The Philadelphia Show 2023

EAS CARPENTERS

PROUDLY SUPPORT

THE PHILADELPHIA SHOW

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. Learn more at EASCarpenters.org

William C. Sproule Executive Secretary-Treasurer

Anthony N. Abrantes Asst. Executive Secretary-Treasurer

ON VIEW

Oneness:

Ongoing

Judith

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)

Presenting our 61 st ANNUAL SHOWCASE of ANTIQUES, ART and DESIGN

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 Cra workers 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

CALENDAR of EVENTS

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.

CALENDAR of EVENTS

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

1 :00 P.M.

Of Silver and Crystal: the Light and Lightness in 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

1 :00 P.M. American Studio Furniture RobertAibel, Moderne Gallery

3 :00 P.M. Rediscovering the Wyeth Legacy Vickie Manning, Somerville Manning

SUNDAY, APRIL 30

1:00 P.M. Sailor’s Woolworks: The What, When and Why Paul Vandekar, Earle D. Vandekar of Knightsbridge

3 :00 P.M.

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

CALENDAR of EVENTS 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!

PRESENTING SPONSORS

SPONSORS

PREMIER SPONSORS

PRINCIPAL SPONSORS

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

SUPPORTING SPONSORS

Christie’s CHUBB

Elevator Constructors Local 5

Freedom Mortgage Corporation

Freeman’s

MEDIA SPONSORS

American Fine Art Magazine

TRAVEL SPONSOR

Turon Travel

SPONSORS

Hindman

IUPAT District Council 21

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

Treadwell

Incollect

The Magazine Antiques

INDIVIDUAL UNDERWRITERS

PENNSYLVANIAN

Ellen and Ronald Caplan

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

Susanna Lachs and Dean Adler

The Leslie Miller and Richard Worley Foundation

Stephen S. and Dolores R.† Smith 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

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

Amy A. Fox and Daniel H. Wheeler

Ronald and Debra Pook

Barbara Gisel and Albert C. Oehrle

Mr. and Mrs. Thomas A. Leonard

The McCausland Foundation

Mr. and Mrs. Peter C. Morse

Zoë S. Pappas

Marsha and Jeffrey Perelman

Barbara A. Podell and Mark G. Singer

Quaker City Foundation

Olivia Rabe

Marsha W. Rothman

Anne and Steve Rubin

Irene and Fred† Shabel

Sally Sharkey

Boo and Morris Stroud

Judith Taylor

Constance and Sankey Williams

Robin and Jerry Williams

PATRIOT

Marta and Robert Adelson

Mr. and Mrs. John A. Affleck

Mr. and Mrs. James L. Alexandre

Jill and Paul Aschkenasy

Carol and Horace Barsh

Mr. Thomas L. and Mrs. Carolyn Bennett

Lawrence and Julie Berger

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

Michele and Jeff Brotman

Mr. and Mrs. R. Kent Cadwalader

Ann and Jerry Calvert

Nicole A. Cashman and Nigel T. Richards

Sara Cerato

Mr. and Mrs. George Chou

Ms. Kristine Christensen

Peggy Cooke

LIBERTY

Gwen Goodwill Bianchi

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

Janice Block

Robin Blumenfeld

Dr. and Mrs. Robert W. Connor

Joan M. Johnson

Dr. and Mrs. G. W. Crooks

Marianne N. Dean

Romulo L. Diaz Jr. and Dennis J. Bann

Kirstin and Jeffrey Engelman

Katherine and Bill Eyre

Kathy and Ted Fernberger

Penny Fox

Mr. and Mrs. Martyn Greenacre

Mrs. Henry F. Harris

Hollie and Jamie Holt

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

Michele and Paul Lockwood

Dr. Jess H. and Mrs. Ami Lonner

Linda McCarthy

Mr. and Mrs. Robert D. McNeil

The Hon. John J. Medveckis and Marina Kats

Janice and Britt Murdoch

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

Ms. Caroline B. Rogers

Kirk and Laura C. Rothrock

Mark and Robin Rubenstein

Mr. and Mrs. Samuel R. Shipley III

Stephanie F. Simmerman

Ellen and Mickey† Simon

Keith R. Straw

Joan Thalheimer

Elissa Topol and Lee Osterman

Stephen Varenhorst and Teresa Fink

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

Peter and Eliza Zimmerman

Anja and Matthew Levitties

Dana and John Levitties

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

Susanna T. Saunders

Douglas Schaller

Mrs. Ellen C. Silberman

Susan Vitale

Wendi Justi Wheeler

Beverly M. and Norman T. Wilde

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

EDDIE BAHAMONDE

PETE BYRNE, JR.

JIM DEVER

MORRIS ELLIS

OFFICERS

JOHN QUIRK

DENIS FITZGERALD CHRIS ROLA

STEVEN KEENAN, JR.

JEFF LEWIN

MATT MCMONIGLE

EARL OFFENBACK

ROBERT SULLIVAN

RICH TRIEBL

JIM VERNACCHIO

JAMES SNELL THOMAS REDDEN III Business Manager 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

HEALTH CARE

COMMERCIAL HVACR

INSTRUMENT CALIBRATION

ACKNOWLEDGMENTS

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

MUSEUM STAFF

Al Atkins

Marcia Birbilis

Katie Costello

Warren Duane

Simon Elisii

Leslie Essoglou

Nancy Finn

Joshua Frank

Elizabeth Freeburg

Kathleen Foster

Karleen Gardner

Kitty Bowe Hearty

Anne Hamilton, Honorary Chair

The Philadelphia Show Committee

The Women’s Committee

Dealers’ Committee

ACKNOWLEDGMENTS

Lauren Hunter

Steve Keever

Norman Keyes

Alexandra Kirtley

Michael Maniero

Levi Martin

Debra Myers

Lindsey Nevin

Caroline New

Nancy O’Meara

Jennifer Pardee

William Petersen

Jonathan Peterson

Kelsey Rhodes

Justin Romeo

Jessica Sharpe

Jessica T. Smith

Sasha Suda

Al Suh

Angela Thompson

Kate Virdone

Morgan Webb

Andy Wurst

LECTURE SERIES

Peter Barberie

Alisa Chiles

Colin Fanning

Kathleen Foster

Eleanore H. Gadsden

LOAN EXHIBIT

Robert and Katharine Booth

Collin Gleason

Joan Johnson

MARKETING AND DESIGN

Andrey & Melissa

Barb Barnett

Graphic Design LLC

BUILD AND OPERATIONS

Nick del Borello, Sr. and Nick del Borello, Jr.

Nonie Gadsden

Steven Keever

Alexandra Kirtley

Louis Marchesano

Debra Myers

Zoë Pappas

Eric Pryor

Zoë Ryan

Sasha Suda

Alexandra Kirtley

Leslie Miller and Richard Worley

Jessica Smith

Morgan Webb

E B Design

John Smiroldo and Phil Lajoie

McClafferty Printing

Silverlake Digital

EventQuip and Ed Knight

Space Productions and Eric Romano

Sue Wolfenden

Complim ents 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 Assistant Director

Martin McNulty Erin O’Brien-Hofmann

Training Instructors

Neil Amadio Tureka Dixon Charlie Eck Drew Heverly

Jim Hyland Steve Metzger Ronnie Moore Dave Tomczak

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

SHOW COMMITTEE

Anne Hamilton*, Honorary Chair

Ellen Caplan*, Chair

Amy Fox*, Vice-Chair

Catherine Altman*, President, The Women’s Committee

Marta Adelson*

Carol Blank Barsh*

Gwen Goodwill Bianchi

Janice Block

Robin Blumenfeld

Reid N. Bodek

Michele Brotman

Ann Calvert

Susan Charleston

Patty Cheek

Kris Christensen

Dunham Townend Churchill

Candace Coleman

Veronica M. Connor

COMMITTEES

Sarah Coulson*

Edie Dixon

Sam Ehlinger

Kirstin Engelman

Margo Eremus

Katharine Eyre

Evelyn Fell

Grace Fitts

Amy A. Fox*

Penny Fox

Linda Fuller

Eleanore H. Gadsden*

Grete Greenacre

Hannah Henderson*

Cynthia B. Holstad

Angela Hudson*

Suzanne C. Jacobs

Joan Johnson*

Carol W. Jones

Anja Levitties

Michele Lockwood*

PREVIEW PARTY COMMITTEE

Margo Eremus, Co-Chair

Eve Walker, Co-Chair

Janice Block

DEALERS' COMMITTEE

Ed Hild, Chair

Margo Dolan

Grace Fitts

Michele Lockwood

Linda McCarthy

Ami Lonner

Holly Luff

Linda McCarthy

Betty Miller

Leslie Anne Miller

Joan R. Momjian

Martha H. Morris*

Karyn Mullen

Liz Murray

Karen R. Nagel

Carolyn Bedrosian Nagy

Arlene Olson

Katharine A.S. Padulo

Zoë S. Pappas*

Barbara Podell

Sharon Pollack

Judy C. Pote

Olivia Rabe

Gretchen Riley

Ann Dee Rome

Marsha W. Rothman

Laura Rothrock*

Anne Rubin*

Susanna T. Saunders

Sally Sharkey*

Genvieve Shields

Stephanie Simmerman

Ellen B. Simon*

Keith Straw

Boo Stroud

Margot Sullivan

Nancy Taylor

Elissa G. Topol

Nathalie Verma

Susan Vitale

Eve Walker

Beverly M. Wilde

Robin Williams*

Lisa Williamson*

Pam Yih

Susan Zelouf

*Steering Committee

Betty Krulik

Arthur Liverant

Karen Nagel

Sharon Pollack

Anne Rubin

Stephanie Simmerman

Dunham Townend

Robin Williams

Richard Rosello

Arlie Sulka

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.”

TRAINING THE NEXT GENERATION

THE CRAFTS OF CARPENTRY

GENERAL CARPENTERS

FLOOR COVERERS

INTERIOR SYSTEMS

LATHERS

CABINETMAKERS

MILLWRIGHTS

RESIDENTIAL CARPENTERS

PILEDRIVERS

TRADESHOW CARPENTERS

Christie’s proudly supports the Philadelphia Show

WELCOME TO IUEC LOCAL 5

The International Union of Elevator Constructors has over 30 signatory elevator companies in PA that can meet your elevator needs at an affordable price.

Whether you need a service contract, a repair, a modernization contract or you are installing new elevators, let one of our companies take care of you.

Our companies employ the best trained and safest elevator mechanics and apprentices in the country.

Please contact us iuec5.org or directly at joe.oconnor@iuec5.org.

You can also call us at 215-676-2555.

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

Philadelphia Museum of Art Core Project

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

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

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

TOM PEDRICK

PAUL PETERSON EXECUTIVE BOARD

INTERNATIONAL VICE PRESIDENT

TOM PEDRICK INTERNATIONAL VICE PRESIDENT

TOM JONES EXECUTIVE BOARD

ERNEST WASHINGTON EXECUTIVE BOARD

SHAWN MCCULLOUGH BUSINESS MANAGER

6447 Torresdale Ave.

1500 Caton Center Dr. Suite J

SHAWN MCCULLOUGH BUSINESS MANAGER

BRIAN PLEIS EXECUTIVE BOARD

Philadelphia, PA 19135

Baltimore, MD 21227

BRIAN PLEIS EXECUTIVE BOARD

KEN DEVENNEY EXECUTIVE BOARD

Phone 215-331-8770

Phone 1-800-993-9929

PAT KINKADE EXECUTIVE BOARD

Fax 215-331-8325

KEN DEVENNEY EXECUTIVE BOARD

PAUL PETERSON EXECUTIVE BOARD

PAT KINKADE EXECUTIVE BOARD

TOM JONES EXECUTIVE BOARD

PAUL PETERSON EXECUTIVE BOARD

ERNEST WASHINGTON EXECUTIVE BOARD

TOM JONES EXECUTIVE BOARD

409 Crown Point Rd. Westville, NJ 08093

ERNEST WASHINGTON EXECUTIVE BOARD

6447 Torresdale Ave.

Philadelphia, PA 19135

Phone 215-331-8770

6447 Torresdale Ave.

Fax 215-331-8325

Philadelphia, PA 19135

Phone 215-331-8770

Fax 215-331-8325

Phone (856) 349-7548

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

409 Crown Point Rd. Westville, NJ 08093

Phone (856) 349-7548

409

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.

Sprinkler Fitters Local 692 is proud to support the 61st annual Philadelphia Show

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

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.

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"

Booth

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

Harry Bertoia Standing Willow 66 x 37 inches

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

JACOB LAWRENCE

ANNE RYAN

SAM BROWN

MICHAEL CANNING

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

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

Appointment

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

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

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

Telephone 917.582.1300 bkrulikfineart@gmail.com

www.bkrulikfineart.com

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”

From the Susan and Rick Copeland Collection.

Booth B 6

Booth B 2

Booth

PeterPap OrientalRugs, Inc.

Francis J. Purcell, Inc.

(267) 496-8161

251 N. 3rd St. Phila., Pa. 19106

E-mail: fjpurcell2@aol.com

francisjpurcell.com

Booth F 3

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.

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

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

Booth A 7

202-257-4448

jasmine@silverartbydandr.com www.silverartbydandr.com

Silver Art by D & R

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

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

Booth E6

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 ne condition, replaced front ball nial, exceptional verdigris surface with traces of original gilt.

Provenance: Steve Miller, New York. Edmund I. Fuller, Woodstock, New York. omas J. Rizzo, New York. Important Americana, Sotheby’s, 1988. Private Collection of Robert Walin, Woodbury, Connecticut. is rare double-wheeled sulky being pulled by a running horse with a seated driver captures both form and movement. e ne detailing of the molded copper is complimented with an exceptional surface.

Literature: Steve Miller, e 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

E arle D. V anDekar 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

Paul Vandekar

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

Website: www.Vandekar.com

Booth

FACES IN THE CROWD

The Philadelphia Show 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

Painted

28

Collection

Painted wood, iron

32”h x 22 1/2”w

Collection

Painted

28 1/2”h x 39 1/2”w x 26 1/2” d

Collection

12”h

Collection

FIGURE 1: Table, Ohio or Wisconsin, 1880-1890

wood (probably pine and butternut)

1/2”h x 41”w x 21 1/4”d

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

FIGURE 3: Eave Ornament, Southeastern Pennsylvania, about 1765

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

FIGURE 4: Watch holder, Probably Pennsylvania, early 19th century Stone

x 9”w x 5”d

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

FIGURE 2: Table, Ohio or Wisconsin, 1880-1890

wood (probably pine and butternut)

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

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

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

About 9 1/2”h

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

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

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

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

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

(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

FIGURE 9: Portrait of Yarrow Mamout (Mamadou Yarrow, c. 1736–1823), Washington, D.C., 1819 Charles Willson Peale (American, 1741–1827)

Buckley, the estate of Rictavia Schiff, and the McNeil Acquisition Fund for American Art and Material Culture, 2011-87-1

3

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.

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

7/16” h

Collection of J. Collin Gleason

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—

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

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

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

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

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.

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.

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.

FIGURE 15: Spring Sale at Bendel’s, New York, 1921

THE PROOF IS IN THE PORTRAIT: A Close Look at a Portrait of a Free Black Woman from Antebellum Philadelphia

by lucia olubunmi r . momoh Constance E. Clayton Curatorial Fellow at the Philadelphia Museum of Art

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

32

35

On

FIGURE 1. Portrait of Elizabeth Brown Montier (c. 1822–1852), 1840

Franklin R. Street (American, c. 1815–1882)

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)

x 28 inches

loan from the Collection of Mr. and Mrs. William Pickens, III, 192-2022-1

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.

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

1 ½ x 1 ¼ inches

Metropolitan

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

FIGURE 5. Inlay, ankh, was scepters, 100 BC–100 AD Unknown artist (Egypt, c. 1st Century AD)

Museum of Art, gift of Helen Miller Gould, 1910, 10.130.2704

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

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.

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

FIGURE 8. Nancy Lawson (1810-1854), 1843

William Matthew Prior (American, 1806–1873) 30 x 25 inches

Shelburne Museum, Shelburne, Vermont

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/

ANTIQUE PRINT RE-MIX

Maria Dumlao & Suchitra Mattai

by heather moqtaderi Founder & Artistic Director, Past Present Projects

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.

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

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

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)

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.

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),

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.

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.

Naturalized print viewed through colored lenses Maria Dumlao

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

Xinia Guan

Best of Show, 2022 Savannah, GA Jewelry

B. Hannah Daniel Antiques

Connecticut

Find Weatherly LLC

Roberto Freitas

The Hanebergs Antiques

Hanes and Ruskin

Allan Katz

Bettina Krainin

Derik Pulito

Delaware

Richard Worth Antiques

Georgia

Larry Thompson*

Kansas

American Spirit Antiques

Maine

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

Maryland

Firehouse Antiques

Lisa McAllister

Indiana

John Sinning Antiques and Folk Art

New Hampshire

Thomas Clark

Country Cupboard Antiques

Frandino Antique Oriental Rugs

Michael Hingston Antiques

New Jersey

A Bird in Hand

H&L Antiques

New York

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

Pennsylvania

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!”

PARK AVENUE ARMORY / NYC

DEALERS’ FIRST YEAR at the SHOW

1962

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

Orrery Nearly New Shop and Chapel

1963

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

CHAIRS, LOAN EXHIBITIONS, and BENEFICIARIES

1968

Mrs. Brooke Roberts

Mrs. Benjamin H. Barnett

Wharton Family & Walnut Grove Gates Day Care Center

1969

Mrs. Brooke Roberts

Mrs. Benjamin H. Barnett

Silver Respiratory Intensive Care Unit

1970

Mrs. Brooke Roberts

Mrs. Benjamin H. Barnett

Cliveden Rehabilitation Center

1971

Mrs. Benjamin H. Barnett

Mrs. Stuart B. Andrews

Signers of the Declaration of Independence Heart Station, Gate 9

1972

Mrs. Benjamin H. Barnett

Mrs. Stuart B. Andrews

Philadelphia’s China Trade Emergencies Service Area

1973

Mrs. Stuart B. Andrews

Mrs. Robert L Mayock

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

1974

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

Miniature & Children’s Furniture Laminar Flow for Operating Rooms

1975

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

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

1976

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

A Palette of Pennsylvania Folk Art

Régéthermic Food System

1977

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

Underfoot: Floor Coverings Used in America Régéthermic Food System

1978

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

Magnificent Menagerie Linear Accelerator; X-Ray Department

1979

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

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

1980

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

Battle of the Blaze New Enlarged Dialysis Treatment and Rehabilitation Area

1981

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

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

1982

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

The Windsor: A Philadelphia Style Volunteer Services

1983

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

Flight of Fancy Resuscitation Area Support Systems, Emergency Department

LOAN EXHIBITIONS, and BENEFICIARIES

1985

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

Neat & Tidy

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

1986

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

Collector’s Choice

3-D Linear Accelerator for Radiation Therapy

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

1990

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

Undercover: Sewing & Symbolism

Department of Anesthesia

1991

Mrs. Leonard Jarett and Mrs. John B. Hagner

Devine Design: A Shaker Legacy

Department of Radiation Oncology

1992

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

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

1993

Mrs. Clyde F. Barker and Mrs. Thomas A. Gennarelli

Seen But Not Heard

Multi-organ Transplant Program

1994

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

In the Sporting Tradition Chemotherapy and Oncology Short Procedure Unit

1995

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

The Cook’s Fancies

The Trauma Center at Penn

1996

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

A Touch of Class: Silver in Social Settings

The Scheie Retina Center at Penn

1997

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

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

1998

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

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

1999

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

Sassy Seating: Brewster to Stickley Otolaryngology Consultation Center at Penn

2000

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

It’s About Time Institute on Aging

2001

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

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

2002

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

This Glorious House Stenton Institute for Environmental Medicine

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

2005

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

Vaulting Ambition: Gothic Revival in Philadelphia 1830–1860

Department of Medicine, Division of Gastroenterology

2006

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

The Schuylkill Villas

Department of Surgery, Division of Cardiothoracic Surgery

2007

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

2010

Ms. Elizabeth CavanaughKerr and Mrs. Theodore G. Cheek

A Call to Arms: Chinese Armorial Porcelain

Penn Center for Ocular Imaging

2011

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

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

2012

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

2016

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

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

2017

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

What so Proudly We Hail Penn Radiation and Oncology Quality of Life Program

2018

Anne Hamilton and Nancy Taylor

Philadelphia Collects Philadelphia

The Pine Building at Pennsylvania Hospital

2019

Eleanore H. Gadsden, Chair

Anne Hamilton, Honorary Chair

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

2020

Eleanore H. Gadsden, Chair

Anne Hamilton, Honorary Chair

Virtual Show

Division of Education and Public Programs, Philadelphia Museum of Art

2021

Eleanore H. Gadsden, Chair Anne Hamilton, Honorary Chair

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

2022

Eleanore H. Gadsden, Co-Chair

Ellen Caplan, Co-Chair

Anne Hamilton, Honorary Chair

Zero to Sixty Division of Digital Resources and Content Strategy, Philadelphia Museum of Art

2023

Ellen Caplan, Chair

Amy Fox, Vice Chair

Anne Hamilton, Honorary Chair

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

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 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

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

Page 41; Booth C1

Diana H. Bittel

Antiques

By appointment

510 Fishers Road Bryn Mawr, PA 19010

Phone: 610-525-1160

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

EXHIBITOR INDEX

Page 42; Booth G3

Jeff R. Bridgman

American Antiques

Historic York County, PA

Phone: 717-502-1281

Alt Phone: 717-676-0545 info@jeffbridgman.com jeffbridgman.com

Page 43; Booth G7

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

Ralph M. Chait Galleries, Inc.

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

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

Page 45; Booth D4

H.L. Chalfant

American Fine Art & Antiques

1352 Paoli Pike West Chester, PA 19380

Phone: 610-696-1862

info@hlchalfant.com hlchalfant.com

Page 46; Booth D6

Clarke Gallery

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

Page 47; Booth D3

Dixon-Hall Fine Art

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

Page 48; Booth E3 Dolan/Maxwell

2046 Rittenhouse Square Philadelphia, PA 19103

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

Page 49; ; Booth D2 Gemini Antiques Ltd.

P.O. Box 635 Oldwick, NJ 08858 Phone: 917-991-7352 leonweiss@me.com geminiantiquesltd.com

Page 50; Booth A4

Barbara Israel

Garden Antiques

By appointment only Katonah, NY 10536

Phone: 212-744-6281

eva@bi-gardenantiques.com bi-gardenantiques.com

Page 51; Booth G6 Kentshire

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

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

Page 52; Booth G1 Kelly Kinzle

P.O. Box 235 New Oxford, PA 17350

Phone: 717-495-3395

kelly@kellykinzleantiques.com kellykinzleantiques.com

Page 53; Booth D1

Betty Krulik Fine Art Ltd.

260 Birch Lane Irvington, NY 10533

Phone: 917-582-1300

bkrulikfineart@gmail.com bkrulikfineart.com

Page 54; Booth G2 Glen Leroux

51 Riverside Avenue Westport, CT 06880 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

Page 59; Booth B2 Lillian Nassau LLC

220 East 57th Street New York, NY 10022

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

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

Thomas Colville

Fine Art

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

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

Page 76; Booth E6

Jayne Thompson

Antiques

847 Kennedy Bridge Road Harrodsburg, KY 40330 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

Page 78; Booth E5

Trinity House

Paintings

35 High Street Broadway WR21 7DP United Kingdom

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

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Earle D. VandekarArader Galleries

Glen Leroux H. L. Chalfant

Lillian Nassau LLC

Moderne Gallery

Levy Galleries

Kelly Kinzle

Marcy Burns American Indian Arts

Jeffrey Tillou Antiques

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

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.