20 — Antiques and The Arts Weekly — February 17, 2023

Worldly Presentation Sees Sales Across The Board—

The Winter Show Celebrates
Its 69th Season With An Armory Homecoming

Clinton Howell Antiques, New York City.

Review and Photos by
Laura Beach, Editor At Large“Lady with a Parasol” by Martha Walter,from a display of work by women artists at
Robert Simon Fine Art, New York City andTuxedo Park, N.Y.

NEW YORK CITY — A festive Winter Show celebrated
its 69th season with a return
to its longtime venue, thePark Avenue Armory. Cancelled in 2021 and postponedin 2022, the show, to thedelight of exhibitors andpatrons, in 2023 embraced its
traditional bastion on New
York’s Upper East Side,
strewing the historic armory
with sprays of lilies and roses
on opening night, January 19,
and beckoning visitors with alively program of receptions,talks and tours through closing hours on January 29.
“The fair this year captures
its early-to-late dateline moregracefully
thanever,”
remarked Elizabeth Feld,
managing director of Hirschl& Adler Galleries, noting theWinter Show’s evolution overtime from what was once primarily a showcase for American fine and decorative arts
to a global presentation of theancient, modern and everything in between. In all, 68
exhibitors from 10 countries
participated in the event produced by and for charity beneficiary East Side House Settlement.
The Winter Show this year
welcomed 15 new exhibitors,
a high number for a production that historically has seen
little turnover. Rising production costs have spurred somedepartures. The show’s popular executive director, Helen
Allen, explained, “Booth rents
need to support the rental of
the Armory and other costs
associated with doing theshow. We’ve seen increased
prices for rent, labor, shipping, materials such as woodand wall fabrics, and inf la-tion.”
Innovations that began asexperiments at last year’s
fair, installed at the former
Barney’s department store
when the armory wasn’t
available, included a pop-up
museum loan show and threestand-alone
designervignettes. Allen elaborated,“We were thrilled this year topartner with the Museum ofChinese in America, just as
we were thrilled to have theAmerican Folk Art Museum’s
stunning quilts at Barney’s.
We are always interested inpromoting our institutional
partners and remain f lexible
on the question of whether aloan show in the front, center
space returns another year.”This year, that space wasinstead occupied by Bernard
Goldberg Fine Arts, offering aspectacular array of fine anddecorative arts, most of American vintage. “It is very rare
to get a lifetime bronze byAuguste Rodin. The Metropolitan Museum of Art has one,”
Goldberg said proudly of his
small, bronze figure of Pierrede Wiessant, one of Rodin’sburghers of Calais. At theshow’s entrance and alsooffered by Goldberg was theJacques
Lipschitz
bronze“Lesson of a Disaster,” conceived as a phoenix to commemorate the recreation of
the artist’s studio after a devastating fire.
From Lowell Lisbon & JonnyYarker to Hirschl & Alder
Galleries and Thomsen Gallery, other dramatic presentations circled the large bar at
center court. One belonged to
the garden antiques authority
Barbara Israel, who wrapped
her stand with a large blow-

A collection of two-handled silver and silver-gilt cups, some with covers, at S.J. Shrubsole,
New York City.

Flanking “Landscape with Glacier” by Herman Herzog, center, is “Ocean Waves” by Edward
Moran, left, and, right, “Yellow Roses on Blue” by Franz Rederer. Schwarz Gallery, Philadelphia.

Tambaran Gallery, New York City.

February 17, 2023 — Antiques and The Arts Weekly — 21

Robertaebasta, Milan and London.
up of the 1848 painting “Kindred Spirits” by Asher B.
Durand, thus prompting an
intriguing exchange between
the painting’s subjects, Thomas Cole and William Cullen
Bryant, and the carved stone
figure of Prince Albert, circa
1860. Durand’s aerie of eagles
circled above Israel ’s own
American zinc pilot-house
example of circa 1880.
“Our opening night sales
included the eagle, two fruitbasket finials, the little bird
house and the big urn in thecenter of our booth. We haveholds on our carved marble
benches and our cast iron
Coalbrookdale
Nasturtium
seat,” Israel told us several
days into the show.
Maison Gerard cloaked its
stand in mystery, inviting visitors to enter its display
through a pair of painted
Moroccan doors dating to thelate Eighteenth or early Nineteenth Century. Inside its
booth, buyers encountered anabsorbing array of European
antiques and contemporary
design. Principal Benoist F.
Drut ref lected, “Like manyothers, I believe the show has
never looked so good, andthere is a renewed energy
among the dealers and public.
We worked hard to assemble
a booth presentation in oursignature style of blending
old with new. We have beenpleased with the response."“I’d always wanted a little
more room,” said Arlie Sulka
of Lillian Nassau LLC, who
this year moved to the front of
the fair with early to midTwentieth Century American
masterworks
byTiffany,
Nakashima and others. Muchadmired were two leaded
glass windows, one designed
by Frank Lloyd Wright for the
Darwin O. Martin house, theother a rare “Snowball ”
design by Tiffany Studios.
Both dated to about 1905.
With fewer dealers in American decorative arts and folkart, returning specialists inthe category did double duty.
This year sporting a handsomely traditional installation, Levy Galleries got off toa brisk start, selling a circa
1770 Boston mahogany accordion-action card table included in the Met’s 1992 exhibition“American
Rococo,1750-1775: Elegance in Ornament” and formerly belonging

A 1969 “Conoid” dining set by George Nakashima included a table and 10
chairs. Geoffrey Diner Gallery, Washington DC.
to Erving and Joy Wolf. Levy
also wrote up its Potter family Chippendale tall case clock,a Providence, R.I., example of1785; two pairs of side chairs;
a worktable; and a captivating folk watercolor of the
DeWolf family of Bristol, R.I.
“Last night I got a call froma serious person about mybanjo clock,” said proprietor
Frank Levy, happy to be backin the Armory and pleased
that collectors are feelingmore urgency about making
purchase decisions.
Thistlethwaite
Americanapacked its display with American furniture, sculpture andfolk paintings. “This is the
only signed example known,”
TaylorThistlethwaite
explained of his “Horse Jumping Through A Hoop” weath-ervane stamped Jewell. He
also offered an “American
Girl ” horse and sulky weathervane attributed to J.W.
Fiske and Company and apair of circa 1900 English castzinc recumbent greyhoundswith unsurpassed patina.
“I’ve sold something every
day, which is always a goodfeeling. My circa 1760 Boston
ball-and-claw
footcornerVirginia dealer Taylor Thistlethwaite featured a rare signed Jewell “Horse Jumping
Through Hoop” weathervane, center.

New York dealer Joan B. Mirviss presented the special exhibition “10 x 10 Past And Present: Japanese Masters ofCeramics.”

Designed by Eugène Ehrmann, the late Nineteenth Century woodblock-printed paper
panel “Glacial Seas” anchored Carolle Thibaut-Pomerantz’s presentation.

22 — Antiques and The Arts Weekly — February 17, 2023

Anna Henger, sales associate, and Matthew Imberman, copresident, Kentshire, New York City.

“Waterloo Elm” chair by Thomas Chippendale the younger, English, circa 1820, ex-collection of John Bryan Jr. H. Blairman andSons, Ltd, London.

The Winter Show

“Hammersmith” carpet by William Morris,
circa 1880-90. Keshishian, London.

Daniel Crouch Rare Books of London invoked the night sky
with 500 years of celestial artifacts. Above center, a latemedieval/early Renaissance volvelle astronomical calendar
from the San Zeno cloister, circa 1455.

“Loading Up Cotton Bags” by Winfred Rembert. Adelson Galleries, Inc, New York City.

Patrick & Ondine Mestdagh, Brussels.

Arader Galleries of Philadelphia offered chromolithographic views by Thomas Moran, printed by Louis Prang, ofwhat would become Yellowstone National Park.

“Hero and Leander” by Robert Laurent,
1942. Debra Force Fine Art, New York City.

“Open Eye” by Colin Reid, 2020. Michele
Beiny, New York City.

This American gilt-silver ice-cream service from “TheMackay Service,” Tiffany & Co, 1878, sold early in the show
at Spencer Marks, Southampton, Mass.

February 17, 2023 — Antiques and The Arts Weekly — 23

From left, Courtney Booth Christensen, vice chair of the2023 Winter Show; Michael Diaz-Griffith, advisory council
member; and Alonso Diaz Rickards.
chair went to a nice young collector, which was good to see,and the greyhounds found a
new home,” Thistlethwaite
said.
“I started to collect cars
about 10 years ago and attend
many specialty shows andauctions,” noted Pennsylvania
dealer Kelly Kinzle, whodrove into his stand with his
eye-caching showpiece, a 1929
Art Deco masterpiece roadster called “The Commodore,”designed by Isotta Fraschiniand Carrozzeria Castagna.
“I brought my nicest examples of American furniture
and Regency lighting,” said
new exhibitor Charles Clark,a specialist in Classical American furniture and English
lighting. Dazzling overhead
was a Regency four-light suspended argand, attributed toJohnston Brooks & Co, England, circa 1825. The Connecticut dealer wrote up a Grecian sofa table attributed to
Duncan Phyfe, a Philadelphia
library chair in the Gothic
taste, a Grand Tour painting
and assorted lighting.

“Don’t miss our John Singer
Sargent painting, ‘Lady Seated by an Alpine Pool,’” Elizabeth Feld urged a visitor,
motioning toward a brushy oil
on canvas on Hirschl &Adler’s outside wall. Eschewing his traditional societyportrait approach, Sargent
here foreshadows modernismin his f lecked rendering ofabout 1909-11.
Debra
Force
Fine
Art
stopped traffic with Robert
Laurent’s 1942 carved mahogany sculpture “Hero andLeander” and “The Elders,” anarresting mixed-media double
portrait on paper by Romare
Bearden. “We have museums
looking at the Laurent andthe Bearden, and have private interest in our John
Marin. The Mary Elizabeth
Prince, our rare terracotta
sculpture by Annetta St
Gaudens, our Thomas Sully
portrait and the two George
Tookers are also getting a lotof attention. We’ve been very
pleased by the crowd andhave a number of private buyers who are going to circle

Macklowe Gallery, Ltd, New York City.

Organizers and volunteers on opening night. At far right and left are Winter Show cochairs Lucinda C. Ballard and Michel R. Lynch. The show’s executive director, Helen Allen,
is third from left. Center is Daniel Diaz, East Side House Settlement executive director.

“Lesson of a Disaster” by Jacques Lipschitz,
circa 1925. Bernard Goldberg Fine Arts,
LLC, New York City.

“Pierre de Wiessant” by Auguste Rodin,
modeled 1885, cast circa 1905. Bernard
Goldberg Fine Arts, LLC, New York City.

Thomas Colville Fine Art, Guilford, Conn., and New York City.

24 — Antiques and The Arts Weekly — February 17, 2023

Milord Antiquités, Montreal, Canada.

Delft flower vase and cover signed by Adrianus Kocx, De Grieksche A factory, 1695.
Aronson of Amsterdam, The Netherlands.

The Winter Show
Design co-chair Alex Papachristidis showed
visitors how to decorate with English andAmerican furniture and Chinese export
porcelain.

A La Vieille Russie principal Peter Schaffer
with an English-made emerald and pearl
tiara of about 1870.

Cove Landing, New York City.

Ralph M. Chait Galleries, Inc., New YorkCity.

back,” Force said midweek.
Joining works by John Singer Sargent, Mary Cassatt,Thomas Eakins and Andrew
Wyeth at Adelson Galleries
was the dye on carved andtooled leather “Loading Up
Cotton Bags” by Winfred
Rembert, whose work “TheBlack Cat” achieved a record
price at auction at Christie’s
concurrent sale of Outsider
and Vernacular Art.
Arraying
AmericanandEuropean works of art, Thomas Colville opened with salesof a Boudin oil and a Parisview by Henri-Joseph Harpignies.
Known for maritime, wildlife, sporting and topographical art, UK dealers Rountree
Tryon Galleries reported thesale of the oil on canvas “Lionand Lioness” by German
painter Wilhelm Kuhnert and“Intercepting
Doodlebugs
over the South Coast, 1944,” a
war painting by Frank Owen
Salisbury, an English portrait
artist known for painting six
American presidents and,mostfamously,
WinstonChurchill.
Management’s outreach toinstitutions proved especiallyeffective this year, with many
exhibitors reporting sales andserious interest from American museums. Allen noted,“We host an insiders’ preview
for museum and design professionals on the first Fridayof the show. We had 490

Team Chipstone included, here, Ron Fuchs andMartha Willoughby, co-editors with Robert Hunter and Luke Beckerdite of the 2023 editions,
respectively, of the journals Ceramics in Americaand American Furniture.

RSVPs for the event.”
Old Masters pictures dealer
Robert Simon, who organized
the special exhibit “Heroinesof the Brush: Women Artists
from the Renaissance to the20th Century,” shared, “We
are having a terrific show —actually the best we’ve everdone. Particularly gratifying
to us were three reserves from
American museums, as wellas purchases from first-timebuyers. The fact that Sotheby’s and Christie’s had their
Old Masters sales again at
the same time helped bring
European visitors and American curators to New York.
Then there was the overall
quality of the Winter Showand the freedom so many people now feel to go out, seeworks of art in person, andmaybe acquire something
after two years of staying at
home.”
Specialists in African, Oceanic and Northwest Coast art,
Tambaran Gallery sold “Sonof Stone,” a 2015 contemporary mixed-media and quillwork piece by Dwayne Wilcox(Oglala Lakota), to a New
York City museum. A Fijianclub, ancient terracotta headfrom Mexico and a 1974 painting on board by Australianartist Tim Leura Tjapaltjarri
went to private buyers.
Joan Mirviss Ltd placed aglazed-stoneware vessel of2022 by Sakiyama Takayuki,
who carved diagonally incised

Benjamin Miller, silver dealer with S.J. Shrubsole and host of The Magazine Antiques’ excellent
podcast series “Curious Objects,” did double
duty at the show. Exhibitors supplied quirky orotherwise fascinating artifacts for the “Curious
Objects” booth.

February 17, 2023 — Antiques and The Arts Weekly — 25

Levy Galleries, New York City.

Two circa 1905 leaded glass windows, the example at leftfrom the Darwin O. Martin residence by Frank Lloyd
Wright. Right, sold, a “Snowball” window by Tiffany Studios. Lillian Nassau LLC, New York City.
folds into the highly sculptural piece titled, “Chōtō; Listening to the Waves.” The massive pot was a centerpiece of
the New York dealer’s special
presentation, “10 x 10 Past
and Present: Japanese Masters of Ceramics.” Also soldwere vessels by Kawase Shinobu and Hamada Shoji.
“It’s the nicest ice bowl we’ve
ever had,” exhibitors Spencer
Gordon and Mark McHughsaid of the 1877 Tiffany & Co
sterling silver figural vessel
decorated with cast walruses
and ice f loes. Other highlights
included a 1905 silver andgold fruit compote by Arthur
Stone, perhaps the mostimportant piece of its kind
still on the market, and a giltsilver ice cream service from
“The
MackayService,”designed by Tiffany & Co. for“Silver King” John Mackay
and exhibited at the 1878
Paris International Exposition.
“The show’s been great. The
crowd is thrilled we’re back,”
said Mark McHugh, confirming sales of the ice-cream service, ice bowl and a threepiece mixed-metal Tiffany tea
set. The firm transacted two
institutionalsales;
othermuseum sales were pending.
S.J. Shrubsole’s eye-catchingpresentation included a collection of two-handled silver
and silver-gilt cups, somewith covers and dating fromaround 1660 to 1780. Of particular note was one by Thomas Heming.
Daniel Crouch invoked theheavens. Against a backdrop
suggesting the night sky, theLondon dealer arrayed maps,
atlases, photographs, globes,
planetaria and other scientific instruments. The works
ranged from the 1455 San
Zeno Calendar, an astronomical chart designed to calculate dates of festivals andfeasts, to a 1968 photographof an earth rise taken aboard
Apollo 8, the first manned
voyage to orbit the moon.
“The show has been good forus,” reported Harry Newmanof The Old Print Shop, ticking
off sales of a Centennial f lag,a Lincoln proclamation, an
engraving of “Washington
Crossing the Delaware” after
Emanuel Leutze and a set ofcirca 1710 mezzotint engravings called “Four Indian Kingsof America” by John Verelst.
The latter commemorate thevisit to London by four Native
American chiefs, a venturearranged by Pieter Schuyler,
first mayor of Albany andoccasional governor of New
York.
“We’ve made four, five andsix-figure sales, to collectors,
designers and institutions,”
confirmed
LondondealerMartin Levy. H. Blairman &Son’s director showcased an
important brass-inlaid rosewood and ebony cabinet with
gilt-lacquered bronze mounts
designed and made by London
cabinetmaker George Bullock
around 1815.
A George III ormolu-mounted white marble bacchanalianvase by Matthew Boulton anda George III gilt-gesso center
table of circa 1720 were twin
splendors at London antiquary Ronald Phillips Ltd.
James Rolleston, also of
London, livestreamed his display, training a mobile-phone
camera on an importantCharles II silvered mirror anda pair of carved and gilded
candelabra designed by James“Athenian” Stuart and supplied, circa 1760, to Earl
Spencer for the Painted Roomat Spencer House in London.
Cove Landing broke out inred spots on opening night,
marking a slew of smalls anda painting sold.
“There isn’t a better collection of f lower vases outside
the Rijksmuseum,” said Dutch
dealer Robert Aronson, gesturing to a group of blue andwhite Delft pottery vessels
ranging in date from around
1690 to 1710. Particularly
nice was a 1695 bowl withcover marked “AK” for Adrianus Kocx, owner of De Griek-Thomsen Gallery, New York City.

“Gregory’s Grey Arabian, later Rycote Arabian” and “Gregory’s Bay Arabian” by George
Stubbs. Rountree Tryon Galleries, London.

New York’s Old Print Shop sold the circa 1710 mezzotints “Four Indian Kings of America”
by John Verelst. Also shown here, Bernard Ratzer’s “Plan of the City of New York, in North
America, Surveyed in the Years 1766 & 1767” and Audubon’s “Yellow Crowned Heron.”26 — Antiques and The Arts Weekly — February 17, 2023

London dealer James Rolleston live streams his booth on opening night.

A gilded-bronze chandelier of 2019 by Marc Bankowsky illuminated Maison Gerard’s display of Modern and Contemporary design.

English and made around 1960, these composition-stone teddy bears from agroup of 12 were a hit at Barbara Israel Garden Antiques, Katonah, N.Y.

Koopman Rare Art, London.

Portuondo Gallery, London and New York City.

Pennsylvania dealer Kelly Kinzle turned heads with “The Commodore,” alimited-edition 1929 roadster. Made for Chicago’s J.S. Townsend store, theastronomical regulator clock with works attributed to George Jones of
New York dated to about 1880.

Barbara Israel draped her booth with a blowup of Asher B. Durand’s painting “Kindred Spirits.” The American pilot-house eagle was an early sale forthe garden antiques dealer. The carved stone figure of Prince Albert dates
to about 1860.

Galerie Perrin, Paris.

February 17, 2023 — Antiques and The Arts Weekly — 27

London dealer Simon Phillips with a George III
gilt-gesso center table of circa 1720.

Steinitz Gallery, Paris.
sche A (The Greek A) factory.
Aronson’s sales included apair of circa 1700 obelisk-form
Delft f lower vases to a private
American collector.
Well-received were three
Designer Vignettes mounted
by Alex Papachristidis Interiors, Stephen Sills Associates
and Bunny Williams Interior
Design, and a partner boothorganized by “Curious Objects”
podcast host Benjamin Miller
and The Magazine Antiques.
All included objects sourced

New exhibitor Javier A. Eguiguren of Eguiguren
Arte de Hispanoamerica, Buenos Aires, holds a
mid-Eighteenth Century gold bowl from Brazil.

from exhibitors. Of the Designer Vignettes, Philadelphia
Museum of Art curator Alexandra Kirtley remarked, “It’s awonderful way to show the
public how to decorate withart and antiques.”
Allen concluded, “Next year
is the Winter Show’s 70th
anniversary. We are planninga big, retrospective review.”
Stay tuned, all.
For more information, go to
www.thewintershow.org
orcall 917-860-6559.

The Winter Show

New exhibitor Charles C. Clark of Woodbury, Conn., emphasized Classical American furniture and appropriate lighting. The
Regency plaster, bronze, brass and glass figural lamp, right, is by Humphrey Hopper,
London, 1806.

Exhibitor Frank Levy and Winter Show executive director
Helen Allen. Ralph Harvard designed the Levy Galleries’
display. Levy sold the Potter family Chippendale tall caseclock, left, made in Providence, R.I., circa 1785.

“Portrait of the Cannon Children” by John
Budington, 1795. Hirschl & Adler Galleries,
New York City.

Brass-inlaid and gilt-bronze mounted rosewood and ebony cabinet by George Bullock,circa 1815. H. Blairman & Sons, Ltd, London.

Americanists Kelly Kinzle and Stuart Feld,
president of Hirschl & Adler Galleries,
share a quiet word before opening night.
Rear, the circa 1820 secretaire a abattant in
Feld’s display is attributed to New York cabinetmaker Duncan Phyfe.