NOVEMBER 15–17, 2024
Proudly Offers Funding Opportunities for Emerging Scholars and Cultural Institutions:
The Prize for Excellence and Innovation Curatorial Internships Publishing Research Exhibitions Object Conservation Continuing Education Scholarships
Visit decorativeartstrust.org/grants for deadlines and details
SCHEDULE OF EVENTS FRIDAY | NOVEMBER 15 Show hours: 11:00 am–6:00 pm
SATURDAY | NOVEMBER 16 Show hours: 11:00 am–6:00 pm Keynote Lecture & Book Signing | 10:00 am Barbara Frelinghuysen Israel, Uprooted Elegance: The Surprising Journey of American Garden Ornament Student Scholars Lectures | 2:00 pm Steven Baltsas , Of the Earth: Neoclassicism and Natural History in a Philadelphia Center Table Lanah Swindle , “To Imitate China”: A Close Reading of a Pair of Eighteenth-Century Hand Screens Graham Titus , Performance and Pleasure at the Early Modern Table
Student Scholars lectures sponsored by
SUNDAY | NOVEMBER 17 Show hours: 11:00 am–5:00 pm Lectures & Book Signing | 2:00 pm Christopher Malone , A Landscape of Peace, Prosperity, and Despair: Charles C. Hofmann’s Paintings Along the Schuylkill River Trevor Brandt , Importing Style: The Decoupage Fraktur of Friedrich Krebs
All lectures are included with show admission.
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DELAWARE ANTIQUES SHOW 2024 SPONSORS
PRESENTING
STUDENT SCHOLARS LECTURES
MEDIA AND IN-KIND PARTNERS
American Fine Art Magazine Barone Fini
Delaware Today, The Hunt, Main Line Today Prepress and Printing by Incollect Magazine
SAVE THE DATE NOVEMBER 7–9, 2025
800.448.3883 I winterthur.org/DAS
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CONTENTS
1 Schedule of Events 2 Sponsors
5 Supporters and Volunteers 7 Speakers & Presentations
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10 Steven Baltsas, Of the Earth:
Neoclassicism and Natural History in a Philadelphia Center Table 13 Lanah Swindle, “To Imitate China”: A Close Reading of a Pair of Eighteenth-Century Hand Screens 16 Graham Titus, Performance and Pleasure at the Early Modern Table 21 Exhibitor Ads 93 Exhibitor Index 94 Showroom Floor Plan
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Cover: Door architrave (detail) in the Federal Door architrave (detail) in the Federal style from the Baltimore Drawing Room, Winterthur Museum.
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Suchat Pederson
Proceeds from this year’s Delaware Antiques Show help support key educational initiatives such as low-priced tickets for families in need through the Museums for All program; Discover Winterthur , our free day for the community; and free school programs . Since making our school programs free, we have dramatically expanded our offerings to meet heightened demand. In our most recent fiscal year, our school programs had the highest attendance ever, serving students from 109 schools or organizations and 24 public school systems in the region. Thank you for your support! THANK YOU FOR YOUR SUPPORT!
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.
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Thank you to our supporters for contributing to the success of the 2024 Delaware Antiques Show.
OPENING NIGHT SUPPORTERS: Dr. and Mrs. Robert E. Booth, Jr. Mr. David W. Dangremond Mr. and Mrs. Robert R. Davis Dr. Mindy F. Hastie and Mr. Timothy R. Goldsmith Mr. Paul Manville and Mr. Frank Guzzetta Dr. Sandra R. Harmon-Weiss Mr. and Mrs. James B. Hawkes Ms. Cynthia A. Hewitt and Mr. C. Daniel Holloway Mr. and Mrs. Frank L. Hohmann III Mr. and Mrs. Joseph C. Hoopes, Jr. Mr. Jeremy H. Gonzalez Ibrahim and Dr. Elaine Gonzalez Mr. Edmond L. Lincoln Mr. and Mrs. Forbes Maner Mrs. Elizabeth H. Owens Mr. and Mrs. Christopher S. Patterson Mr. and Mrs. Michael G. Rhodes
Mrs. Lynn Springer Roberts Mr. J. Thomas Savage, Jr. Mr. and Mrs. Randall A. Schrimsher Mr. and Mrs. Stephen S. Smith Mr. and Mrs. Mark E. Stalnecker Mr. and Mrs. Chris D. Strand Mr. and Mrs. P. Coleman Townsend, Jr.
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Thank you to all the volunteers who have contributed their time, energy, and enthusiasm to the success of the 2024 Delaware Antiques Show. A special thanks to the graduate students in the Winterthur Program for American Material Culture and the following individuals who committed to volunteering (as of 10/2/24) .
Rekha Bharwani Georgia Black Kathleen Bright Jamie Clifford Katie Cynkar Susan Corum Peter Dietz Yancy Du Pat Elliot Robin Goldstein
Margaret Holley Lisa Iervolino Cathy Leonard Fiona Owens Judy Passwaters Sharon Rosen Estrella Salgado Eleanor Shippen Marcia Szelewski Brenda Zadjeika
DEALER LOGISTICS COMMITTEE Jeremy Abelson El Claus Janice Crawford Susan Greeley Mike Janes
Tyler Johnson Louis Novakis Mack Truax
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KEYNOTE LECTURE
Uprooted Elegance: The Surprising Journey of American Garden Ornament by Barbara Frelinghuysen Israel
Saturday, November 16 | 10:00 am
After nearly forty years as an antique garden ornament dealer, Barbara Israel has gathered plenty of stories. This lecture delves into the many gardens, experiences, and intriguing personalities she has encountered over the years, ranging from the sublime to the nefarious (and everything in between). Barbara Frelinghuysen Israel founded Barbara Israel Garden Antiques in 1985. Nearly forty years and hundreds of exquisite objects later, she is recognized as an authority on the subject, and her book Antique Garden Ornament: Two Centuries of American Taste is the definitive work in the field. Barbara has served as a consultant to The Metropolitan Museum of Art and the Smithsonian Institution for their collections of nineteenth-century cast iron. Barbara Israel Garden Antiques has been featured in The New York Times , House & Garden, Martha Stewart Living , and Flower magazine , among others.
Bryan Goldberg Photography
Book signing to follow lecture.
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Winterthur Program in American Material Culture Presents
Saturday, November 16 | 2:00 pm STUDENT SCHOLARS
Steven Baltsas , Lois F. McNeil Fellow Of the Earth: Neoclassicism and Natural History in a Philadelphia Center Table Baltsas shows how a cabinetmaker in antebellum Philadelphia harnessed the city’s insatiable attraction to ancient and natural history in his creation of the ideal center table. Inlaid with floriated brass patterns against flame-like mahogany crotch veneer, this peerless classical table testifies to intellectual culture’s impact on furniture design in the early nineteenth-century Atlantic world.
Lanah Swindle , Lois F. McNeil Fellow “To Imitate China”: A Close Reading of a Pair of Eighteenth-Century Hand Screens
Swindle grapples with anti-Chinese sentiment in imagery preserved on a pair of eighteenth-century hand screens. The survival of these objects, made between 1759 and 1770 for fashionable circles in London and Paris, presents an opportunity to reflect on the dissemination of racial stereotypes of Chinese people through decorative art forms made by and for Euro-Atlantic audiences in the eighteenth century.
Graham Titus , Lois F. McNeil Fellow Performance and Pleasure at the Early Modern Table By 1650, a nascent English glass industry supplied elite diners with the tableware necessary for increasingly luxurious and performative feasts. Through the discussion of a seventeenth-century glass salver in Winterthur’s collection, Titus explores changing dining practices and foodways at a defining moment for the modern meal.
Student Scholars lectures sponsored by
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LECTURES & BOOK SIGNING Sunday, November 17 | 2:00 pm
Christopher Malone , Curator, Historic Trappe and Lutheran Archives Center at Philadelphia A Landscape of Peace, Prosperity, and Despair: Charles C. Hofmann’s Paintings Along the Schuylkill River Christopher Malone will step between the brush strokes to reveal the troubled but vibrant world of German immigrant, almshouse inmate, and itinerant painter Charles C. Hofmann. The changing landscapes in Hofmann’s almshouse paintings parallel his transient life along the Schuylkill River. From town
to town, new architectural styles and industries appeared, showcasing the progress of American life after the Civil War. Hofmann’s paintings were filled with genteel people, farmers, and hardy workers, but his paintings often hid the sick and poverty-stricken individuals who inhabited the almshouses of southeastern Pennsylvania. His contributions to American folk art are important, and his works document Pennsylvania sites and landscapes that no longer exist.
Trevor Brandt , Ph.D. Candidate in Art History, University of Chicago, and Managing Editor, Americana Insights Importing Style: The Decoupage Fraktur of Friedrich Krebs Fraktur, the iconic German American “fractured” folk art, has historically been lauded as an emblematic regional style in North America. This talk highlights instead the global implications of the artist Friedrich Krebs. Krebs, a former Hessian soldier and the most prolific of all known fraktur artists, embellished many of his fraktur with elaborate
brocade sheets imported from Germany. The effect was an intricate, decoupage-like fraktur that linked the German American home with international trade and global styles, challenging traditional interpretations of fraktur as a singularly regional American tradition.
Americana Insights presents the latest research and discoveries on traditional American folk art and material culture. Today’s speakers are featured in the second annual edition, in addition to the following: Paul S. D’Ambrosio, Tobin Fraley, Emelie Gevalt, Richard Miller, Matthew E. Monk, Amelia Peck, Christian Roden, Cynthia V. A. Schaffner, Eileen M. Smiles, Jennifer M. Swope. Edited by Lisa Minardi. October 2024. Book signing to follow lecture.
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Of the Earth: Neoclassicism and Natural History in a Philadelphia Center Table By Steven Baltsas
A center table new to the Winterthur collection is somewhat of an enigma. Characteristic of American classical furniture in the 1820s and 30s, it is curvaceous and theatrical, altered with its hinged top (figs. 1, 2) . Light dances across its radiating mahogany veneer, encircled by flowers and vines rendered with
Fig. 1. Center table, Philadelphia, 1825–30. Gift of Sue K. and Stuart P. Feld 2018.0046.001
inlaid brass. The table’s composition represents an interest in the ancient and natural worlds, being a synthesis of those forces that had bewitched antebellum Philadelphia—its likely place of origin. Its maker can only be tantalizingly surmised. Design sources suggest the table was made for occasional dining or card games. Tables marketed to fulfill those purposes typically tilted upwards to allow for storage against a wall. Hiding its metamorphic abilities, the table’s supports, carved with classical reeding and foliage, convey a sense of grounding. Close inspection reveals their original color scheme: vert antique , a paint treatment used to simulate the patina on Greco-Roman bronze sculpture. Mimicking metal, the supports seem as substantial as those on equally popular marble-topped center tables. Perfect examples of such marble-topped tables are those made by Philadelphia cabinetmaker Anthony G. Quervelle for Edward Coleman in the 1820s. 1 With inlaid Italian marble tops, legs with robust lion’s paw feet, and a mahogany veneered star forming its thick base, they were clearly not designed to move often. Therein lay the challenge. These alluring marble tops could not be tilted lest they topple over with their weight. How could a maker match the eccentricity and dominance of such tables but also sustain the long-enjoyed utility of the tilt-top form? Rounded tilt-top tables made in Philadelphia during the eighteenth century often flaunted the natural grain of mahogany. By the 1790s,
1 In the Baltimore Museum of Art (1990.73) and the Kaufman Collection, National Gallery of Art.
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this design constant withered, as cabinetmakers who were skilled working with figured woods shifted their attention to creating case furniture. When a European interest in veneers spread, more stimulating tones and figures came into vogue. Consumers pursued furniture that artistically represented these materials, especially on veneered sideboards or bookcases. An affinity for nature’s most remarkable aspects may explain the desirability of mahogany crotch veneer. 2 Many favored irregularities in its grain, which seemed to illustrate trees’ lifespans and evolution. Like the development of fossils or minerals, few understood this process, evoking a mysterious quality. Even fewer comprehended its treacherous harvesting process by enslaved woodsmen in tropical forests. 3 Mahogany merchants sought veneers from the tree’s most asymmetrical points, notably the crotch, whose cuts yielded
Fig. 2. Table in upright position.
Fig. 3. Anthony G. Quervelle, center table, Philadelphia, 1825–30. Museum purchase with funds provided by the Henry Francis du Pont Collectors Circle 1986.0004
veneers with the appearance of a flame (fig. 2) . More imperfect cuts were prized too, paralleling the use of highly variegated marble tops, framed like paintings by gilt stenciling or ornamental carving (fig. 3) . The inlaid brass also contributes to the table’s environmental allusions. Influenced by the Baroque ébéniste André-Charles Boulle, “Buhl work” furniture entered the Anglo-American market by the 1810s. From England, American fine cabinetmakers procured die-stamped brass panels, often inlaid in rosewood. English furniture designer George Bullock advanced designs in veneering and inlay of tropical hardwoods and brass, notably
2 Jennifer Y. Chuong, “The Nature of American Veneer Furniture, circa 1790–1810,” Journal 18 Issue 9 Field Notes (Spring 2020), https://www.journal18.org/4733. 3 Jennifer L. Anderson, Mahogany: The Costs of Luxury in Early America (Cambridge, MA: Harvard University Press, 2012), 156–68, 210–13, 219.
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in tilt-top tables. 4 Other British makers applied these suggestions and developed veneering plans with strips of mahogany crotch veneer, sometimes compared to pie wedges or sunbursts. These veneering layouts became wildly popular for Philadelphia center tables, often rimmed with cost-effective gilt stenciling in Grecian foliate patterns rather than brass inlay. In the 1820s, mantle pieces using vivid green and white-veined Mona Marble—from the Welsh quarry once managed by Bullock—were published in Rudolph Ackermann’s Repository of Arts . Brass was applied to the mantles like “Buhl work” on imported woods, thereby linking the two materials: veined marble and figured mahogany. If we understand the period’s furniture as classical architecture in miniature, then the mahogany might have been understood by some as a worthy match to marble, and the answer to the aforementioned challenge to makers of center tables in the period. Philadelphians’ dedication to a strong intellectual culture was unshakeable from the eighteenth century well into the antebellum period. The choice aesthetic of that culture was neoclassicism, reflected in the new nation’s models for government. Public structures of blue marble, such as William Strickland’s Second Bank of the United States (1818–24), modeled on the Parthenon, represented this. With its interior laid in black limestone tiles containing fossils, the Philadelphia building’s classicism met with natural wonders, just as the table did. Accompanying the interest in antiquity was a passion for natural history. In 1786, prominent artist Charles Willson Peale added his public-facing museum to the city’s list of cultural institutions; he was intent on its potential as an educational venue. The museum experience presented visitors with aspects of national and natural history in forms such as portrait busts and fossils. Taking after plant specimens, also displayed in the museum, the table’s brass designs are in essence fossilized into it. Blending classical references with the strange allure of imported natural materials put to their limits, the table’s maker drew from an inborn curiosity as well as observation of the culture of the city around him. Indeed, few places could have encouraged that type of productive introspection but Philadelphia.
Steven Baltsas, Lois F. McNeil Fellow, Winterthur Program in American Material Culture
4 Bullock is referenced in Carswell Rush Berlin, “Classical Furniture in Federal Philadelphia,” Antiques and Fine Art (Spring 2007): 195.
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“To Imitate China”: A Close Reading of a Pair of Eighteenth-Century Hand Screens By Lanah Swindle
A pair of eighteenth-century hand screens (hand-held fire screens), with scalloped forms terminating in turned walnut handles reveal engravings from the popular series of drawings titled Recueil de plusieurs jeux d’ enfants chinois (Collection of Several Chinese Games for Children) by French landscape painter and decorator Jean-Baptiste Pillement (1728– 1808) (figs. 1, 2) . 1 This design series, engraved and published by
Fig. 1. Makers once known. Hand screen, ca. 1759–76. Bequest of Henry Francis du Pont 1961.0892.001
Pierre-Charles Canot in London in 1759, marked Pillement’s thirteenth independent folio of ornaments cast in the “Chinese” style over a period of four years. 2 Pillement’s enfants chinois , or Chinese children, are an amalgam of iconographic images created by French artists and circulated as prints. These images present a contrived, Eurocentric view of Chinese people (fig. 3) . The affixing of these engravings on the panels of the hand screens served to codify a complicated visual grammar that created a troubling tension between the user of the screen and the figures represented on the screen. This object of adornment produced within the European design aesthetic of Chinoiserie incites the imitation of and performance of the other. While the subject matter of these hand screens may present itself as benign, Pillement’s design renderings of the racial other are not. When published on December 26, 1759, Recueil de plusieurs jeux d’ enfants chinois contained fourteen copperplate engravings fixed on laid paper. Two of these engravings appear on the presentation panels of the hand screens. Framed by European and British fictions about China and its peoples,
1 Recueil de Plusieurs Jeux d’Enfants Chinois, inventé et dessiné par Jean Pillement et grave par P. C. Canot. Published according to the Act of Parliament on December 26, 1759, London. 2 Maria Gordon-Smith, “The Influence of Jean Pillement on French and English Decorative Arts, Part One,” Artibus et Historiae 21, no. 41 (2000): 182–83.
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the suite of ornaments depicts Chinese figures set in pastoral landscapes. Each vignette captures the same three figures absorbed in leisure, playing games. Rather than accurate representations of Chinese people, these caricatures draw upon racial stereotypes from the collective imaginary in eighteenth- century Europe and Britain, evidenced by the two engravings on the presentation panels. One imagines the figures engaged in a game of leapfrog (fig. 1) and another envisions the same figures as they wistfully fly a kite (fig. 2) . The juxtaposition between the distorted and dehumanizing portrayal of the figures’ physical attributes, paired with activities they are engaged with, speak to a codified Chinese type circulated and readopted by Western designers and decorators, and most famously popularized in the “Style of Pillement.” 3 As an aesthetic novelty, the hand screens invite its user and spectator to indulge in a cultural space controlled, commodified, and mediated by the Western gaze. Through these fashionable hand screens, China and its peoples are reduced to a consumable, miniature form. Made of pasteboard, laid paper, and mounted on turned marbled handles, each hand screen measures only twelve inches. The vibrantly colored fanciful costumes of the figures, clearly, do not reflect authentic Chinese garments, but draw more inspiration from Commedia dell’arte costumes than from actual Chinese prototypes. In addition to the hand- colored engraved scenes on the exterior ,
Fig. 2. Makers once known. Hand screen, ca. 1759–76. Bequest of Henry Francis du Pont 1961.0892.002
Fig. 3. Jean-Baptiste Pillement. Engraving, 1759. Rare Book Collection, Winterthur Library
3 Loren L. Zeller, “The Influence of Jean-Baptiste Pillement’s Art on Ceramics,” Transactions 31 (2020): 163.
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panels, the interior panels include hand-marbled papers that mirror the color palette of the figures’ dress (fig. 4) . Both the engraved and hand- marbled papers are affixed to a stiff pasteboard and secured with gilt tape along the edges. The rectilinear form evocates a European conception and appropriation of a sacred East Asian architectural form: a Pagoda. When brought directly up to the user’s face, the sloped valances of this exaggerated architectural form frame the user’s eyes, concealing the rest of their face. Peering out from behind the screen, the user’s masked face is illustrated by the Orientalized figures. The Chinese figures—cast in an idyllic landscape akin to the idealized European peasants appearing in Rococo pastoral imagery—are made small enough to fit in the user’s hand to be manipulated and engaged with at the user’s command. The user’s agency is not limited to the fantasy invoked by the visuality of the scenes. The user rather engages these objects, as props in their performance of leisure, rest, and polite sociability, embodying the screens with a theatricality activated by the placement and positioning of the hand screens to the user’s body. This allows for a play between seeing and being seen, engaging users in a performative act—a concealment or imagination of self—engaging the racial other. Not only objects of adornment or play, the hand screens maintain a practical purpose: to shield the face from the heat of the fireplace. Thus, the Chinese figures not only play a part in amusing the user, but serve to comfort the person behind the screen––they protect the user’s carefully applied white makeup on white skin.
In characterizing the visual language of these objects as harmless, neutral, and merely a product of the caprice of the style of Pillement or Chinoiserie, we risk overlooking how these racist representations of Chinese people functioned in comfortable, wealthy Euro-Atlantic domestic interiors. Rather, a reexamination of the aesthetic and material context for these commodities provides the means for interrogating the fraught act of imitation inherent in these eighteenth-century design trends.
Fig. 4. Reverse of fig. 2, hand-marbled paper.
Lanah Swindle, Lois F. McNeil Fellow, Winterthur Program in American Material Culture
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Performance and Pleasure at the Early Modern Table By Graham Titus
A delicate glass salver in Winterthur’s collection provides a window into shifts in the English glass trade and elite dining practice in the late 1600s. Before the Restoration of the monarchy in 1660, England’s domestic glass industry was modest, dwarfed by imports, and heavily reliant on immigrant craftspeople. Granted a charter by Charles II in 1664, London’s Worshipful Company of
Fig. 1. Nonlead glass salver (tazza). England, 1655– 75. Museum purchase with funds provided by the Henry Francis du Pont Collectors Circle, 2010.0002
Glass Sellers initiated a shift that helped inaugurate a golden age for English glass. Though the guild oversaw the importation of vast quantities of Venetian and façon de Venise glass from Europe, it embraced the opportunity to nurture domestic production. A rapidly expanding appetite for luxury tableware, combined with the guild’s efforts, set the stage for George Ravenscroft’s development of industrial-scale lead glass production in the mid-1670s and the subsequent flourishing of English glassmaking. Based on its style and material, Winterthur’s thin, nonlead glass salver (fig. 1) , by a now-unknown maker, predates Ravenscroft’s successes. The salver’s manufacture and fashionable mold-blown ribbing—likely inspired by gadrooning seen on Venetian glass and English silver—made it perfect for genteel tables in the period (fig. 2). For these seventeenth-century diners, glass served a role well beyond functionality. Instead, it was integral to increasingly ostentatious and multisensory feasts. New glass forms offered exploration of changing culinary trends and an opportunity to experience rare and exotic foods, allowing hosts and guests to perform elite social status and enhance satisfaction with the meal. This salver, raised on a tall, trumpet-shaped foot, stood prominently on the table while playing its part in these performances. Highlighted by its central location, the glass’s visibility, delicacy, and implicit value placed it comfortably alongside other lavish, theatrical markers of good taste, including highly trained meat carvers, sculpted fruit, modeled sugar sculptures, and strikingly figured pastry—all carefully designed to enchant guests before the first bite.
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Colorless and transparent, the glass receded in favor of its colorful contents, while the play of light, reflection, and shadow visually mediated, interfered with, and enhanced the diner’s perception of the food. In the late- seventeenth century, mounds of fresh and preserved fruits, shaped jellies, small cakes, molded gingerbread, or colorful sugar sculptures floated above the table on stands like this one. By the eighteenth century, ever more elaborate meals saw salvers and sweetmeat dishes stacked precariously atop one another to create towering displays of abundance. Glass tableware was “filled with all kinds of wet and dry sweetmeats in glass, baskets, or little plates; coloured jellies; creams, &c. biscuits, crisped almonds, and little nicknacks, and bottles of flowers prettily intermixed,” 1 transforming these items into kaleidoscopic, highly scented, edible centerpieces. Reviving the pomp and ritual of Tudor-period dining after the austerity of the Commonwealth, household guides and treatises on proper living elevated the visual components of a meal to equal prominence with the gustatory. A 1674 French treatise on good dining captures the sentiment quickly making its way from the Continent to England, relaying the importance of “the politeness and the propriety of [food’s] service… and the general order of things that contribute essentially to the goodness and to the ornament of the meal where the palate and the eye find their charms equally by an ingenious diversity that satisfies the senses.” 2 The English quickly adopted this idea, espoused in a 1708 poem exhorting the primacy of display for the final course in particular:
‘Tis the Desert [sic] that graces all the Feast… Make your transparent Sweet-meats truly nice, With Indian Sugar and Arabian Spice: And let your various Creams incircl’d be With swelling Fruit just ravish’d from the Tree. 3
1 Hannah Glasse, The Complete Confectioner , London: Printed by J.D. Dewick, and sold by R. Dutton, West and Hughes, 1800: 232. 2 Robert Le Sieur, L’art de bien traiter: Divisé en trois parties. Ouvrage nouveau, curieux, et fort galant, utile à toutes personnes, et conditions. Exactement recherché, & mis en lumiere, par L.S.R. , Lyon: Chez Claude Bachelu, 1693: 2. Translation by author. 3 William King, The Art of Cookery , London: Printed for Bernard Lintott at the Cross-Keys between the two Temple Gates in Fleet-Street, [1708]: 89. Emphasis in original. Winterthur’s salver embodies this approach to presentation. Purely a serving vessel, guests found food on it, but would not eat with it, hold it, or use it during the meal. The salver underscores early modern hosts’ meticulous orchestration of every element to impress and delight. Even if numerous courses of heavy foods left guests unable to take another bite,
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the final course created a sophisticated sensory playground brimming with jewel-colored candied fruits, heady scents of imported spices, and playful but delectable trompe l’oeil creations. Similarly, the salver reflected the social pleasures of a grand meal: used foremost with company, its presence heralded the conviviality and entertainment of a shared feast. Despite these associations with pleasure, glass tableware also manifested something darker. Expensive and fragile, it could remind diners of both wealth and how easily good fortune could change, symbolizing the destructive impacts of England’s growing appetites. Much as the earlier poem draws attention to the geographic origins of the sugar and spices, the salver serves as an emblem of the resources, labor, and subjugation required to supply these tables. Glass production required immense energy, contributing to the destruction of forests across early modern England and the growing appetite for coal as an alternative fuel. The foods served on this salver further relied on the products of enslavement and colonization, including sugar, rum, spices, and fruit from Caribbean plantations and colonies in Asia. From this wider vantage, the salver participated in a performance of hospitality and generosity that obscured the realities of exploitation, enslavement, plantation agriculture, and environmental destruction. The evolution of glassmaking and the use of glassware on the table in seventeenth-century England echoed the broader cultural trends of luxury and performance predicated on the spoils of empire. While glass enhanced the visual appeal and sensory experience of elite dining, its role in performance and pleasure at the table also veiled the true costs of these feasts.
Fig. 2. Detail of salver.
Graham Titus, Lois F. McNeil Fellow, Winterthur Program in American Material Culture
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Tours and Events All Season Long
Yuletide charm meets contemporary creativity in the historic mansion, and woodland whimsy awaits outdoors!
Open daily for Yuletide Tours I November 23–January 5 Tickets and information at 800.448.3883 or visit winterthur.org/Yuletide.
Through January 5, 2025
More than thirty nationally recognized artists draw
inspiration from the historic Winterthur collection in this one-of-a-kind collaboration. winterthur.org/Transformations
5105 Kennett Pike, Winterthur, DE 19735
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800.448.3883
ARADER GALLERIES 1308 Walnut Street, Philadelphia, PA 19107 215.735.8811 loricohen@aradergalleries.com www.aradergalleries.com BOOTH 2
John James Audubon (1785–1851) Plate 26 Carolina Parrot from Birds of America Engraved by Robert Havell (1793–1878) Published: London, 1827–1838 Aquatint engraving with original hand coloring Paper size: 38½ x 25½ inches
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ARONSON OF AMSTERDAM Amsterdam, The Netherlands
011.31.20.623.3103 mail@aronson.com www.aronson.com BOOTH 60
Blue and White Chinoiserie Charger, Delft, circa 1680. This 18.3-inch ceramic masterpiece features intricate figures in a lush landscape, framed by a scalloped edge. Inspired by Chinese porcelain, it exemplifies the rich cultural exchange of the 17th century, embodying the artistry of Dutch Delftware.
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AVERY GALLERIES 100 Chetwynd Drive, Bryn Mawr, PA 19010 14 E 60th Street, Suite 807, New York, New York 10022 610.896.0680
info@averygalleries.com www.averygalleries.com BOOTH 21
James D. Smillie (1833–1909) The Yosemite Valley No. 1 (sketch), 1871 Oil on canvas, 12 x 22 inches (30.5 x 55.9 cm)
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BARBARA ISRAEL GARDEN ANTIQUES Katonah, NY By appointment • 212.744.6281 eva@bi-gardenantiques.com • sylvia@bi-gardenantiques.com www.barbaraisrael.com BOOTH 36
A pair of composition stone urns of round wide form, each with a frieze of morning glory rinceaux, each urn atop square molded pedestals. English, ca. 1950. Urns: 53 ins. high, 28 ins. diameter; Pedestals: 15½ ins. high.
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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 • www.abirdinhand.com BOOTH 15
Grenfell Mission A magnificent polar bear atop an ice pan in an exquisite blue ocean at sun rise. Silk stocking mat (label attached) 39" wide x 26" tall Circa: 1930s
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BLANDON CHERRY ANTIQUES & ART 809 Main Street, Paris, KY 40361 859.338.9943 blandoncherry@gmail.com BOOTH 19
James Guy Evans (American, 1810–1860) Brig Henry of N. Kingston...Cole Comr. off the Rio Grande with Volunteers / October 21, 1846 Signed lower right: Evans
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CHARLES CLARK 35 Main Street North, Woodbury, CT 06798 203.982.1008 charles@clarkclassical.com • www.clarkclassical.com BOOTH 28
A Classical Pier Table Philadelphia, PA, ca. 1835
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CHARLES PLANTE FINE ARTS New York • 646.256.6558 London • +44.7798.626.249 plantearts@aol.com www.charlesplante.com BOOTH 24
A Classical Pier Table Philadelphia, PA, ca. 1835
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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 • www.christopherhjones.com BOOTH 41
Two of nine pages to be offered from the Sampson Gainer Family Register The Virginia Record Book Artist Frederick County, Virginia Circa 1808
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DANIEL & KAREN OLSON 1445 Route 300, Newburgh, NY 12550 914.474.1736 • 845.863.3767 olsonantiques@gmail.com • olsonantiques@earthlink.net www.olsonantiques.com BOOTH 49
Attributed to John S. Blunt (1798–1835) Family Portrait of Four Children American school, early 19th century Oil on canvas in molded gilt frame
Provenance: American Folk Art Gallery, New York City; Kenneth & Stephen Snow; Donna Fields Small Collection; Advertised in The Magazine Antiques in 1973.
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DAVID BROOKER FINE ART 113 Main Street South, Woodbury, CT 06798 203.232.2807 info@davidbrooker.com • www.davidbrooker.com BOOTH 42
Adolphus Knell (British, 1830–1900) Fishing boats at Sea, circa 1880 Oil on board 19¾ x 25½ inches Impressionist 19th century English marine scene
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DAVID A. SCHORSCH-EILEEN M. SMILES FINE AMERICANA 358 Main Street South, Woodbury, CT 06798 203.263.3131 and 203.982.7574 contact@schorsch-smiles.com • schorsch-smiles.com BOOTH 22
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DIANA H. BITTEL Bryn Mawr, PA 19010
Tel/Fax: 610.525.1160 • Cell: 610.715.1595 dhbantique@aol.com • www.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 • www.dixonhallfineart.com BOOTH 10
Emma Fordyce MacRae (1887–1974) Lilies with Oriental Figures Oil on canvas mounted to board, 26 x 18 inches Signed lower left
Member: Philadelphia Ten Women Painters and National Academy of Design MacRae’s painting style emulates Roman fresco painting which she studied first-hand on travels to Italy in 1928.
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D. M. DELAURENTIS FINE ANTIQUE PRINTS Denise De Laurentis Bucks County, Pennsylvania 215.469.0830
denise@fineantiqueprints.com www.fineantiqueprints.com BOOTH 46
John James Audubon (1785–1851) Common Mouse from The Viviparous Quadrupeds of North America Philadelphia 1843–48 Imperial folio Archivally framed
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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 • www.vandekar.com BOOTH 57
English Delftware Plate with Hawk Perched on Tree London, probably Vauxhall, circa 1710–25 The circular plate is painted and sponged. It depicts a large hawk perched in a tree with other tree to each side. The border has concentric blue lines encircling the plate. The shape is associated with London. Dimensions: 8½ inch diameter (21.59cm) Mark: Blue script “F”
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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 (T) • 413-441-4065 (C) info@elliottandgracesnyder.com • www.elliottandgracesnyder.com BOOTH 14
Exceptional 18th c. William and Mary Boston daybed, upholstered in period flamestitch crewelwork. In excellent condition. Massachusetts, ca. 1725. 70" L x 37¾" H x 21" W Provenance: New York Historical Society, Mrs. J. Insley Blair
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FRANCIS J. PURCELL, INC. 251 N. 3rd Street, Philadelphia, PA 19106 267.496.8161 fjpurcell2@aol.com • www.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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GREG K. KRAMER & CO. 27 West Freeman Street, Robesonia, PA 19551 By appointment 610.693.3223 greg@gregkramerandco.com • www.gregkramerandco.com BOOTH 6
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G. SERGEANT ANTIQUES 289 Main Street South, Woodbury, CT 06798 203.266.4177 gary@gsergeant.com • www.gsergeant.com BOOTH 58
A Salem Massachusetts Side Chair Attributed to Samuel McIntyre, circa 1790–1800 Provenance available
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THE HANEBERGS ANTIQUES East Lyme, CT By appointment 860.389.1908 chaneberg@aol.com • www.hanebergsantiques.com BOOTH 29
Pair of Chinese export trumpet form vases after a design by Cornelis Pronk for the Dutch East India Company. ca. 1735.
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HILARY & PAULETTE NOLAN Falmouth, MA 508.548.0127 hpnolan@mac.com BOOTH 47
Elegant Comb-Back Windsor armchair with undisturbed 19th century painted finish wonderful form with an incredibly tall back. A recent discovery. New England, circa 1800–1820.
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H.L. CHALFANT American Fine Art & Antiques 1352 Paoli Pike, West Chester, PA 19380 610.696.1862 www.hlchalfant.com BOOTH 35
SMALL MASTERPIECE! Mahogany Hepplewhite inlaid tea caddy with a drawer. Fitted interior. Original ogee feet. One of the best we have seen. Baltimore or Philadelphia. Circa 1790. 12" width, 5" height.
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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 • www.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
Queen Anne Walnut Chest on Frame Philadelphia, circa 1770
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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 • www.jrobinson.com BOOTH 27
A Selection of Early 20th Century Craftsmanship at its Finest
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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 janice@janicepaull.com • www.janicepaull.com BOOTH 55
English Ironstone China 1790–1840 & Japanese Fine Silk Embroideries & Art
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JAYNE THOMPSON ANTIQUES 847 Kennedy Bridge Road, Harrodsburg, KY 40330 859.748.5628 • Instagram: @jaynethompsonantiquesdesign info@jaynethompsonantiques.com • www.jaynethompsonantiques.com BOOTH 53
A 17th Century English crewel work panel in very good condition. Embroidered in wool on the original linen ground. 82" high, 43½" wide.
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JEFF R. BRIDGMAN ANTIQUES, INC. Historic York County, PA 717.676.0545
info@jeffbridgman.com www.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 • www.tillouantiques.com BOOTH 59
Hobo Fishing Camp American School, Wisconsin, 1906 Signed (l.l.): Lou Plitt 1906 Oil on canvas, 34¼ x 39¼ inches
Condition: lined, in a cherry frame. Minor areas of in-painting, otherwise in fine condition. Hobo Lake is south of Plum Lake in the town of Sayner in Vilas County, Wisconsin and was known for its fishing. Only a small, 14-acre lake, it became quite popular by the late 19th century and was referenced in “Forest and Stream” (vol. 48, pg. 346) May 1, 1897. This view of the “Hobo Fishing Camp,” dated 1906 gives us a glimpse of the charm and serenity of the lake on a summer’s day. The bright colors of the painting and the prominent American flag flying proudly at the center add to the desirability.
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JOHANNA ANTIQUES 316 Wyndhurst Avenue, Baltimore, MD 21210 410.937.3444 sixgoldenrings@gmail.com BOOTH 11
Antique Moonstone Double Heart Pin The two hearts are tied together by a bow set with rose cut diamonds, representing the union of two hearts joined in love.
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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
American Silver Tankard John David Philadelphia, PA, circa 1770–80
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KELLY KINZLE 9 Center Square, P.O. Box 235, New Oxford, PA 17350 717.495.3395 kelly@kellykinzleantiques.com • www.kellykinzleantiques.com BOOTH 8
Walnut Huntboard from Southside, Virginia A lovely southern huntboard with distinctive rounded arch paneled doors. Height: 43"
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LEVY GALLERIES 227 West 17th Street, New York, NY 10011 917.841.3824 frank@levygalleries.com • www.levygalleries.com BOOTH 9
Mohawk Valley Painted Dower Chest Circa 1800 H. 18½"; W. 43"; D. 17"
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LILLIAN NASSAU LLC 220 East 57th Street, New York, NY 10022 212.759.6062 info@lilliannassau.com • www.lilliannassau.com BOOTH 26
Tiffany Studios Lotus Table Lamp Circa 1902–04
Height: 22 inches (55.88 cm) Diameter: 26 inches (66 cm)
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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 info@marcyburns.com • www.marcyburns.com BOOTH 16
Diné (Navajo) Regional Rug 53" wide x 78" long Excellent condition with very minor selvege loss
Circa 1920s–1940s Ex: Private collection
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MARTYN EDGELL ANTIQUES LTD. Nassington, United Kingdom +44 7802 408 501 martyn@martynedgell.com • www.martynedgell.com BOOTH 43
Creamware dovecote “A New Pavilion”, Staffordshire, decorated with underglaze coloured oxides, Whieldon type, circa 1755
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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 • www.liverantantiques.com BOOTH 32
Compass star inlay on a Queen Anne cherry slant front desk. Norwich, Connecticut, 1750–1775.
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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 oil on canvas portrait of a captivating young female. Strong attribution to James Hope, who lived from 1818 to 1892 and painted in New York and Vermont. 11½" × 13⅜", sight.
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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, 1B, New York, NY 10021 215.297.0200 info@oldehope.com • www.oldehope.com BOOTH 7
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OLIVER GARLAND Falmouth, Massachusetts 774.255.0199 odgarland@gmail.com BOOTH 40
Rare 18th century Portrait of “Poor Ta ” aka “Shon-Ap-Morgan” Oil on canvas, 40 by 35 inches (framed) A wonderful depiction of the Welsh satirical figure heading to London on his goat to confront the London rabble. One of 5 known portraits.
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THE PARKER GALLERY Hampshire, England +44 7920 772 328 archie@theparkergallery.com • www.theparkergallery.com BOOTH 48
Mason Chamberlain (1727 – 1787) Ebenezer Maitland Senior and His Family Signed and dated 1782 Oil on canvas, 40 x 50 inches
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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 • www.rmchait.com BOOTH 31
Important Pair of Chinese Export Porcelain Figures Kangxi period, early 18th century Traditionally identified as the Dauphin (son of Louis IV) and Mme. de Maintenon. Heights: 8¾ and 9 inches (22.2 and 23 cm.)
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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 BOOTH 18
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SCHILLAY FINE ART, INC. 520 East 72nd Street, New York, NY 10021 212.861.8353 richard@schillay.com • www.schillay.com BOOTH 25
Seymour Franks (American, 1916–1981) Astor Place, 1945
Oil on canvas, 34 x 28 inches Framed: 40½ x 34½ inches Signed and dated: Franks 45 Inscribed with title on stretcher
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SCHOONOVER STUDIOS, LTD. 1616 N. Rodney Street, Wilmington, DE 19806 302.656.0135 • mobile: 302.753.9685 studios@dca.net • www.schoonoverstudios.com BOOTH 1
Lafayette Sails to America by Frank E. Schoonover Oil on canvas 36 x 30 inches, 1921 Book: Lafayette #1030 in the Catalogue Raisonné
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SCHWARZ GALLERY 1806 Chestnut Street, Philadelphia, PA 19103 215.563.4887 mail@schwarzgallery.com • www.schwarzgallery.com BOOTH 30
Peter Caledon Cameron (American, born Scotland, 1852–1920) Absecon Island, New Jersey, 1894 Watercolor on paper, 17½ x 27 inches (sight) Signed, dated, and inscribed at lower left: “ABSECON.ISLAND./ N.J U.S.A/ PCameron [initials conjoined]/1894”
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SCOTT BASSOFF, SANDY JACOBS ANTIQUES Swampscott, Massachusetts 603.801.5532 sandyjnh1@gmail.com • Instagram: @sandyjacobsantiques BOOTH 49 Best Folk Art Étagère
Numerous birds, swans, moose, hearts, legs, and other objects cut and applied. Full page photo in book Animals in American Folk Art.
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SHAIA ORIENTAL RUGS OF WILLIAMSBURG 5560 Foundation Street, Williamsburg, VA 23188 757.220.0400 info@shaiarugs.com • www.shaiarugs.com BOOTH 38
We specialize in antique and new rugs of quality and distinction. Since 1973.
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SILVER ART BY D & R Marseille, France and Baltimore, MD 202.257.4448 jasmine@silvertartbydandr.com • www.silverartbydandr.com BOOTH 56
The Seine and the Cathedral in Rouen. Oil on canvas by Robert Antoine Pinchon. France, circa 1925.
Antique French Silver Louis XV Style Flatware Set of 197 Pieces, by Henri Soufflot. Paris, circa 1884.
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S. J. SHRUBSOLE ANTIQUE SILVER AND JEWELRY 26 East 81st Street, New York, NY 10028 212.753.8920 inquiries@shrubsole.com • www.shrubsole.com BOOTH 4
An American Silver and Mixed-Metal Coffee Pot New York, circa 1877 by Tiffany & Co. Height: 10⅞"
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SOMERVILLE MANNING GALLERY Breck’s Mill, 2nd Floor 101 Stone Block Row, Greenville DE 19807 302.652.0271 info@somervillemanning.com • www.somervillemanning.com BOOTH 23
N. C. Wyeth (1882–1945) Figures in a Landscape, ca. 1906–1910 Oil on canvas 15½ x 19½ inches
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SPENCER MARKS Fine Antique and 20th Century Silver P.O. Box 330, Southampton, MA 01073 413.527.7344 info@spencermarks.com • www.spencermarks.com BOOTH 17
Early Tiffany & Co. spoon handle with three-dimensional bird and berry decoration, circa the early 1850s.
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STEVEN F. STILL ANTIQUES 1717 South Colebrook Road, Manheim, PA 17545 717.682.0410 steven@stevenfstillantiques.com • www.stevenfstillantiques.com BOOTH 45
Vibrant yellow smoke decorated blanket chest from York County, Pennsylvania. The chest is dated 1842 and is in excellent original condition. W: 44", D: 19", H: 24".
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SUMPTER PRIDDY III, INC. 110 Stebbins Street, Ashland, VA 23005 Mobile: 703.507.6284 sumpter.priddy@gmail.com BOOTH 5
Desk, attr. to the workshops of the entwined Nahl and Devilbis Family workshop, Washington Co., Maryland. 1765–85. Walnut and mahogany with tulip poplar secondary.
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