORIC DEERFIELD ANTIQUES SHOW

JUNE 17TH & 18TH

SATURDAY 11-6, SUNDAY 11-5 DEERFIELD ACADEMY, DEERFIELD, MA

A Bird in Hand Antiques American Spirit Antiques David Brooker Fine Art* Carlson & Stevenson Antiques* Brian Cullity Antiques DeWolfe & Wood Colette Donovan Earle D. Vandekar of Knightsbridge, Inc. Ericsson Street Antiques* Christopher and Bernadette Evans Antiques Garvey Rita Art & Antiques Dianne Halpern Antiques* The Hanebergs Antiques* Samuel Herrup Antiques David & Donna Kmetz Donald P. Kruggel Bernard & S. Dean Levy, Inc. Nathan Liverant and Son, LLC

Neverbird Antiques* Nevermore Antiques* Hilary & Paulette Nolan Dan and Karen Olson Antiques Janice Paull Antiques & Design* Pewter & Wood Antiques* Resser-Thorner Americana John Keith Russell Antiques Elle Shushan* Silver Art by D & R Elliott & Grace Snyder Antiques Spencer Marks, Ltd. Douglas Stock Gallery Jeffrey Tillou Antiques Village Braider Antiques Inc. Marc Witus Antiques* R. M. Worth Antiques* Ziebarth’s Antiques* *Denotes our invited guest dealers ** Dealers list as of 3/13/23

Take advantage of these invaluable educational opportunities before the show opens: ON SATURDAY, JUNE 17 Join Historic Deerfield President Emeritus Philip Zea for a hands-on look at highlights from HD’s nationally renowned collection of early American powder horns.

ON SUNDAY, JUNE 18

Join Historic Deerfield curators for an up-close study of the museum’s finest pieces of English ceramics.

On both days, tour the 1795 Barnard Tavern, which reopens to the public in April after an extensive and meticulous restoration.

For more information, and to register (space is very limited!), visit www.historic-deerfield.org/events/antiques

FOR MORE DETAILS

ADADEALERS.COM Antiques DeAlers’ AssociAtion of AmericA, inc, Po Box 218, northwooD, nh 03261 • 603-942-6498

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Entertain with stately charm.

Embassy Row by Wood-Mode.

For your nearest Wood-Mode dealer, call

Wall & Walsh, Inc. 8320 West Chester Pike • Upper Darby, PA 19082 610-789-8530 • www.wood-mode.com

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Xinia Guan Best of Show, 2022 Savannah, GA Jewelry

November 3-5, 2023 Preview Party November 2 Pennsylvania Convention Center An annual show and sale of contemporary craft and design.

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215.684.7930 | pmacraftshow.org @pmacraftshow

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18537 DAS Trade STD PhilaAntShow.qxp_Layout 1 3/13/23 2:28 PM Page 1

SAVE THE DATE

NOVEMBER 10–12, 2023 800.448.3883

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I

winterthur.org/DAS

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Alabama

Maryland

B. Hannah Daniel Antiques

Firehouse Antiques Lisa McAllister

Connecticut

Find Weatherly LLC Roberto Freitas The Hanebergs Antiques Hanes and Ruskin Allan Katz Bettina Krainin Derik Pulito

Indiana

John Sinning Antiques and Folk Art

New Hampshire

Thomas Clark Country Cupboard Antiques Frandino Antique Oriental Rugs Michael Hingston Antiques

Delaware

New Jersey

Richard Worth Antiques

A Bird in Hand H&L Antiques

Georgia

Larry Thompson*

New York

Kansas

American Spirit Antiques

Maine

Aarne Anton/Nexus Singularity Ericson St. Antiques* J & G Antiques Kruggel Antiques James Wm. Lowery Fine Antiques and Arts Daniel and Karen Olson John Keith Russell Willow Springs Perennial Antiques

2023 2023 220233 202202

B.D.K. Antiques and Design Peter H. Eaton Antiques Heller Washam Antiques James L Kochan Dennis Raleigh & Pumpkin Patch Antiques Pioneer Folk Antiques LLC

Massachusetts

Antiques Associates of West Townsend Brian Cullity Colette Donovan Samuel Herrup Antiques Donna Kmetz Leatherwood Antiques Hilary and Paulette Nolan Christopher Settle Elliott and Grace Snyder Victor Weinblatt*

Ohio

Hannah Humes Jane Langol Latcham House

2023

August 9th -10th 10 am - 6 pm both days

Sullivan Arena, on the beautiful campus of St. Anselm College, Manchester, New Hampshire

Robert Conrad Antiques Joseph Lodge

South Carolina

James Island Antiques

Tennessee

Michael Hall Antiques*

Vermont

Norman Gronning Antiques.

Virginia

Neverbird Antiques Stonecrop Antiques* Thistlethwaite Americana *New dealers this year Dealer list in formation

“This is one of the best shows I got to—not only because of the quality of the merchandise, but because of the way I feel when I am here!”

Presented by:

www.disaiamanagement.com 860-908-0076 disaiamgt@gmail.com

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Pennsylvania

2023

Collect more details at:

AntiquesinMAnchester.coM Sponsored by:

Admission: $15.00 On-Site Shipper Mastercard & Visa

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antiques | art | exquisite objects

Save the Dates 2023

gala preview party : Friday, July 28 show : Saturday, July 29 – Sunday, July 30

TheNewportShow.com to benefit the newport historical society and the boys & girls clubs of newport county

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PARK AVENUE ARMORY / NYC

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American Paintings, Prints, Furniture, Silver & Decorative Arts AUCTION

May 3, 2023 EXHIBITION

April 29 – May 1, Noon – 5pm 175 East 87th Street New York City CATALOGUE

View and Place Bids at DOYLE.COM

Jeremiah P. Hardy, Portrait of Ship Captain David Wheeler Stilson, Circa 1845. $4,000-6,000.

Pair of Classical Mahogany Card Tables, Philadelphia, School of Haines and Connelly, Circa 1820. $12,000-18,000.

Tiffany & Co. Sterling Silver Presentation Bowl, Early 20th century. $6,000-8,000. Chinese Export Herring Dish. $800-1,200. Carved Blue Jay, circa 1920. $400-600.

Transfer Decorated Creamware Jug, Herculaneum Pottery, Liverpool, England, Circa 1805. $600-900. Heriz Carpet, Northwest Persia, 19th Century. $4,000-6,000.

DOYLE PALM BEACH

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AUCTIONEERS & APPRAISERS WASHINGTON DC

NEW YORK

CONNECTICUT

BEVERLY HILLS

NEW JERSEY

BOSTON

NORTH CAROLINA

CHARLESTON PENNSYLVANIA

CHICAGO DOYLE.COM

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antiquesandauctionnews.net

Covering The Marketplace For Art And Antiques Each Week For Over 50 Years!

Featuring • industry trends • auctioneer directory • calendar of events • upcoming shows & auctions Distributed throughout the east at shops, markets & auctions Connect with us /antiquesandauctionnews

Enjoy web exclusive content!

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

Welcoming Consignment Inquiries for Our Upcoming Auctions

Find out how Potomack can assist you. Call/email Kira Greene | kira@potomackco.com June Jewelry & Fashion Auction David Webb Bracelet & Private Hermes Collection including Black Alligator Kelly Bag

Native American, Inuit & American West An Inuit Mask from a Maryland Estate with J. J. Klejman Gallery Provenance

June Furniture & Decorative Arts Auction Virginia Federal Inlaid Mahogany Cylinder-Front Desk & Bookcase

June American Historical Auction Important George & Martha Washington Lace Given to Gilbert Stuart to Depict Jabot in Washington’s Portrait; by Descent in Putman Family, 18th C

Alexandria, VA, (Washington, DC area) ~ info@potomackco.com ~ 703.684.4550 ~ VA#0704

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DEALERS’ FIRST YEAR at the S H O W

1969

S. J. Shrubsole

1993 Peter Pap

Tillou Gallery

1972

1994

Olde Hope Antiques

Ginsberg and Levy

1976

Earle D. Vandekar of Knightsbridge

1982

Thomas Colville Fine Art

2017

Lillian Nassau LLC

Thistlethwaite Americana

Kelly Kinzle

1995

Gemini Antiques

1997

Moderne Gallery Jeffrey Tillou Antiques

1999

Marcy Burns American Indian Art

2010

1984

Chalfant and Chalfant

1992 Nathan Liverant & Son

2018

Janice Paull

2011

Jeff Bridgman American Antiques

2012

Dolan/Maxwell

2013

Somerville Manning Gallery

Diana H. Bittel Frank S. Schwarz & Son

James Robinson Inc. Jayne Thompson Antiques

Avery Galleries

Graham Arader

1981

2009

Kentshire Moderne Gallery

2019

Silver Art by D & R Susan Teller Gallery The Old Print Shop

2020

Dixon-Hall Fine Art

2002

2014

Ralph M. Chait Galleries

Francis J. Purcell

Schmidt Dean

2004

2016

2023

Clarke Gallery

M. Hanks Gallery

Spencer Marks

Trinity House Paintings

Elle Shushan

2006

Betty Krulik Fine Art, Ltd.

Glen Leroux

A La Vieille Russie

Barbara Israel Garden Antiques

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D E A L E R S ' F I R S T Y E A R AT T H E S H O W

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

1962

1968

1974

1979

Orrery Nearly New Shop and Chapel

Wharton Family & Walnut Grove Gates Day Care Center

Miniature & Children’s Furniture Laminar Flow for Operating Rooms

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

1963

1969

1975

1980

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

Battle of the Blaze New Enlarged Dialysis Treatment and Rehabilitation Area

1976

1981

1971

A Palette of Pennsylvania Folk Art Régéthermic Food System

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

Signers of the Declaration of

1977

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

Mrs. Brooke Roberts Mrs. Benjamin H. Barnett

Mrs. Brooke Roberts Mrs. Benjamin H. Barnett Silver Respiratory Intensive Care Unit

1970

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

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

Mrs. Stuart B. Andrews and Mrs. Robert L. Mayock

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

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

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

1978

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

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

1982

Mrs. John S. Brittain and Mrs. Martin L. Beller The Windsor: A Philadelphia Style Volunteer Services

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

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

1983

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

A Tribute to William Penn New Medical Equipment; Redesigned and Remodeled Delivery Rooms

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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

1985

1990

1995

2000

Neat & Tidy Electron Microscope with Elemental X-Ray Analysis Capability, Department of Pathology and Laboratory Medicine

Undercover: Sewing & Symbolism Department of Anesthesia

The Cook’s Fancies The Trauma Center at Penn

It’s About Time Institute on Aging

1996

2001

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

1992

1997

2002

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

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

This Glorious House Stenton Institute for Environmental Medicine

1993

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

Mrs. William J. Erdman II and Mrs. Robert L. Stevens

1986

Mrs. Robert L. Stevens and Mrs. Cletus W. Schwegman Collector’s Choice 3-D Linear Accelerator for Radiation Therapy

1991

Mrs. Leonard Jarett and Mrs. John B. Hagner

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

1987

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

1989 Mrs. Giuseppe G. Pietra and Mrs. Harry G. Rieger, Jr. Portraits Plain and Fancy: American Portraiture, 1760–1840 Division of Neurosurgery

118

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

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

1994

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

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

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

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

1998

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.

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

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

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

2003

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

Sassy Seating: Brewster to Stickley Otolaryngology Consultation Center at Penn

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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2005

2010

2016

2021

Vaulting Ambition: Gothic Revival in Philadelphia 1830–1860 Department of Medicine, Division of Gastroenterology

A Call to Arms: Chinese Armorial Porcelain Penn Center for Ocular Imaging

Secret Treasures: The Passion of Collecting as Seen Through Dealers and Their Collections Penn Acute Research Collaboration

All Creatures Great and Small Division of Education and Public Programs, Philadelphia Museum of Art

Mrs. Stephen C. Rubin and Mrs. Joseph E. Smith

2006

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

Ms. Elizabeth CavanaughKerr and Mrs. Theodore G. Cheek

2011

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

The Schuylkill Villas Department of Surgery, Division of Cardiothoracic Surgery

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

2007

2012

Mrs. Gerald R. Williams, Jr. and Mrs. Robert E. Drury Philadelphia Empire Furniture: Bold, Brash & Beautiful Department of Anesthesiology and Critical Care, Waiting Areas of the Surgical Intensive Care Unit

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

Mrs. J. Barton Riley and Mrs. William H. Eyre, Jr. Where History Meets Medicine: Antiques from the Nation’s First Hospital Penn Lung Transplant Ex Vivo Lung Profusion Program

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

Mrs. S. Matthews V. Hamilton, Jr. and Mrs. J. Bruce Kneeland

Eleanore H. Gadsden, Chair Anne Hamilton, Honorary Chair

2022

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

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

2023

Anne Hamilton and Nancy Taylor

Ellen Caplan, Chair Amy Fox, Vice Chair Anne Hamilton, Honorary Chair

Philadelphia Collects Philadelphia The Pine Building at Pennsylvania Hospital

2019

Eleanore H. Gadsden, Chair Anne Hamilton, Honorary Chair

Faces in the Crowd Division of Learning and Engagement, Philadelphia Museum of Art

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

THE PHILADELPHIA SHOW

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601 N. Ithan Avenue, Bryn Mawr, PA 19010 122

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EXHIBITOR INDEX

Page 38; Booth F4

A La Vieille Russie 745 Fifth Avenue New York, NY 10151

Phone: 212-752-1727 alvr@alvr.com alvr.com

Page 42; Booth G3

Page 46; Booth D6

Page 50; Booth A4

Historic York County, PA

94.5 Lime Street Newburyport, MA 01950 and 338 Main Street Rockland, ME 04841

By appointment only Katonah, NY 10536

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

Page 39; Booth C2

Arader Galleries 1308 Walnut Street Philadelphia, PA 19107

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

Page 40; Booth B5

Avery Galleries 100 Chetwynd Drive Bryn Mawr, PA 19010

Marcy Burns American Indian Arts LLC

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

Page 44; Booth A6

Page 41; Booth C1

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

By appointment 510 Fishers Road Bryn Mawr, PA 19010

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

Barbara Israel Garden Antiques Phone: 212-744-6281 eva@bi-gardenantiques.com bi-gardenantiques.com

978-828-5652 info@clarkegallery.com clarkegallery.com

Page 43; Booth G7

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

Diana H. Bittel Antiques

Clarke Gallery

Ralph M. Chait Galleries, Inc. Phone: 212-397-2818 info@rmchaitgal.net rmchait.com

Page 45; Booth D4

H.L. Chalfant American Fine Art & Antiques

Page 51; Booth G6 Page 47; Booth D3

Dixon-Hall Fine Art 130 Potter’s Pond Drive Phoenixville, PA 19460

Kentshire

Bergdorf Goodman 754 5th Avenue, 7th Floor New York, NY 10019

610-935-2570 dixonhall@verizon.net dixonhallfineart.com

Phone: 212-421-1100 info@kentshire.com kentshire.com

Page 48; Booth E3

Page 52; Booth G1

2046 Rittenhouse Square Philadelphia, PA 19103

P.O. Box 235 New Oxford, PA 17350

Dolan/Maxwell

Kelly Kinzle

Phone: 215-732-7787 info@dolanmaxwell.com dolanmaxwell.com

Phone: 717-495-3395 kelly@kellykinzleantiques.com kellykinzleantiques.com

Page 49; ; Booth D2

Page 53; Booth D1

P.O. Box 635 Oldwick, NJ 08858

260 Birch Lane Irvington, NY 10533

Gemini Antiques Ltd.

Betty Krulik Fine Art Ltd.

Phone: 917-991-7352 leonweiss@me.com geminiantiquesltd.com

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

1352 Paoli Pike West Chester, PA 19380 Phone: 610-696-1862 info@hlchalfant.com hlchalfant.com

THE PHILADELPHIA SHOW

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EXHIBITOR INDEX continued

Page 54; Booth G2

Page 59; Booth B2

51 Riverside Avenue Westport, CT 06880

220 East 57th Street New York, NY 10022

Glen Leroux

Phone: 203-227-8030 glenaleroux@yahoo.com

Page 55; Booth A2

Levy Galleries 227 West 17th Street New York, NY 10011

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

Page 56; Booth B6

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

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

Page 57; Booth B4

M. Hanks Gallery

2501 E Chapman Ave Suite 235 Fullerton, CA 92831 Phone: 657-217-5043 ehanks@mhanksgallery.com mhanksgallery.com

Page 58; Booth E1

Moderne Gallery

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

Lillian Nassau LLC Phone: 212-759-6062 info@lilliannassau.com lilliannassau.com

Page 60; Booth C5

The Old Print Shop

49 West 24th Street, 2nd Floor New York, NY 10010 Phone: 212-683-3950 Alt Phone: 212-832-9493 info@oldprintshop.com oldprintshop.com

Page 61; Booth A8

Olde Hope, Inc. P.O. 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

Page62; Booth E4

Peter Pap Rugs, Inc. 128 Presidio Avenue San Francisco, CA 94115 and 1225 Main Street Dublin, NH 03444 Phone: 415-956-3300 inquiries@peterpap.com peterpap.com

Page 63; Booth G4

Janice Paull Antiques and Design

Opera House Art & Antiques 304/306 Delaware Street New Castle, DE 19720 Phone: 201-960-0363 janice@janicepaull.com janicepaull.com

Page 64; Booth F3

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

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

Page 65; Booth A3

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 66; Booth D5

Schmidt/Dean Gallery

1879 Old Cuthbert Road Warehouse #13 & #32 Cherry Hill, NJ 08034 Phone: 856-520-8458 schmidtdean@netzero.net schmidtdean.com

Page 67; Booth B1

Schwarz Gallery 1806 Chestnut Street Philadelphia, PA 19103

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

Page 68; Booth A1

S.J. Shrubsole, Corp.

26 East 81st Street New York, NY 10028

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

Page 69; Booth A7

Elle Shushan By appointment Philadelphia, PA

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

Page 70; Booth F2

Silver Art by D&R By appointment Baltimore Phone: 202-257-4448

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

Page 71; Booth F1

Somerville Manning Gallery 101 Stone Block Row Greenville, DE 19807

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

124

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

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Page 72; Booth A5

Spencer Marks

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

Page 73; Booth F5

Susan Teller Gallery By appointment only P.O. Box 1291 New York, NY 10113

212-941-7335 info@susantellergallery susantellergallery.com

Page 74; Booth C4

Page 76; Booth E6

Page 78; Booth E5

By appointment only 111 Old Quarry Road Guilford, CT 06437 203-453-2449 and New York, NY 212-879-9259

847 Kennedy Bridge Road Harrodsburg, KY 40330

35 High Street Broadway WR21 7DP United Kingdom

Thomas Colville Fine Art

tlc@thomascolville.com thomascolville.com

Page 75; Booth C3

Thistlethwaite Americana

116 W. Washington Street Middleburg, VA 20117 270-404-1558 taylor@thistleamericana.com thistleamericana.com

Jayne Thompson Antiques

Trinity House Paintings

Phone: 859.748.5628 info@jaynethompsonantiques. com jaynethompsonantiques.com

Page 77; Booth G5

Jeffrey Tillou Antiques P.O. Box 1609 Litchfield, CT 06759

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

Phone: +44 (0)1386-859-329 art@trinityhousepaintings.com trinityhousepaintings.com

Page 79; Booth G8

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

THE PHILADELPHIA SHOW

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C1

CAFE

Diana Bittel

C2

Arader Galleries

C3

C4

Thistlethwaite Americana

Thomas Colville Fine Art

D4

B6

Nathan Liverant and Son

A8

Olde Hope

D5 HL Chalfant American Fine Art Schmidt Dean and Antiques D1

Betty Krulik Fine Art

D6

Clarke Gallery

D2

D3

Gemini Antiques

A7

A6

A5

Spencer Marks

A4

Barbara Israel Garden Antiques

F4

A La Vieille Russie

Avery Galleries

E4

Ralph M. Chait Galleries

F5

Susan Teller Gallery

Dixon Hall Fine Art

B5

Elle Shushan

C5

The Old Print Shop

Peter Pap Rugs

B4

M. Hanks Gallery

E5

Trinity House Paintings

SHOW OFFICE

G8

Earle D. Vandekar of Knightsbridge

G7

Marcy Burns

F3

E6

Francis J. Purcell

Jayne Thompson Antiques

G6

Kentshire

F2

B2

E1

Lillian Nassau

Moderne Gallery

E2

Loan Exhibit

Silver Art

by D & R

E3

G5

Jeffrey Tillou Antiques

Dolan/ Maxwell

F1

B1

Somerville Manning

Schwarz Gallery

G4

Janice Paull

COAT CHECK

A3

James Robinson

A2

Levy Galleries

A1

BOX OFFICE

S. J. Shrubsole

G1

Kelly Kinzle

G2

Glen Leroux

G3

Jeff Bridgman

MAIN ENTRANCE

THE PHILADELPHIA SHOW

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sm

“effortless reservations at your fingertips”

Turon Travel, Inc 31-10 37ave., Suite 200, L. I. C., NY 11101 212.925.5453 / 800.952.7646 WWW.TURONTRAVEL.COM

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Congratulates The Philadelphia Show on 61 Years of Continued Success

Moderne Gallery

Kelly Kinzle

Lillian Nassau LLC

Levy Galleries

Earle D. Vandekar

Arader Galleries

H. L. Chalfant

Jeffrey Tillou Antiques

Glen Leroux

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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IBEW LOCAL UNION 98 / NECA IS PROUD TO BE A SPONSOR OF THE PHILADELPHIA SHOW

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Proceeds from The Philadelphia Show benefit the Division of Learning and Engagement at the Philadelphia Museum of Art.

Our Learning and Engagement programs serve diverse audiences of all ages and abilities from the youngest learners to families, teens, teachers, and adults. Many of our programs are free-of-charge.

School tours are free for all School District of Philadelphia students and teachers.