NOVEMBER 7–9, 2025
Presented by
Participants are raving about the Decorative Arts Trust’s travel programs!
“We felt that we had insider access to each wonderful historic site.”
“You always have a great selection of private venues, and it’s fun to see the hosts enjoying our visits.”
“Very well thought out, planned, and orchestrated. Amazing attention to detail.”
“Such a nice trip with a friendly group of people.”
Join us in 2026! The Low Countries, Scotland, and the Balkans New York City, Atlanta, and Boston
Clockwise from top left: Rijksmuseum, Amsterdam; Delft, the Netherlands; Bruges, Belgium; Dumfries House, Cumnock, Scotland, photo by Billy McCroire; The Hague, the Netherlands; Montenegro; the Balkans.
SCHEDULE OF EVENTS
FRIDAY, NOVEMBER 7 | 11 AM–6 PM Chipstone Lectures | 9:00–10:15 am Brock Jobe, Professor Emeritus of American Decorative Arts, Winterthur “The ‘capricious, unprincipled, and ingenious’ William King, Furniture Maker of Salem, Massachusetts” Adam Erby, Executive Director of Historic Preservation and the Martha Washington Chief Curator, George Washington’s Mount Vernon “La Peinture: The Rediscovery of George and Martha Washington’s Presidential Biscuit Porcelain Figures and Their Incredible Provenance”
SATURDAY, NOVEMBER 8 | 11 AM–6 PM Keynote Lecture | 10:00—11:15 am Nadia Watts, Nadia Watts Interior Design, “Designing with Soul: How Legacy, Nature, and Antiques Shape Interiors”
Afternoon Lecture | 2:00–3:00 pm Wendy Kvalheim, CEO and Design Director of Mottahedeh, “Not Your Grandma’s China: A Contemporary Look at Historic Ceramic Patterns” Americana Insights Lectures | 4:00–5:00 pm Lisa Minardi, Editor, Americana Insights and Executive Director, Historic Trappe “From Hubener to Medinger: Redware Potters of Southeastern Pennsylvania” Christopher Malone, Curator, Historic Trappe “Black, White, and Green All Over: The Potter Once Known as Solomon Grim” Laini Farrare, Ph.D. Student, University of Delaware “‘God Bless You All in Food and Drink’: Sgraffito Teaware in Pennsylvania” SUNDAY, NOVEMBER 9 | 11 AM–5 PM Student Scholars Lectures | 2:00–3:30 pm Eleanor Shippen, Lois F. McNeil Fellow, Winterthur Program in American Material Culture “An American Story: Interpreting Regionality in an East Tennessee Desk” Ashley Vernon, Lois F. McNeil Fellow, Winterthur Program in American Material Culture “Just Being Theatrical: Elements of the Stage Portrayed on Delftware Tiles”
Student Scholars lectures sponsored by
All lectures are included with show admission.
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DELAWARE ANTIQUES SHOW 2025 SPONSORS
PRESENTING
SUPPORTING SPONSORS
STUDENT SCHOLARS LECTURES
MEDIA AND IN-KIND PARTNERS American Fine Art Magazine
Delaware Today, The Hunt, Main Line Today Prepress and Printing by Incollect Magazine
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CONTENTS
1 Schedule of Events 2 Sponsors
5 Supporters and Volunteers 7 Speakers & Presentations 12 Eleanor Shippen, An American Story: Interpreting Regionality in an East Tennessee Desk
p. 12 & 13
p. 16
15 Ashley Vernon, Just Being
Theatrical: Elements of the Stage Portrayed on Delftware Tiles
18 Exhibitor Ads 94 Showroom Floor Plan 96 Exhibitor Index
Cover: The McIntire Bedroom is a quintessentially Federal-style room with its delicately proportioned moldings and composition ornament featuring classical motifs.
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Top left photo, Bob Leitch; others by Suchat Pederson
Thank you FOR YOUR SUPPORT!
Proceeds from this year’s Delaware Antiques Show help support key educational initiatives such as free school programs and Discover Winterthur, our free day for the community. Support for these important programs allows us to share the wonder of Winterthur with thousands of schoolchildren and our surrounding community.
These programs are made possible, in part, by a grant from the Delaware Division of the Arts, a state agency, in partnership with the National Endowment for the Arts. The Division promotes Delaware arts events on DelawareScene.com.
Thank you to our supporters for contributing to the success of the 2025 Delaware Antiques Show.
OPENING NIGHT SUPPORTERS: Dr. and Mrs. Robert E. Booth, Jr. Désirée Caldwell and William Armitage Mr. David W. Dangremond
Mr. and Mrs. Logan D. Delany, Jr. Mr. and Mrs. Joseph C. Hoopes, Jr. Mr. Edward W. Kane and Ms. Martha J. Wallace Mr. Edmond L. Lincoln Mr. Jonathan B. Loring Mr. and Mrs. Forbes Maner Mr. Paul Manville and Mr. Frank Guzzetta Mr. and Ms. Thomas V. McDonough Ms. Debra Hess Norris Mr. and Mrs. Christopher S. Patterson
Mr. and Mrs. Bruce C. Perkins Mrs. Lynn Springer Roberts Mr. J. Thomas Savage, Jr. Mr. and Mrs. Randall A. Schrimsher Mr. and Mrs. Chris D. Strand Mr. and Mrs. P. Coleman Townsend, Jr.
As of 9/23/25
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Our dedicated team of volunteers come from the community and from Winterthur, including fellows in the University of Delaware/ Winterthur Program in American Material Culture. Thank you for contributing your time, energy, and enthusiasm to the success of the 2025 Delaware Antiques Show!
Jeremy Abelson Matt Becue Rekha Bharwani Georgia Black Kathleen Bright Eileen Carzo Susan Corum Kayleigh Danowski
Karan Hamel Esme Krohn Catherine Leonard Marie Maks
Alison Matsen Louis Novakis Amalia Pappa Jean Raleigh Darby Ronning Sharon Rosen Abigail Sullivan
Ken Davis Ann Deng Peter Dietz Yancy Du
Marcia Szelewski Michael Szelewski Mack Truax Anna Wershbale Brenda Zadjeika
Kazana Duffy Patricia Elliot Ellen Ellis Robin Goldstein Susan Greeley
As of 9/19/25
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Friday, November 7 | 9:00–10:15 am CHIPSTONE LECTURES
Brock Jobe, Professor Emeritus of American Decorative Arts, Winterthur The ‘capricious, unprincipled, and ingenious’ William King, Furniture Maker of Salem, Massachusetts In 2000 Brock Jobe was appointed professor of American decorative arts in the Winterthur Program in American Material Culture after a 28-year career as a museum curator and administrator at the Museum of Fine Arts, Boston, Colonial Williamsburg, the Society for the Preservation of New England Antiquities (now Historic New England), and Winterthur. He has authored or edited seven books and written dozens of articles. Brock retired from his professorship in June 2015 but retains an office at Winterthur and continues to study, write, and lecture about American furniture. He presently serves as President of the Decorative Arts Trust and remains a dedicated volunteer at Winterthur.
Adam Erby , Executive Director of Historic Preservation and the Martha Washington Chief Curator, George Washington’s Mount Vernon “La Peinture: The Rediscovery of George and Martha Washington’s Presidential Biscuit Porcelain Figures and Their Incredible Provenance” Adam Erby is the executive director of Historic Preservation and the Martha Washington Chief Curator at George Washington’s Mount Vernon. He is a graduate of the University of Virginia and the Winterthur Program in American Material
Culture at the University of Delaware, and has worked at Mount Vernon since 2012 and has led a range of important projects, including the restoration of several rooms in the mansion and the curation of major exhibitions including Mount Vernon: The Story of an American Icon and Lives Bound Together, Slavery at Mount Vernon . A prolific lecturer and author, Adam is one of just a handful of authors who has written for both American Furniture and Ceramics in America . His articles include “Mostly new, and very elegant”: The Several Lives of George William and Sally Fairfaxes’ London-Made Furniture” published in American Furniture in 2019 and “He in Glory, America in Tears”: Jacob Perkins, Washington Funeral Medal, and Liverpool Jugs” in 2022 in Ceramics in America . The Chipstone Lectures feature authors of articles in Ceramics in America 2024 and American Furniture 2024 . Published annually since 2001 and 1993 respectively, these award-winning journals have been considered the journals of record for their fields and further the Chipstone Foundation’s mission to promote appreciation and understanding of American material culture. Ceramics in America 2024 is edited by Ronald W. Fuchs II and Robert Hunter and American Furniture 2024 is edited by Martha H. Willoughby. After the lectures, the speakers will be on hand to sign copies of the 2024 journals.
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KEYNOTE LECTURE Saturday, November 8 | 10:00–11:15 am
Designing with Soul: How Legacy, Nature, and Antiques Shape Interiors Nadia Watts, Nadia Watts Interior Design
Drawing on memories of growing up surrounded by art, craftsmanship, and innovation in design, interior designer Nadia Watts will share a personal account of how her family heritage—rooted in the artistry of her great-great-grandfather Louis C. Tiffany—has profoundly influenced her creative vision. She will explore how legacy, a reverence for nature, and the thoughtful integration of antiques inspire her timeless interiors today. Nadia will offer insights into blending history, personal narrative, and contemporary living to create spaces with depth and soul. With over two decades of experience, Nadia Watts is celebrated for creating timeless, artful interiors that reflect her clients’ personalities and passions. Since founding her Denver-based firm in 2009, she has delivered exceptional design solutions nationwide, earning a reputation for beautifully layered spaces that balance function, history, and artistry. Her portfolio includes custom residences, historic renovations, professional offices, and interiors featuring internationally recognized art and furniture collections. Nadia’s collaborative approach and attention to detail have cultivated a loyal clientele and widespread recognition.
Her career began with Elaine Stephenson Interiors in Virginia and included roles at The Metropolitan Museum of Art’s American Decorative Arts Department and Douglas Associates in Denver—experiences that deepened her appreciation for craftsmanship and historical context. Her work has been featured in The Wall Street Journal, Galerie Magazine, Architectural Digest, Luxe Interiors + Design, Elle Decor, House Beautiful, and more. Honors include the Robert & Judi Newman Award for Excellence in Classical and Traditional Design, Luxe Gold List, and 5280 Home Top Denver Design. In 2024, she participated in the Kips Bay Palm Beach and Denver Designer Show Houses. Nadia holds degrees from Hollins University and the New York School of Interior Design and serves on several boards, including The Neustadt Collection of Tiffany Glass and the Institute of Classical Architecture & Art.
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AFTERNOON LECTURE Saturday, November 8 | 2:00–3:00 pm
Not Your Grandma’s China: A Contemporary Look at Historic Ceramic Patterns By Wendy Kvalheim, CEO and Design Director of Mottahedeh
Mottahedeh has a long history of creating fine china, often inspired by historical patterns and designs. Wendy Kvalheim’s roles as CEO and Design Director involve carrying on this legacy while also introducing contemporary elements and embracing a more contemporary and versatile approach to tableware. Wendy will look back at the founding of the company, highlighting an extraordinary range of pieces and patterns, and the ongoing partnerships with America’s most venerated historic properties. Wendy Kvalheim has served as president and design director of Mottahedeh for more than thirty years, continuing the legacy of the company founded a century ago by Mildred and Rafi Mottahedeh. Known for its museum-quality reproductions and collaborations with storied institutions like Winterthur, Colonial Williamsburg, and Mount Vernon, Mottahedeh remains the premier name in ceramic reproductions.
Wendy’s artistic journey began at Mt. Holyoke College, where she studied education and psychology before earning a BFA in sculpture from Pratt Institute. Her training in art history, design, ceramics, and printmaking informs many of the patterns and designs in the Mottahedeh collection. Her leadership and creative vision have helped preserve Mottahedeh’s rich heritage while continuing to evolve its design legacy for new generations.
She and her husband Grant have traveled to over seventy- five countries, drawing inspiration from global cultures and traditions. Wendy is also a passionate cook, known for her legendary cookies—some of which are featured in her book Splendid Settings: 100 Years of Mottahedeh Design (2024),
published by Pointed Leaf Press. Book signing to follow lecture.
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AMERICANA INSIGHTS LECTURES Saturday, November 8 | 4:00–5:00 pm
Lisa Minardi , Editor, Americana Insights, and Executive Director, Historic Trappe From Hubener to Medinger: Redware Potters of Southeastern Pennsylvania Lisa Minardi will delve into the work of Georg Hubener and Jacob Medinger, among the first and last of the traditional Pennsylvania German potters, in conjunction with her essays on their work in Americana Insights 2025 . She will also give an overview of the companion exhibition From Hubener to Medinger: Redware Potters of Southeastern Pennsylvania , on view at Historic Trappe from November 8, 2025, to March 29, 2026.
Laini Farrare , Mary Church Terrell Fellow, History Department, University of Delaware ‘God Bless You All in Food and Drink’: Sgraffito Teaware in Pennsylvania Join Ph.D. student scholar Laini Farrare as she explores a small group of remarkable graffito-decorated redware from the Winterthur collection that blends Germanic decoration with Anglo-American ceramic traditions. Farrare reveals how these highly decorated objects challenge assumptions about cultural identity in eighteenth-century southeastern Pennsylvania, uncovering the region’s fluid and hybrid design vocabularies across ethnic, linguistic, and racial lines.
Christopher Malone , Curator, Historic Trappe Black, White, and Green All Over: The Potter Once Known as Solomon Grim
Christopher Malone will reveal groundbreaking new evidence about redware pottery formerly attributed to Solomon Grim of Berks County, Pennsylvania. Through linguistic examination and a careful study of the pottery’s provenance, this vibrant work now finds a new place in history.
Americana Insights 2025 is the third volume in an annual series that presents the latest research and discoveries on traditional Americana, folk art, and material culture. Today’s speakers are featured in the third annual edition, in addition to the following: Johanna Brown, R. Erich Hess, Karl Pass, Candace Perry, Jeffrey Pressman, Jean Renshaw, Justin Thomas, Adam Zayas. Edited by Lisa Minardi. October 2025. Book signing to follow lecture.
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Winterthur Program in American Material Culture Presents
Sunday, November 9 | 2:00 pm–3:30 pm STUDENT SCHOLARS
Each year the Delaware Antiques Show highlights the research of Lois F. McNeil Fellows from the Winterthur Program in American Material Culture. Winterthur and the University of Delaware, with the full support of Henry Francis du Pont, established this graduate program in 1952 to promote the interdisciplinary study of American decorative arts and material culture. The program’s alumni hold distinguished positions internationally in museums, antiques and auction houses, preservation organizations, historical societies, colleges, and universities, and libraries.
Eleanor Shippen, Lois F. McNeil Fellow An American Story: Interpreting Regionality in an East Tennessee Desk
By 1796, migration along the Great Wagon Road had introduced sizable numbers of craftspeople trained in Pennsylvania, Virginia, North and South Carolina, Maryland, and Kentucky to the new state of Tennessee. Shippen examines an Early Republic fall-front desk and discusses how the variety of attributions applied to its origins illuminates the interconnected nature of cabinetmaking traditions in the American South and provides exciting opportunities for future interpretation.
Ashley Vernon, Lois F. McNeil Fellow Just Being Theatrical: Elements of the Stage Portrayed on Delftware Tiles
A visual language once connected to the stage is depicted in a Sadler and Green theatrical series delftware tile from the Winterthur collection. Vernon explores its enchanting characteristics and discusses the literary ties between Shakespeare’s works and the transfer-printed design. Drawing from print sources, she shows how this series goes beyond decoration to evoke a visual reminder of the enduring narratives of the theatre.
Student Scholars lectures sponsored by
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An American Story: Interpreting Regionality in an East Tennessee Desk Eleanor Shippen, Lois F. McNeil Fellow Since its 1957 bequest by Henry Francis du Pont, a striking fall-front desk, made in 1808 and embellished with polychrome inlay in a rich walnut case, has prompted much scholarly interest (fig. 1). Its distinctive construction features and decoration have led furniture historians to assign a range of geographic attributions. Originally thought to have been made in Western Pennsylvania, more recently, scholars have shifted its probable origin further south and west on the Great Wagon Road—a vital artery of commerce and migration in the eighteenth and early nineteenth centuries stretching from Philadelphia into the southeastern United States. Currently attributed to Washington County, Tennessee, the desk now stands as one of the few objects in the Winterthur collection made in that state, opening new avenues for interpreting not only this enigmatic piece, but also the material culture landscape of the Southern backcountry in the Early Republic. Lowering the fall board reveals an intricately inlaid prospect door inscribed with the date 1808, twelve years after Tennessee joined the Union as the sixteenth state in 1796. East Tennessee, one of the state’s three geographic ‘grand divisions,’ experienced heightened migration in the mid-eighteenth century. This desk demonstrates the subsequent amalgamation of the region’s English, Scots- Irish, and German settlers. Important to consider too, but perhaps less overt, are probable contributions from both free and enslaved Black community members and craftspeople. The desk’s design, from its molded fall board to its five graduated case drawers, prospect with central compartment, document
drawers, and pigeonholes, was informed by these communities’ techniques and design inspirations. The decoration reflects converging craft traditions. Apprentices, journeyman, and immigrants moved from Philadelphia and its hinterlands to southeastern counties in Maryland, Virginia, and Tennessee at the head of the Great Wagon Road, where a Pennsylvania German presence emerged in the mid-1700s. Following
Fig. 1. Desk, Washington County, Tennessee, 1808. Bequest of Henry Francis du Pont 1957.1099
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du Pont’s purchase from antiquarian Joseph Kindig, Jr. in the 1950s, the desk was placed in Winterthur’s Pennsylvania German Bedroom. The desk’s exuberant red, green, and untreated lightwood inlay dances across dark walnut, creating an almost kaleidoscopic effect with the scalloped border surrounding the profile (fig. 2). This inlay may explain this initial attribution, given du Pont’s and other mid-century Americana collectors’ familiarity with, and fondness for, the bright, hand-painted decoration often adorning Pennsylvania German furniture, a detail that likely overshadowed any potential Tennessee attributions. Elizabeth Dahill, a field researcher for the Museum of Early Southern Decorative Arts, challenged the Pennsylvania German attribution in 1973, proposing the desk instead originated in North Carolina’s Piedmont region. Dahill connected local designs to those observed on Pennsylvanian German furniture, such as quarter fan motifs, seen also on pieces like Winterthur’s 1834 fall-front desk from Pennsylvania’s Mahantongo Valley cabinetmaker Jacob Maser. 1 Widespread use of tulip poplar and walnut by backcountry cabinetmakers also complicates a definitive regional attribution. Southeast Pennsylvanian and northern Shenandoah Valley makers shared these common primary and secondary woods with their counterparts in Wytheville, Virginia, and northeast Tennessee. Decorative and structural elements similarly cross-pollinated as high-style and plain furniture became available locally in towns along the Great Wagon Road by the early nineteenth century. Styles popular in the late eighteenth century, such as the rococo imaginings of Thomas Chippendale, informed furniture design and experienced regional adaptation with increased separation from design sources. Kindig, Jr.’s location of the desk in Wytheville demonstrates this regional interchange. In his 1997 article, Wallace Gusler connected the desk to late eighteenth-century examples from the Winchester, Virginia-based cabinetmakers Christopher Frye and James Lee Martin, with comparable treatment of valanced pigeonholes and the mirrored placement of two secret compartments. 2 Carved scalloped decoration on a circa 1790–1800 secretary and bookcase attributed to Moses Crawford, Tennessee’s earliest documented cabinetmaker,
Fig. 2. Interior of desk.
1 Elizabeth Dahill, “A Piedmont Desk in the Winterthur Museum.” Winterthur Museum. August 28, 1973. 2 Wallace Gusler, “The Furniture of Winchester, Virginia.” American Furniture 1997 . Accessed April 5, 2025. https://chipstone.org/article.php/290/American-Furniture-1997/The-Furniture-of-Winchester,-Virginia
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3 Michael W. Bell, “‘First Rate & Fashionable’: Handmade Nineteenth Century Furniture at the Tennessee State Museum,” Tennessee Historical Quarterly 62 , no. 1 (2003). http://www.jstor.org/stable/4262852 4 Amber M. Clawson, “The McAdams Family of Cabinetmakers and the Cultural Palette of East Tennessee’s Rope and Tassel School of Furniture,” Museum of Early Southern Decorative Arts Journal, 2017. https://www.mesdajournal.org/2016/the-mcadams-family-of-cabinetmakers-and- the-cultural-palette-of-east-tennessees-rope-and-tassel-school-of-furniture/ 5 Asa Earl Martin, “THE ANTI-SLAVERY SOCIETIES OF TENNESSEE.” Tennessee Historical Magazine 1, no. 4 (1915): 261–81. http://www.jstor.org/stable/42637323. evidences the influence of Shenandoah Valley makers throughout Tennessee. A fixed rail, mitered to the front of each chamfered corner edge, is a potentially diagnostic structural detail mirrored in two desks, dated between 1795 and 1805, from Middle Tennessee cabinetmaker Joseph McBride. The ebullient presence of inlay throughout the desk, however, consistently connects the desk to eastern Tennessee. After 1790, inlaid furniture abounded and East Tennessee cabinetmakers responded accordingly, looking to figural inlay seen on Baltimore Federal furniture. 3 In her 2015 dissertation, Amber Clawson Albert traces the desk to Washington and Greene counties’ Nolichucky River Valley rope and tassel school, a body of early nineteenth-century East Tennessee case furniture with elaborate inlay, and Hugh McAdams’s cabinetmaking shop. The inlaid bellflowers, diamonds, and enclosed quatrefoil forms with intertwined ribbons closely relate to inlaid decoration on other case furniture by McAdams. A silhouette profile included on the prospect center door, one of the most unusual and striking features of the inlaid decoration, further strengthens the attribution to McAdams. Whether an image of the owner, or a perhaps contemporary political figure, the sitter’s identity has yet to be determined. Tantalizingly, McAdams’ 1815 estate sale lists a physiognotrace, a device used to cut profiles, among his cabinetmaking tools. Albert describes how McAdams, a War of 1812 veteran, may have “[celebrated] America via his craft,” identifying the desk’s inlaid eagle as a national symbol with personal significance. 4 Comparable interpretation can be seen at Winterthur, with the desk’s profile and “1808” date potentially referencing James Madison’s successful presidential election. The fallboard’s prominent patriotic inlay and “Liberty” encircling the profile could also speak to a maker or owner’s anti-slavery beliefs, as abolitionist sentiment traveled westward with settlers along the Great Wagon Road. The early nineteenth century saw nationwide actions against slavery; Congress prohibited the importation of enslaved people on January 1, 1808, and in 1797, a letter written by Quaker minister, Pennsylvania immigrant, and East Tennessee resident Thomas Embree describes a meeting among “...citizens of Washington and Greene counties…for the purpose of forming abolition societies in East Tennessee modeled after those in Philadelphia, Baltimore, Richmond and Winchester.” 5 This desk is a celebration of the migrations, makers, and movements that shaped it. Efforts to determine a regional ‘identity’ have instead revealed an American story that will continue to be told with each new question asked of it.
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Just Being Theatrical: Elements of the Stage Portrayed on Delftware Tiles Ashley Vernon, Lois F. McNeil Fellow
In a small room tucked away at Winterthur Museum, nineteen tin-glazed earthenware (delftware) wall tiles are handsomely displayed around a fireplace. Created in Liverpool around 1777, the molded tiles were decorated through the process of copper plate printing. While each one shows a different actor or actress, the eye is drawn to one positioned in top center. A printed image of the actress Mrs. Lessingham in the character of Ophelia takes “center stage.” The title printed across the top and bottom edges of the tile identifies the actress and her role for modern-day eyes; however, at the time of its creation between 1770–80, those who had visual literacy of the stage would not have needed this label. The same rings true for other visual elements depicted on the border of the tile. Credited with creating the transferware process as we know it today, John Sadler and Guy Green began their official partnership in 1761 in Liverpool, England. Trained as printers, they both found themselves making a career out of spurring advancements in pottery. In 1770, Sadler left the manufactory, which continued to operate under Green until 1780. It was during Green’s tenure that two series
of theatrical tiles were introduced by the company. 1 The earliest of these was created by Green’s intern Richard Abby. While utilizing the same print inspiration for the tiles, Abby’s tiles boasted a much simpler border composed of a single swag of garland on each edge. 2 The latter series, from which the museum’s tiles originate, depicts a more intricate border. Thus, it is likely that Green created this design as he reprinted the series for a new audience. Much like modern celebrities, the lives of the individuals portrayed in this tile series were well known to the public. It would have been common knowledge that Mrs. Lessingham was the stage name of Jane Stott (born Hemet) and
1 Anthony Ray, Liverpool Printed Tiles (London: Jonathon Home Publications, 1994). 2 Ibid.
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that she played Ophelia on Drury Lane in 1772. 3 Notably, Ophelia was not her only known role, as it is said that she played in both comedies and tragedies. Interestingly, the public did not always receive her tragic performances well. 4 This makes it all the more interesting that she is captured in the tragic role of Ophelia on this tile. The decision to print her in this role appears to have been influenced by the timing of publication, as the original source material for these tiles can be traced to the literary world. Many of the tiles in this series display imagery that was originally introduced in John Bell’s edition of Shakespeare’s Plays . The artist, Charles Grignion, created the imagery for these books, and seems to have based his prints on the drawings by James Roberts II. 5
In contrast, the border of this tile looks to be an original design by Guy Green. It is here that we begin the discussion of theatrical motifs and the related visual language. On the right side of the tile, we see more traditional motifs for theater, such as the comedy and tragedy masks. Next are the lyre and a panpipe (syrinx), often connected to storytelling and theater, and attributed to the God Hermes in mythology as their creator. 6 Appropriately, the item immediately above these appears to be Hermes’ caduceus, or staff. This emphasizes the representation of 3 “Mrs Jane Lessingham.” British Museum, https://www.britishmuseum.org/collection/term/BIOG73649. Accessed July 2, 2025 4 Ibid. 5 Ibid. 6 John F. Miller and Jenny Strauss Clay, eds. Tracking Hermes, Pursuing Mercury (Oxford, Eng.: Oxford University Press, 2019), pp. 34, 80.
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heraldry and storytelling, actions associated with the theater that fall under the realm of Hermes as the messenger god. 7 On the left-hand side, in contrast, the objects represented move beyond the traditional representations of theater and take a more specific lens. An inverted crown floats near the bottom corner of the tile; the crown is often interpreted in Shakespeare’s plays as representing power and the internal conflict it can bring, as is famously described by the bard’s King Henry IV, who, while battling unease and insomnia, laments, “Uneasy is the head that wears the Crown.” 8 Above the crown, we see a full quiver of arrows and a bow, specifically known as a Tartar’s bow. This type of bow is referenced in A Midsummer Night’s Dream , where Robin states he will be “swifter than an arrow from the Tartar’s bow.” 9 The quiver full of arrows and the bow in a relaxed position suggest the scene is capturing a moment in between actions. Aside from the bow, the top-most object on this side of the border is a torch. Mentioned frequently within Shakespeare’s plays, torches often reference guiding, such as in The Merchant of Venice , when Lorenzo asks Jessica to be his “torch- bearer” at Bassanio’s party. 10 They can also, however, be tools to depict intense emotion, such as love, that, when extinguished, portray to an audience a change in feeling, a shift in the story, or an approaching tragedy. While this border is full of significant imagery, there is a rigidity to it. The instruments are not being played, the crown is overturned, and the torch depicted as lit or recently extinguished suggests that these items are tools used to transition between comedy and tragedy, success and failure, peace and discord. Thus, the border positions the viewer in a moment between acts and scenes, in which the agency of the objects relies on the actor depicted on the tile, and the ever-important interpretation of the viewer. The discussions around the theatrical visuals of the tile gave them meaning. One can simply imagine the inspired conversation that surrounded them. 7 Ibid. 8 William Shakespeare, Henry IV, Part II, ed. Peter Davison, foreword by Adrian Poole (London: Penguin Books, 2005), 3.1. References are to act and scene. 9 William Shakespeare, A Midsummer Night’s Dream (Cambridge, Eng.: Chadwyck-Healey, 1994), 3.2. Reference is to act and scene. 10 William Shakespeare, The Merchant of Venice , eds. Raffel Burton and Harold Bloom (New Haven, Conn.: Yale University Press, 2006), 2.4. Reference is to act and scene. Each year, student scholars from the Lois F. McNeil Fellows in the Winterthur Program in American Material Culture are invited to write and present their research at the Delaware Antiques Show.
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ANTIQUE FRENCH FINE ARTS FRENCH DECORATIVE ARTS, FRENCH IMPRESSIONIST & POST IMPRESSIONIST PAINTINGS
Thierry Doussiere Marseille, France 443.370.0949 info@antiquefrenchfinearts.com antiquefrenchfinearts.com BOOTH 19
Elisée Maclet (French, 1881–1962) Butte Montmartre in Paris Oil on panel, framed 28 x 34 inches, signed on the right
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ARADER GALLERIES 1308 Walnut Street, Philadelphia, PA 19107 215.735.8811 loricohen@aradergalleries.com aradergalleries.com BOOTH 2
John James Audubon (1785–1851) Plate 76, Virginia Partridge from Birds of America Engraved by Robert Havell (1793–1878) Published: London, 1827–1838 Aquatint engraving with original hand coloring
Paper size: 26⅝ x 39⅜ inches Frame size: 37 x 49½ inches
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ARONSON OF AMSTERDAM Amsterdam, The Netherlands
011.31.20.623.3103 mail@aronson.com aronson.com BOOTH 60
Pair of Blue and White Fan-Shaped Flower Vases Delft, circa 1710 Marked LVE in blue for Lambertus van Eenhoorn, the owner of De Metaale Pot (The Metal Pot) factory from 1691 to 1721 Height: 28.6 cm (11.3 inches) Provenance: Belgian Private Collection
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AVERY GALLERIES Avery Galleries, Bryn Mawr 100 Chetwynd Drive, Bryn Mawr, PA 19010 610.896.0680 Avery Galleries, New York 14 East 60th Street, Suite 807, New York, NY 10022 929.625.1008 info@averygalleries.com • averygalleries.com BOOTH 21
LaVerne Nelson Black (1887–1939) Taos
Oil on board mounted on aluminum 8⅛ x 10⅛ inches (20.6 x 25.7 cm) Signed and titled lower left: LaVerne Nelson Black / Taos
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BARBARA ISRAEL GARDEN ANTIQUES Katonah, NY By appointment • 212.744.6281 eva@bi-gardenantiques.com • bi-gardenantiques.com BOOTH 36
A small carved sandstone wellhead of octagonal form with cylindrical interior, ornamented with a checkerboard motif and bands of dentils, Indian (Agra region), mid-18th century, 21 inches high, 29½ inches overall diameter.
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BETTY KRULIK FINE ART, LTD. AMERICAN ART 1850–1980 917.582.1300 bkrulikfineart@gmail.com bkrulikfineart.com BOOTH 11
Thomas Hart Benton (American, 1889–1975) Elements of Sea and Sky, ca. 1925–26 Oil on canvas laid down on masonite, with aluminum frame inset in wood panels 67 x 79⅛ inches (each panel 67 x 20 inches)
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A BIRD IN HAND ANTIQUES P.O. Box 236, Florham Park, NJ 07932 973.410.0077 • Ron’s Cell: 973.951.0704 • Joyce’s Cell: 201.463.2022 antiques@abirdinhand.com • abirdinhand.com BOOTH 15
Grenfell Mission Silk Stocking Mat Salmon A striking-colored mat of a leaping salmon. 26½" Wide by 29½" High Circa 1930
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BRIAN CULLITY ANTIQUES P.O. Box 595, Sagamore, MA 02561 508.888.8409 landline only brian@briancullity.com • briancullity.com BOOTH 48
Steal not this box for fear of shame for above you see the owner’s name. Abraham Higgins Barnstable June the 9th yr 1757 A brass snu box, one of only two known signed objects made by the colonial silversmith who apprenticed under Moody Russell. Higgins, born in Eastham in 1738, died in 1761 in Barnstable.
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CHRISTOPHER H. JONES EARLY AMERICAN ANTIQUES, FOLK AND FINE ART 105 North Washington Street, Suite 202, Alexandria, VA 22314 703.622.9978 chris@christopherhjones.com • christopherhjones.com BOOTH 45
Virginia Cellaret Circa 1800 40 x 16 x 20½ inches A fine example of an iconic southern form
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DANIEL & KAREN OLSON 1445 Route 300, Newburgh, NY 12550 914.474.1736 olsonantiques@gmail.com daniel-karenolsonantiques.com BOOTH 22
Late 18th century American fan back Windsor chair, 36½" tall; 17" seat height. Spectacular mid-19th century coach paint decoration of salmon and green paint with a large butterfly painted on the crest. Numerous other abstract painted butterflies throughout.
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DAVID BROOKER FINE ART 113 Main Street South, Woodbury, CT 06798 203.232.2807 info@davidbrooker.com • davidbrooker.com BOOTH 42
Henry Bernard Chalon (English, 1770–1849) Racehorse with Owner and Groom, Newmarket, 1804 Oil on canvas 30 x 50 inches Ex. Richard Green, London
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DAVID A. SCHORSCH-EILEEN M. SMILES FINE AMERICANA 358 Main Street South, Woodbury, CT 06798 203.982.7574 contact@schorsch-smiles.com • schorsch-smiles.com BOOTH 30
Harriet Guilford (1861–1953) Cat Seated on a One-Armed Rocker Probably Alleghany County, New York, 1884 Oil on artist board, 21 x 17½ inches, in original gilt frame Signed lower right: H. Guilford / 1884
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DIANA H. BITTEL Bryn Mawr, PA 19010
Tel/Fax: 610.525.1160 • Cell: 610.715.1595 dhbantique@aol.com • dianabittel.com BOOTH 12
19th century oil on board of Adam in the Garden of Eden naming the animals, circa 1840, 26¼ x 25¾ inches.
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DIXON-HALL FINE ART 130 Potters Pond Drive, Phoenixville, PA 19460 610.935.2570 dixonhall@verizon.net • dixonhallfineart.com BOOTH 10
Elizabeth Osborne (b. 1936) Girl Sleeping, 1961
Oil on canvas, 48 x 50 inches Signed upper right: Osborne Exhibited: 157th Annual exhibition of Painting and Sculpture, PAFA, 1962 Awarded: Mary Smith Prize, 1962
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D. M. DELAURENTIS FINE ANTIQUE PRINTS Denise De Laurentis Doylestown, Pennsylvania 215.469.0830 denise@fineantiqueprints.com fineantiqueprints.com BOOTH 46
Wonderful early hand colored citrus engraving by Johann Volckammer included in his influential work Nurnbergische Hesperides (“Heavenly Fruits”), published in Nuremberg between 1708 and 1714.
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DOLAN / MAXWEL 2046 Rittenhouse Square, Philadelphia PA, 19103 267.255.1691 joneckel@dolanmaxwell.com • info@dolanmaxwell.com dolanmaxwell.com BOOTH 58
Lois Mailou Jones (American, 1905–1998) View of a Town in France, 1937 Oil on linen, 21 x 25½ inches Signed & dated recto; annotated “France”
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EARLE D. VANDEKAR OF KNIGHTSBRIDGE, INC. By appointment
P.O. Box 586, Downingtown, PA 212.308.2022 • cell: 917.576.1354 info@vandekar.com • vandekar.com BOOTH 57
Chinese Export Porcelain Famille Rose Teapot Stand, European Man and Dog, circa 1740–50 Dimensions: 5⅝ inches diameter
Reference: La Porcelaine Des Compagnies Des Indes: A Decor Occidental, François et Nicole Hervouet & Yves Bruneau, page 101, item 4.64. for the pattern.
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ELLE SHUSHAN By appointment Philadelphia, PA 215.587.0000 BOOTH 33
Mrs. Moses B. Russell (1809–1854) Portrait of Harley Eugene Jenness, 1852 4½ inches high
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ELLIOTT & GRACE SNYDER 37 Undermountain Road, Sputh Egremont, MA 01258 413.528.3581 • Cell: 413.441.4065 info@elliottandgracesnyder.com • elliottandgracesnyder.com BOOTH 14
An exceptional needlework casket depicting the five senses on three sides, and a very rare tent stitch panel on the reverse representing two scenes from the Old Testament. Superb quality needlework with a large variety of stitches; in excellent color and condition. Comes with original carrying case. England, ca. 1650–60.
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FRANCIS J. PURCELL, INC. 251 N. 3rd Street, Philadelphia, PA 19106 267.496.8161 fjpurcell2@aol.com • francisjpurcell.com BOOTH 52
FOUNTAIN, MARBLE 3 YOUNG BOYS & BOY WITH FISH C. 1900 A fine and rare hand carved English and Continental white marble water fountain. The base is carved with flowing water above the pedestal with three young boys mounted on top is a three lobed fountain bowl carved from one piece of marble, also having a moulded edge. Above is a boy with spouting fish which is signed by the 19th C. Firenze Italian artist “P. Bozzanti” The fountain is piped for water and is a most rare survival. Provenance: Crowther of London Note: Small repairs and restorations as found in a piece of the is age. The bottom base pedestal was added at one point to raise and protect the entire fountain from the effects of the base pool of water. A great Garden item.
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GLEN LEROUX 51 Riverside Avenue, Westport, CT 06880 203.227.8030 • Cell: 203.451.0454 Find us on 1st Dibs and Incollect BOOTH 54
Mid Century Modern, 20th Century Decorative Arts and Estate Jewelry
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G. SERGEANT ANTIQUES 289 Main Street South, Woodbury, CT 06798 203.266.4177 gary@gsergeant.com • gsergeant.com BOOTH 5
A rococo commode attributed to Wright and Elwick. England, circa 1760
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THE HANEBERGS ANTIQUES East Lyme, CT By appointment 860.389.1908 chaneberg@aol.com • hanebergsantiques.com BOOTH 29
American Silver Tankard By Benjamin Hiller (1687–1745) Boston, Mass.
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HILARY & PAULETTE NOLAN Falmouth, MA 508.548.0127 hpnolan@mac.com BOOTH 47
Bannister Back Sidechair with rare distinctive features. From a small group originating from the same shop. Salem, MA origin Circa 1720–1730 Height: 48¼"; Seat Height: 18" For a nearly identical chair see: New England Furniture the Colonial Era, plate 85
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H.L. CHALFANT American Fine Art & Antiques 1352 Paoli Pike, West Chester, PA 19380 610.696.1862 hlchalfant.com BOOTH 35
A PHILADELPHIA MASTERPIECE! Mahogany, highly carved, circa 1765–75
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HOLLIS E. BRODRICK Arts & Artifacts of Early New England By appointment 171 Washington Street, Portsmouth, NH 03802 603.828.6158 hollisantiques@gmail.com BOOTH 48
Two early English salt glazed figures of a man and a woman ca. 1740, a rare Birmingham export sheet iron candlestick with an octagonal base by Thomas Lakin, ca. 1720s to 1750s, and an American Revolutionary War bond certificate engraved by Nathaniel Hurd, ca. 1777.
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ITA J. HOWE Ming and Early Qing Porcelain 5565 Landis Mill Road, Bethlehem, PA 18015 484.241.7349 idhowe@ptd.net • itahowe.net BOOTH 39
An exemplary collection of Chinese porcelain of the Kangxi period, 1662–1722 Height 4"–5"
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JAMES L. PRICE ANTIQUES P.O. Box 919, Carlisle, PA 17013 717.448.9272 jamie@priceantiques.com BOOTH 44
WHAT’S IN YOUR POCKETBOOK? Circulated 1764 Pennsylvania Ben Franklin issue three pence note with Thomas Wharton signature
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JAMES M. KILVINGTON, INC. P.O. Box 4666, Greenville, DE 19807 302.270.1869 BOOTH 13
A rare Philadelphia bannister back arm chair. Presented in original condition including the surface. A most unusual combination of New England and Delaware Valley elements. The most interesting is the New Hampshire style crest. Documented to Philadelphia by wood analyst (white cedar of the type that grows along the Delaware river).
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JAMES ROBINSON, INC. Antique Jewelry ~ Silver ~ Objets ~ Porcelain ~ Glass
NEW YORK 480 Park Avenue • 212.752.6166 NANTUCKET 2 S. Beach Street • 508.825.8909 info@jrobinson.com • jrobinson.com BOOTH 27
Selection of Antique Jewelry, Circa 19th Century
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JANICE PAULL International Specialist in English Ironstone China, Oriental Textiles & Art Opera House Art & Antiques 304 Delaware Street, New Castle, DE 19720 201.960.0363 janicepaull@yahoo.com • janicepaull.com BOOTH 55
Mason’s Ironstone China, ca. 1830 Pair of Cornucopia, 13" high, Large Bowl
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JAYNE THOMPSON ANTIQUES 847 Kennedy Bridge Road, Harrodsburg, KY 40330 859.748.5628 • Instagram: @jaynethompsonantiquesdesign info@jaynethompsonantiques.com • jaynethompsonantiques.com BOOTH 53
A GEORGE III PERIOD CHEST ON STAND Oak with mahogany cross-banding on the drawers. Irish, circa 1760. 44½" wide, 23½" deep, 75" high
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JEFF R. BRIDGMAN ANTIQUES, INC. Historic York County, PA 717.676.0545 info@jeffbridgman.com jeffbridgman.com BOOTH 3
Homemade WWII flag w/ 23 silver gilt stars on a cornflower blue canton & 16 stripes, made by French citizens to welcome U.S. troops on the coast of France following liberation from the Nazi’s, in the wake of the 1944 Normandy invasion. Found in Brittany, in Le Conquet, the westernmost town on the French mainland, liberated by the Free French & the 5th Army Ranger Battalion in early September.
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JEFFREY TILLOU ANTIQUES 39 West Street, Box 1609, Litchfield, CT 06759 860.567.9693 • Fax: 860.567.8526 jeffrey@tillouantiques.com • tillouantiques.com BOOTH 59
Eagle Weathervane L. Jewell & Co., Waltham, Massachusetts (1852–1867) Circa 1860 Molded copper, iron rods, cast zinc head and feet 24¼” h; 22¾” w; 40” l This rare and imposing size eagle weathervane remains in excellent condition and retains an exceptional verdigris surface.
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JONATHAN TRACE P.O. Box 420, Portsmouth, NH 03801 By appointment 603.431.1197 • Cell: 914.282.0679 jtraceantiques@mac.com BOOTH 34
Rare American Dredger Jacob Hurd, Boston, circa 1730
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KELLY KINZLE 9 Center Square, P.O. Box 235, New Oxford, PA 17350 717.495.3395 kelly@kellykinzleantiques.com • kellykinzleantiques.com BOOTH 8
Lydia Darragh’s Chair American Revolutionary War Spy and Patriot
When General Howe occupied Lydia Darragh’s parlor to hold a secret meeting, Lydia, a Quaker patriot hid in a closet and overheard Howe’s plans for his surprise attack on Washington’s forces at Whitemarsh. On December 3, 1777 Darragh passed through the British lines to the Rising Sun Tavern where Colonel Elias Boudinot received her information, allowing Washington to repel the attack and causing Howe to withdraw. Descended in the Darragh family. Philadelphia, mahogany, circa 1770, 38" high.
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LEVY GALLERIES New York, NY 917.841.3824 frank@levygalleries.com • levygalleries.com BOOTH 9
Fine Federal Flame Birch Inlaid Bow Front 12-Panel Chest Portsmouth Circa 1795 Primary Woods: Mahogany, Flame Birch Secondary Woods: White Pine
Height: 38 inches Width: 38½ inches Depth: 21 inches
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LILLIAN NASSAU LLC 220 East 57th Street, New York, NY 10022 917.863.5649 info@lilliannassau.com • lilliannassau.com BOOTH 26
Tiffany Studios Wisteria Table Lamp American, circa 1905 27" high, 18" diameter
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MARCY BURNS AMERICAN INDIAN ARTS, LLC Quality American Indian Basketry, Pottery, Textiles & Jewelry 520 East 72nd Street, Suite 2C, New York, NY 10021 Open by appointment only • 212.439.9257 • Cell: 917.710.8635 info@marcyburns.com • marcyburns.com BOOTH 16
Navajo (Diné) Pottery Jar 6¼" d x 5¼" h By Alice Cling Ex: Private collection
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MARTYN EDGELL ANTIQUES LTD. Nassington, United Kingdom +44 7802 408 501 martyn@martynedgell.com • martynedgell.com BOOTH 43
Staffordshire figure of a slave set free from his chains “Bless God Thank Briton Me No Slave” circa 1820.
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NATHAN LIVERANT AND SON, LLC 168 South Main Street, P.O. Box 103, Colchester, CT 06415 860.537.2409 mail@liverantantiques.com • liverantantiques.com BOOTH 32
President John Quincy Adams holding the Declaration of Independence. American, 1830–1840 Unsigned Oil on canvas
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THE NORWOODS’ SPIRIT OF AMERICA Doug and Bev Norwood Timonium, MD 410.252.2012 • Cell: 410.960.1311 spiritofamerica@comcast.net BOOTH 50
Beautifully rendered 19th century table cover, professionally mounted.
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OLDE HOPE American Folk and Decorative Arts of Distinction P.O. Box 718, New Hope, PA 18938 115 East 72nd Street, New York, NY 10021 215.297.0200 info@oldehope.com • oldehope.com BOOTH 7
SHIP WEATHERVANE Found in Maine, ca. 1870–1890
Molded sheet copper, copper wire and wood retaining traces of the original gilding and weathered surface. H. 26"; L. 37"
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OLIVER GARLAND Falmouth, Massachusetts 774.255.0199 odgarland@gmail.com Instagram: @oldantiquariumantiques BOOTH 40
Exquisite Repousse Relief Silver Miniature Portrait of King Charles II ca. 1660–80s 5" including frame
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THE PARKER GALLERY Hampshire, England +44 7920 772 328 archie@theparkergallery.com theparkergallery.com BOOTH 56
John Nost Sartorius (1759 – 1828) A huntsman with Dogs and a Pony
Oil on canvas 26 x 37 inches
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PETER PAP RUGS Dublin, New Hampshire • San Francisco, California 603.563.8717 • 415.956.3300 inquiries@peterpap.com • peterpap.com BOOTH 38
Ziegler Mahal Carpet, Persia, circa 1880, 13' × 15' 8" Purchased originally from the Harvey Nichols store in London 1896, then sold at the famous Elveden Hall auction in England in the 1980s. These are one of the most iconic and desirable Persian rugs of the 19th century.
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RALPH M. CHAIT GALLERIES, INC. 16 East 52nd Street, 10th Floor, New York, NY 10022 212.397.2818 info@rmchaitgal.net rmchait.com BOOTH 31
Chinese Blue and White Porcelain Bowl Kangxi period, ca. 1700 Decorated on the exterior with scenes from the famed Romance of the Western Chamber. Diameter: 8¼ inches (21 cm) Height: 4 inches (10 cm)
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ROGER D. WINTER, LTD. Bucks County, PA 267.614.0056 rdwantiques@hotmail.com rdwantiques.com BOOTH 41
William IV Mahogany Dining Table A fine William IV mahogany three-pedestal dining table Size: 53" w x 162" l (ext’d) x 29" h — seats 12–14 Circa 1830, England Other dining tables available
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R. M. WORTH ANTIQUES P.O. Box 468, Chadds Ford, PA 19317 New brick and mortar location: 5714 Old Kennett Pike, Centreville, DE Open Wednesday thru Saturday, 11–5, or by appointment 610.793.7777 • Cell: 610.368.1746 rmw4040@aol.com • rworthantiques.com BOOTH 18
All Original, elaborately grained two-part corner cupboard. Eastern Pennsylvania, circa 1830s.
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SCHILLAY FINE ART, INC. 520 East 72nd Street, New York, NY 10021 212.861.8353 richard@schillay.com schillay.com BOOTH 28
Antonio Matallana (b. 1953) Theorene egg tempera on wood, 10⅝ x 14 inches signed
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SCHOONOVER STUDIOS, LTD. 1616 N. Rodney Street, Wilmington, DE 19806 302.656.0135 • mobile: 302.753.9685 studios@dca.net • schoonoverstudios.com BOOTH 1
So, I Drifted Away to Seaward, 1914 By Frank E. Schoonover Oil on canvas, 40 x 30 inches Story: “The Poison Ship”, Harper’s Magazine, May 1915 # 614a in the Catalogue Raisonne
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SCHWARZ GALLERY 1806 Chestnut Street, Philadelphia, PA 19103 215.563.4887 mail@schwarzgallery.com • schwarzgallery.com BOOTH 6
Francis Speight (American, 1896–1989) White House: Coaldale, PA Oil on canvas, 22 x 26 inches Signed at lower right: “Francis Speight”
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SCOTT BASSOFF, SANDY JACOBS ANTIQUES Swampscott, Massachusetts 603.801.5532 sandyjnh1@gmail.com • Instagram: @sandyjacobsantiques BOOTH 49
Exceptional 18K yellow gold necklace with rubies and diamonds
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