The Delaware Antiques Show Catalogue

The Delaware Antiques Show Catalogue

Presented by

NOVEMBER 5–7, 2021

A Benefit for Educational Programming at Winterthur

Chase Center on the Riverfront Wilmington, Delaware

THE DECORATIVE ARTS TRUST

Celebrating the 58th Annual Delaware Antiques Show

Clockwise from top left: Patio de las Doncellas, Real Alcazar, Seville, Spain; Clandboye Estate, Northern Ireland; Johannisburg Castle, Aschaffenburg, Germany; The Breakers, Newport, RI; Trust members visit Adelphi Paper Hangings in Sharon Springs, NY; Ashland, Lexington, KY

Experiencing History and Culture Since 1977

U pcoming programs include: Andalucía • Northern Ireland • Bavaria Lexington & Louisville • Newport & Providence

Visit www.decorativeartstrust.org or call 610.627.4970 for more information.

SCHEDULE OF EVENTS

FRIDAY, NOVEMBER 5 Show hours: 11:00 am–6:00 pm Keynote Lecture 10:00 am

Designing Camelot: The Kennedy White House Restoration and Its Legacy Elaine Rice Bachmann

SATURDAY, NOVEMBER 6 Show hours: 11:00 am–6:00 pm Young Scholars Lectures 2:00 pm

“The possibilities of a box”: Louise Brigham’s Box Furniture Jena Gilbert-Merrill, Lois F. McNeil Fellow, Winterthur

Threads of Change: Assessing a Potential Meiji-Era Silk-work Painting Rachael Kane, Lois F. McNeil Fellow, Winterthur

Student lectures sponsored by

All lectures are complimentary and included with admission.

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DELAWARE ANTIQUES SHOW SPONSORS PRESENTING SPONSOR I PRESENTING SPO SOR PRESE TI G SPONSOR

YOUNG SCHOLARS LECTURES YO G SCHOLARS LECTURES YOUNG SC OLARS LECTURES

MEDIA PARTNERS AND IN-KIND SPONSORS American Fine Art Magazine Barone Fini Delaware Today MEDIA PART ERS AND IN-KIND SPONSORS American Fine Art agazine Barone Fini Delaware Today EDIA PARTNERS AND IN-KIND SPONSORS A erican Fine Art Magazine Barone Fini Delaware Today

Freeman’s The Hunt InCollect Freeman’s The Hunt InCollect Freeman’s The Hunt InCollect

Main Line Today Pook & Pook, Inc. Prepress and printing by Antiques & Fine Art Magazine Main Line Today Pook & Pook, Inc. Prepress and printing by Antiques & Fine Art agazine Main Line Today Pook & Pook, Inc. Prepress and printing by Antiques & Fine Art Magazine

NOVEMBER 11–13, 2022 SAVE THE DATE

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800.448.3883 • winterthur.org/das 800.448.3883 • winterthur.org/das 800.448.3883 • winterthur.org/das

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CONTENTS 1 Schedule of Events 2 Sponsors 7 Speakers & Presentations 9 Show Committees 11 Inspiring Design: From Winterthur to the White House and Beyond By Kim Collison

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13 “The Possibilities of a Box”: Louise Brigham’s Box Furniture By Jena R. Gilbert-Merrill 16 Threads of Change: Assessing a Potential Meiji-Era Silk-work Painting By Rachael Kane 19 Exhibitor Ads 93 Exhibitor Index 94 Showroom Floor Plan

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Cover: Side chair, Philadelphia, 1760–80. Bequest of Henry Francis du Pont

Proceeds from the Delaware Antiques Show benefit educational programs at Winterthur. Thanks to support from events like this one, each year thousands of children explore history, art, science, social studies, and more at Winterthur or in our after-school programs. Your support helps us expand our educational impact. When traditional field trips became impossible during 2020, we created virtual programs, serving some 3,500 students. And thanks to the generosity of M&T Bank, Winterthur was able to provide the overwhelming majority of those programs to schools for free.

TO ALL OUR FRIENDS AND SPONSORS OF DELAWARE ANTIQUES SHOW, THANK YOU FOR YOUR SUPPORT!

Educational programs are supported additionally, 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 www.DelawareScene.com.

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You Recognize a Classic When You See It Remembering Two Longtime Leaders, Supporters, and Friends of Winterthur and Delaware Antiques Show

William “Bill” K. du Pont

William “Bill” K. du Pont was elected a trustee of the Henry Francis du Pont Winterthur Museum, Inc., in 1978, a post he held at the time of his death on July 4, 2020. Bill provided strong and steady guidance by serving as Chair of the Collections Committee, Chair of the Conservation Committee, Chair of the Museum Acquisition and Loan Subcommittee, and as a member of several other committees

and subcommittees. He enthusiastically supported Winterthur programs as a member of the Collectors Circle, the Friends of Winterthur, and the Advisory Committee of the Delaware Antiques Show. During his tenure as chair of the Collections Committee from 2001 until 2007, the estimated value of all gifts and purchases for Winterthur totaled more than $15 million. In 2004, he was instrumental in the purchase of the $1.5 million Peter Stretch tall case clock—perhaps the most important acquisition since Henry Francis du Pont’s time—and a unique punch bowl by Boston silversmith John Burt. These magnificent objects reinforced Winterthur’s preeminence as the foremost museum of American decorative arts. Bill was also personally generous to the museum. In 2001, he made an extraordinary gift of the earliest known variant of the indenture signed by the crown to William Penn for the land that would become northern Delaware. In 2002, he made a donation of early nineteenth-century gentleman’s pistols—the finest in existence. In 2019, he made substantial year-end gifts of a schrank, a tall case clock, a flintlock rifle, a pipe tomahawk, a group of four Welsh Quaker documents, a workbook of Sarah Williams, and a quilt by Rachel Mackey dated 1787. Ever the passionate collector, Bill was most enthusiastic when sharing his knowledge with others.

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John Andrew Herdeg

John Herdeg was a longtime supporter of the decorative arts. He served on Winterthur’s Board of Trustees for fifty years, including as Chair of the Board from 1977 to 1986. He passed away on June 27, 2021. John shared his love for American history and eighteenth-century decorative arts with his wife Judy, with whom he committed his life to collecting, research, and philanthropic leadership in the field.

Winterthur is proud to have named John and Judy Herdeg as this year’s Honorary Chairs of the Delaware Antiques Show. The Herdegs were instrumental in bringing the Delaware Antiques Show to Winterthur, serving in various leadership roles for more than forty years. In 1984, John and Judy became founding members of the Henry Francis du Pont Collectors Circle, co-chairing the collections-focused donor group from 1997 to 2003. The Herdegs’ philanthropic commitment to the decorative arts extended beyond Winterthur. John served as trustee at Historic Deerfield, Inc., in Massachusetts and president of the 1103 Market Street Foundation, a public charity dedicated to preserving the historic mansion that today is the Wilmington Club. He also served as a trustee and executive committee member at the Woodlawn Trustees, Inc. He was an active member of the Walpole Society, the New England Historic Genealogical Society, the American Antiquarian Society, and the Society of Colonial Wars in the State of Delaware. John authored several scholarly articles, including “Son of Whom? A Collector’s Journey” and “The Story of a Serendipitous Find,” as well as a forthcoming book, The Stories They Tell…from the Herdeg Collection (New England Historic Genealogical Society, Fall 2021). John and Judy’s support for Winterthur well exceeds their leadership. Their generosity is reflected in the more than 150 museum objects and numerous accessioned and promised gifts to the museum and library. In September, John (posthumously) and Judy Herdeg received the Henry Francis du Pont Award, which recognizes individuals who have made contributions of national significance to the knowledge, preservation, and enjoyment of American decorative arts, architecture, landscape design, and gardens.

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KEYNOTE LECTURE ELAINE RICE BACHMANN Designing Camelot: The Kennedy White House Restoration and Its Legacy Friday, November 5, 10:00 am

Elaine Rice Bachmann, co-author of Designing Camelot: The Kennedy White House Restoration and Its Legacy (2021), will present a keynote lecture on the most historic and celebrated redesign of the White House in its history. Her talk sets the stage for Winterthur’s forthcoming exhibition, Jacqueline Kennedy and Henry Francis du Pont: From Winterthur to the White House , opening in May 2022, which will focus on the partnership between the first lady and du Pont and which Bachmann is guest curating. Bachmann is the State Archivist of Maryland and the former Director and Curator of Artistic Property at the Maryland State Archives. She received her master’s degree from the University of Delaware/Winterthur Program in Early American Culture after studying art history at Indiana University. She has written and lectured extensively on Maryland’s state-owned art collection as well as the history of the Maryland State House and Government House. She is also the co-author of a history of the Maryland governor’s mansion, published in 2018, and a children’s book about Maryland’s famous Wye Oak, published in 2006. Book signing to follow lecture.

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WINTERTHUR PROGRAM IN AMERICAN MATERIAL CULTURE PRESENTS YOUNG SCHOLARS Saturday, November 6, 2:00 pm Each year the Delaware Antiques Show highlights the research of current and/or recent Lois F. McNeil Fellows from the Winterthur Program in American Material Culture. Winterthur and the University of Delaware, with the full support of H. F. 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. Each year the Delaware Antiques Show highlights the research of current and/or recent Lois F. McNeil Fellows from the Winterthur Program in American Material Culture. Winterthur and the University of Delaware, with the full support of H. F. 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. WINTERTHUR PROGRAM IN AMERICAN MATERIAL CULTURE PRESENTS YOUNG SCHOLARS Saturday, November 6, 2:00 pm

JENA GILBERT-MERRILL Lois F. McNeil Fellow, Winterthur “The possibilities of a box”: Louise Brigham’s Box Furniture Louise Brigham’s Box Furniture (1906) is a collection of designs and instructions for making simple, modular furniture from recycled wooden packing crates. Winterthur Library holds Brigham’s personal copy— complete with notes, edits, and extra material for a new but never published edition. Louise Brigham’s Box Furniture (1906) is a collection of designs and instructions for making simple, modular furniture from recycled wooden packing crates. Winterthur Library holds Brigham’s personal copy— complete with notes, edits, and extra material for a new but never published edition. JENA GILBERT-MERRILL Lois F. McNeil Fellow, Winterthur “The possibilities of a box”: Louise Brigham’s Box Furniture

RACHAEL KANE Lois F. McNeil Fellow, Winterthur Threads of Change: Assessing a Potential Meiji-Era Silk-work Painting RACHAEL KANE Lois F. McNeil Fellow, Winterthur Threads of Change: Assessing a Potential Meiji-Era Silk-work Painting

What can a large, silk-work picture gifted by the Delaware Art Museum to Winterthur reveal about the political intrigue of Meiji-era Japan, the rapid internationalization sparked by the World’s Fair system, and the multinational history of embroidery? The quality of thread, stitch shape, and paper types along with in situ Japanese newsprint found in the back of the frame together offer myriad avenues of study and broaden our understanding of the potential provenance of embroidered material culture objects. What can a large, silk-work picture gifted by the Delaware Art Museum to Winterthur reveal about the political intrigue of Meiji-era Japan, the rapid internationalization sparked by the World’s Fair system, and the multinational history of embroidery? The quality of thread, stitch shape, and paper types along with in situ Japanese newsprint found in the back of the frame together offer myriad avenues of study and broaden our understanding of the potential provenance of embroidered material culture objects.

Lectures sponsored by Lectures sponsored by

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With appreciation to the many volunteers whose efforts have contributed to the success of this year’s Annual Delaware Antiques Show

Honorary Show Chairs Mr.* and Mrs. John H. Herdeg Show Chairs Dina du Pont Elizabeth Fiechter

Executive Committee

Keith Adams Charlotte Bonmartini Terence Dinneen Dina du Pont Elizabeth Fiechter

Michael Jenemann Brett Jones Alexandra Kirtley Forbes Maner

Dealer Liaison and Hospitality Committees Brett Jones & Terry Dinneen, Dealer Liaison Co-Chairs

Margaret Hennes Tom Hopper Marilyn Hunt Lisa Iervolino Kristen Ledden Marie Maks Marcia Mix Louis Novakis Judith Passwaters Laurel Riegel Robert Risimini

Kelley Andrews Rekha Bharwani

Georgia Black Jane Burslem Blair Champion Elizabeth and Jim Collins Ken Davis

Fran DeMillion Nancy Devine Susan Devoe Karen Drake Jackie Edison Ellen Ellis An Feldman Jack Feldman Kathy Fleming Robin Goldstein

Ed Shipley Boo Stroud Terry Truby

Lynn Weymouth Brenda Zadjeika

Graduate students in the Winterthur Program for American Material Culture

* Deceased

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Gentlemen’s Committee Michael Jenemann, Chair

John W. McCormick Dale Simpkins Thomas Stack

Jeremy Abelson Steven Dubendorf Peter D. Gordon Tyler Johnson Tom Manerchia

Greg Suplick Joe Yacyshyn

Opening Night Party Co-Chairs Keith Adams Charlotte Bonmartini

Opening Night Party Committee

Magdalena Keenan Alexandra Kirtley Anne-Laure Kittila Karen Light Diana Long-Hobbs Heather Lowry Vicky Martelli Susie Mathews Page McConnel Elizabeth Mellon Henry Mellon Patty Miller Annie Nielsen Mitzi Rohrbacher Ashley Schlobach Judy Landis Setting William Sommers Jennifer Steiner Boo Stroud Morris Stroud II Mack Truax Ellet Kidd Veale Kris Walker Gina Ward Martin Willeford

Shoshana Altschuler Louisa Bayard Margaretta Brokaw Laird Bunch Ambrose Carr Elizabeth Carr Nancy Crain Phoebe Davidson Kimberley Davis Laura de Ramel Tenley de Ramel

Henri du Pont Kate du Pont Jessica Farnan Samuel Fiechter

Barr Flinn Grier Flinn Woodley Habgood Martha Henley Margaretta Hershey

Preston Hershey Danielle Hyland Sandra James Erin Jenny Marshall Jenny Brett Jones

As of 10/1/21

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Inspiring Design: From Winterthur to the White House and Beyond By Kim Collison

Even before Winterthur opened to the public as a museum seventy years ago, it inspired those who lived and worked on the property and those who visited from near and far. The beauty of the landscape at Winterthur and the evolution of the house and land influenced Henry Francis du Pont’s course of study in horticulture at Harvard and shaped his life and work as a farmer, gardener, collector, and designer. His vision for Winterthur led him to assemble an unparalleled collection of American

decorative arts and to design a house and garden that continues to inspire designers and horticulturists today. Exhibitions currently on view in the Winterthur galleries, as well as one planned for next year, reveal the impact Winterthur and H. F. du Pont have had on American design. Outside In: Nature-inspired Design at Winterthur celebrates the powerful connection between nature and the decorative arts by demonstrating how Winterthur’s interiors bring the outside in,

Fig. 1. This display of blue Staffordshire as seen in Outside In , and based on similar groupings in Winterthur’s Blue Staffordshire Room, is set against the backdrop of the garden’s March Bank to illustrate the parallels in du Pont’s approach to massing displays of color in the house and garden.

integrating garden and house through objects, materials, color, imagery, and vistas. The enduring theme of nature in design is captured through objects featuring naturalistic elements and materials, and, in some instances, objects such as shells and nests found in nature and on loan from the Delaware Museum of Natural History (fig. 1) . In conjunction with Outside In , the works of six Winterthur Maker-Creator Fellows are on view in Transformations: Contemporary Artists at Winterthur . These artists spent time at Winterthur studying its collections and garden and have responded to objects of the past to comment on the present. Reflecting on the themes of Outside In , their work considers Winterthur and its landscape and exposes the impact humans have had on that landscape and the environment at large. These works include a garden installation of tillage radishes meant to break up unwanted asphalt (Dr. Daniel Feinberg), works on paper and sculptures recalling a fallen tree from the Winterthur landscape (Rob Finn and Stefania Urist), a ceramic still life displaying products of the farm at Winterthur (Heather Ossandon), a roommural that depicts the Winterthur landscape

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(Kim Hall and Justin Hardison of Nottene), and a music composition that combines historic scores found in the Winterthur Library with sounds from the garden (Elissa Edwards and Élan Ensemble) (fig. 2) . These contemporary works illustrate just some of the ways Winterthur influences design today. Designers, gardeners, collectors, historians, and countless others look to Winterthur as a muse. The museum’s impact on American design extends well beyond the boundaries of the estate. In 1961, Winterthur and its founder attracted

Fig. 2. Heather Ossandon’s Still Life with Fruit installed in the Winterthur galleries as part of Transformations: Contemporary Artists at Winterthur recalls Winterthur’s history as a farm and references objects in the collection, including a painting of the same name by Mary Jane Peale. Photo by Nat Caccamo

national attention when First Lady Jacqueline Kennedy named H. F. du Pont as chairman of her Fine Arts Committee for the White House restoration project. Mrs. Kennedy recognized Winterthur as an example of an American home that honored history in its interiors. In her thank you letter to du Pont after a visit to Winterthur, she wrote, “I am sure that people more eloquent than I could ever hope to be—have tried to tell you what it means to see that incredible museum and gardens—but how

could anyone ever express the impression it leaves—All I can say is I will never recover from it—or forget one tiny detail—I just can’t believe that it was possible for anyone to ever do such a thing—Mr. du Pont you now have me in such a state of awe and reverence I may never be able to write you a letter again!” Despite these words, their correspondence continued for many years as they worked together to establish the White House as the home of the people that also told a story about America’s past. Opening in May of 2022, the exhibition Jacqueline Kennedy and H. F. du Pont: From Winterthur to the White House , guest curated by Elaine Rice Bachmann, documents this work through objects, archives, and images (fig. 3) .

Fig. 3. Jacqueline Kennedy on the Montmorenci staircase at Winterthur on May 8, 1961.

Kim Collison is Curator of Exhibitions at Winterthur Museum, Garden & Library.

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“The Possibilities of a Box”: Louise Brigham’s Box Furniture By Jena R. Gilbert-Merrill

Louise Brigham’s Box Furniture: How to Make a Hundred Useful Articles for the Home (1909) is a collection of instructions for making simple, modular furniture from recycled wooden boxes (fig 1.) . In the book, Brigham proposed using the detritus of everyday life to make multipurpose furnishings, thereby engaging with the history of “making do” that has long been crucial to the identity of the American household. While Box Furniture is an instructional manual and advice book on thrift, home decoration, and design, the impact of this text extended beyond its covers. Brigham led carpentry workshops for immigrants and working-class people in New York City through an organization called the Home Thrift Association, with classes held in the Gracie Mansion (formally, the Archibald Gracie Mansion and currently the official residence of the Mayor of New York City). Brigham

Fig. 1. Cover of Box Furniture . New York, N.Y.: The Century Co., 1910. Winterthur Library NK2408 B85 1910.

participated in the settlement house movement and dedicated her time to social work, advocacy, and the arts. She brought these pursuits together in Box Furniture . Through making box furniture and teaching, Brigham combined thrift, handicraft, recycling, a modernist aesthetic, and a do-it-yourself mentality with her commitment to social engagement. The scope of Box Furniture and the project that surrounded it was decades ahead of its time and difficult to put into a box. Winterthur Library holds two copies of Box Furniture: a 1910 edition and a 1919 edition, which was Brigham’s personal copy containing annotations, edits, and a pamphlet of her illustrated lectures. While examples of box furnishings have not survived today, the book itself—as a text and surrogate for box furniture itself—can reveal much about what Brigham was trying to achieve, aesthetically and socially.

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Box Furniture is organized systematically, with the designs increasingly becoming more complex and modular. The text begins with designs for furnishings that keep “The Box in its Simplest Form,” and advances to objects that use multiple boxes in combination. Additionally, each chapter is organized by room and includes illustrations of interiors fully outfitted with box furniture. In this way, while the furnishings rely on the box as their basic unit of construction, the interiors described in this text are also built up in a similarly modular fashion. Box furnishings themselves are building blocks that, when combined, create domestic spaces with a unique, handcrafted materiality (fig. 2) . The illustrations throughout Box Furniture also include simple, rectilinear sketches of each piece of furniture along with

Fig. 2. “A Corner of the Nursery.” Illustration by Edward Aschermann. From Box Furniture , frontispiece.

written instructions on how to build it (fig. 3) . These were completed by Edward Aschermann, a designer and illustrator who, along with Brigham, studied with the Viennese designer Josef Hoffman of the Wiener Werkstätte. Hoffman’s aesthetic and ideological commitment to geometry, the absence of ornamentation, and a coherent and comprehensive design schema are tangible in both Brigham’s designs and Aschermann’s renderings. Box Furniture , as a text, adheres to Hoffman’s aesthetic ideals: the design and layout are clean and straightforward. The only ornamentation consists of stylized strings of squares and rectangles that form simple decorative borders throughout the book. In this way, the form and aesthetic of the text are coherent with the objects and interiors that are described within. Box Furniture is a gesamtkunstwerk , or

“total work of art,” in that every aspect of this project—from the text to the potential objects and interiors it details to the greater aesthetic and social project in which this work was situated—is cohesive in its design. This idea of living in a “total work of art” and engaging with all aspects of its production situates Box Furniture within the scope of the arts and crafts movement, aspects of which were prevalent

Fig. 3. “Desk Chair” made from “a box with a hinged cover” and strips of wood. From Box Furniture , p. 101. — 14 —

worldwide when Brigham was studying, traveling, and devising her book. The arts and crafts movement posited that challenges set forth by modernity, industrialization, and the social and economic conditions they presented could be overcome by taking joy in laboring over and living with handcrafted objects. The objects, interiors, and outlook for which Brigham advocates resonate with this movement’s idea that craftwork holds transformational potential. While design and aesthetics are central to Box Furniture , this book was primarily intended to allow everyday people to affordably construct and furnish their homes with beautiful, functional objects. Brighamwas committed to sharing this process with those who otherwise may not have had access to arts and crafts furnishings, which were often expensive despite their emphasis on “democratic design.” In this respect, Box Furniture can be understood as an example of the arts and crafts movement functioning as it was intended to, with the ideals of handwork and beauty available to everyone, regardless of economic standing (fig. 4) . However, while Brigham herself was committed to living in an entirely handcrafted environment, it is unclear whether she expected her students to commit to this project so completely. While the ideals of the arts and crafts movement and the Progressive Era made sense to Brigham, the lived experiences of immigrants and the urban poor in places like New York City at the turn of the century may have made engaging with Box Furniture challenging or unrealistic in practice. Nevertheless, Box Furniture still has relevance in a contemporary context. While the packing materials we throw away today are not as well suited to building furniture as turn-of-the-century wooden crates—much of it is designed and destined to be disposed of—we can still learn from the spirit of this text. The environmental consequences of

ignoring the imperative to reuse, recycle, and reduce our waste are dire. Box Furniture offers the opportunity to think creatively about the potential in the trash and materials around us today.

Fig. 4. Boys from the Home Thrift Association transporting boxes to workshop in Gracie Mansion. From Brigham’s Illustrated Lectures in Winterthur Library NK2408 B85 1919.

Jena R. Gilbert-Merrill is a second-year Lois F. McNeil Fellow in the Winterthur Program in American Material Culture.

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Threads of Change: Assessing a Potential Meiji-Era Silk-work Painting By Rachael Kane

Fig. 1: Needlework picture (front view). Embroidered early 20th century. Gift of Delaware Art Museum, Bequest of the Estate of Virginia M. Alexander 2021.0004 A.

Fig. 2: Needlework picture (back view, with wooden stretcher and three types of visible paper). Early 20th century. Gift of Delaware Art Museum, Bequest of the Estate of Virginia M. Alexander 2021.0004 A and B.

Unframing an object offers invaluable insight. Occasionally it can also bring unexpected surprises. When the Delaware Art Museum first acquired a needlework picture depicting two Caucasian women drinking tea (fig. 1) , the staff assumed it was European in origin. Closer inspection revealed Japanese newspapers behind the frame (fig. 2) . The new information prompted further study, and, ultimately, the object’s transfer toWinterthur, where it joined a more extensive group of silk-work embroidery. European on one side and Japanese on the other, this needlework picture presents a compelling transnational narrative, interweaving stories of traditional craft, political influence, and the legacy of Japanese aesthetics.

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A large portion of the back of the artwork is obscured by a partial layer of tissue, which, in combination with the deteriorating frame, reveals a paper lining behind the ground fabric. The lining, in remarkably good condition, passes beneath the stretcher, an indication that the paper was laid down before the textile was framed. Two distinct types of paper serve as backing material—the easily identifiable newsprint and washi , a traditional Japanese paper often used for artistic purposes and calligraphy. Partial translations of the newsprint reveals articles about local schools, recent performances, and an upcoming lecture. One article references a transcription of a kodan storyteller, naming both the storyteller, Takarai Bakin, and the stenographer, Imamura Jiro. The two frequently worked together between 1900 and 1920, dating this object to either the end of the Meiji Period (1868–1912) or the Taisho Period (1912–26). Despite a clear connection to 20th-century Japan, the dissonance between the European image and the backing paper remains perplexing. While the visual iconography may initially read as Euro-American, the stylistic features of the embroidery suggest an Asian origin. Although embroidery in Japan historically was used primarily for clothing embellishment, it also enhanced decorative objects, such as ceremonial silk wrappings. Featuring high-quality silk thread worked in long split stitches and modified stem stitches, this silk-work picture shares more distinctive features with Asian embroidery than with contemporaneous European examples. This type of silk-work picture, shishu kaiga, or embroidery painting, was a product closely associated with Kyoto throughout the Meiji Era and briefly held popular appeal in Japan and abroad. Meiji-Era shishu kaiga get frequent mention in literature but rarely show up in modern textile collections outside of Japan. Despite this omission, period descriptions of Japanese embroidery describe beautiful silk-work paintings produced in Japan that were commonly exported and used in Euro-American decorative trends. There are likely more in museum collections that simply remain unidentified because of the sociopolitical climate in which they were originally made. After the end of the isolationist period, Japan embarked on a series of radical changes intended to avoid cultural domination under the long shadow of British imperialism. Known as the Meiji Restoration, the period is often studied in terms of technological and political shifts, but artistic movements also mirrored these outward-gazing changes. The political instability resulting from a reorganization of the Japanese ruling class destabilized the domestic market for traditional Japanese craft, such as embroidery. The broadening of international markets, however, provided attentive, affluent customers hungry for “authentic” material, resulting in the spread Japanese workmanship throughout Europe—an effect that appealed to the Japanese government, who sponsored the growth of craft industries and encouraged the creation of objects specifically for export markets.

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As a result, Japanese embroidery appeared at World’s Fairs and Expositions, such as Philadelphia’s 1876 Centennial International Exposition, where some 30,000 Japanese objects on display included both modern shishu kaiga and traditional textiles, like kimono silks. Despite this duality, European markets far more actively pursued traditional textile products, driven not necessarily by a respect for the craft but rather by a sense of paternal fascination for Japan’s historical insularity. The visual appeal of Japanese work was often based in its foreignness, evoking a sense of orientalist nostalgia. The interest in labeling Japanese culture as historically unspoiled by the modern world worked against the modern Meiji-Era narrative that Japan was indistinguishable from its European counterparts. This dichotomy served only to increase the tension between profitable traditional arts and politically aware modern practices. Regardless, shishu kaiga faded out in the early 20th century, eventually disappearing from artistic production during the war-torn Showa Era (1926–89). Ultimately, the relative dearth of information about these objects makes it difficult to confirm the origin of this work. There are few signed examples of shishu kaiga , and without comparable objects, it is difficult to establish stylistic identification, especially as there are no others known that depict a domestic scene. In fact, the vast majority of shishu kaiga depict animals and landscapes. The lack of comparative examples is a potential indication that the work is either not Japanese or was made by a foreigner studying Japanese silk-work techniques. Although there is a clear association between object and place, an exact understanding of this relationship remains elusive. Regardless, the coexistence of both Japanese and European textile traditions within this object speaks to the tension between tradition and modernity at the heart of the Meiji Reformation. As Japan strived for global recognition, their changing aesthetics challenged Euro-American understandings of what makes something “Japanese.” In a poignant way, the modern misattribution of this object reflects the same tendency to search for a particular aesthetic in Asian art, rather than embracing the variety and remarkable flexibility of global art histories.

Rachael Kane is a second-year Lois F. McNeil Fellow in the Winterthur Program in American Material Culture.

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ARADER GALLERIES 1308 Walnut Street, Philadelphia, PA 19107 215.735.8811 [email protected] www.aradergalleries.com BOOTH 2

Japanese Whale Watercolors Clockwise from top left: Gray Whale, Killer Whale, Sperm Whale, Blue Whale, White-sided Dolphin, and Right Whale. Painted in light colors on mulberry paper, laid down on Archival paper. Japan, possibly Wakayama region: ca. 1750.

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BARBARA ISRAEL GARDEN ANTIQUES Katonah, NY By appointment • 212.744.6281 [email protected] • [email protected] www.barbaraisrael.com BOOTH 36

A large carved stone pig, sitting on haunches with jovial expression, by English artist Royston Clapp (1929–2009), English, ca. 1980. 31 in. high, 20 in. wide, 31 in. long. Base sold separately.

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BERNARD & S. DEAN LEVY, INC. 227 West 17th Street, New York NY 10011 212.628.7088 • [email protected] www.levygalleries.com BOOTH 9

Set of six Chippendale Dining Chairs, New York, circa 1770 Primary wood: Mahogany Secondary woods: Poplar and yellow pine For a very similar chair please see John Kirk, American Chairs, figure 141

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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 [email protected] • www.abirdinhand.com BOOTH 15

“Spring” S. S. Carr (1837–1908) Brooklyn, NY Oil on canvas in original gold leaf frame Frame size 31¾" W by 25¾" H Circa: 1880–95

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CHARLES CLARK 35 Main Street North, P.O. Box 884, Woodbury, CT 06798 203.982.1008 [email protected] • www.clarkclassical.com BOOTH 28

A Classical Easy Chair Boston, 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 [email protected] • www.christopherhjones.com BOOTH 41

PORTRAIT OF DR. WILLIAM H. TWYMAN Madison County, Virginia, 1843 Oil on canvas in original gilt frame By John Toole (1815–1860) Signed and dated on verso with name of subject 28½" x 33½" overall

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COLETTE DONOVAN Early American Country Antiques with Textiles Merrimacport, MA 978.346.0614 [email protected] BOOTH 42

Rare, INDIGO, twill-woven, windowpane check coverlet with crewel floral decoration. American, early 19th c. Always fine textiles to complete the Americana collection.

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DIANA H. BITTEL Bryn Mawr, PA 19010

Tel/Fax: 610.525.1160 • Cell: 610.715.1595 [email protected] • www.dianabittel.com BOOTH 12

Wonderful small French Prisoner-of-War Bone Model. Very rare in original strawwork mirrored case with two smaller ships flanking. Featuring sixty-six gunports — majority with canons. Made 1793–1817 in a British prison during the Napoleonic wars. 17¼" x 8¼" x 13¼"

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DOLAN/MAXWELL 2046 Rittenhouse Square, Philadelphia, PA 19103 Tel: 215.732.7787 [email protected] • www.dolanmaxwell.com BOOTH 46

Dox Trash, American, 1893–1965 City Plevins, c. 1939 Watercolor on wove paper image/sheet 15⅜" x 1111∕16" Signed, recto; Titled, verso Exhibited at the Pyramid Club, 1945

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DIXON-HALL FINE ART 130 Potters Pond Drive, Phoenixville, PA 19460 610.935.2570 [email protected] • www.dixonhallfineart.com BOOTH 10

Mildred Bunting Miller (1892–1964) Summer Idyll, Yellow Springs, PA

Oil on canvas, 21 x 28 inches Signed lower right: M. Miller

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DIXON-HALL FINE ART 130 Potters Pond Drive, Phoenixville, PA 19460 610.935.2570 [email protected] • www.dixonhallfineart.com BOOTH 10

James Brade Sword (1839–1915) Long Pond, Martha’s Vineyard, 1886

Oil on canvas, 18 x 30 inches Signed lower left: J.B. Sword/86 An extremely rare and exceptional view of Martha’s Vineyard by the renowned 19th century Philadelphia artist.

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EARLE D. VANDEKAR OF KNIGHTSBRIDGE, INC. By appointment P.O. Box 586, Downingtown, PA 212.308.2022 • [email protected] www.vandekar.com BOOTH 57

17th Century English Delftware Fuddling Cup, Probably Southwark or London Circa 1660-80 The early English delftware fuddling cup has underglaze blue & white Chinoiserie decoration with a single male figure to one side and towering layered rockwork behind surrounded by vegetation. There are three cups, each with variations of this design. The cups are all connected at their back and also with three double loop-entwined handles painted with blue dash lines. Dimensions: 4¼ inches high x 5¼ inches wide

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ELLE SHUSHAN By appointment Philadelphia, PA 215.587.0000 BOOTH 33

Mrs. Moses B. Russell (1809–1854) Portrait miniature of a young boy holding an orange, circa 1845 4 inches high

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ELLIOTT & GRACE SNYDER P.O. Box 598, S. Egremont, MA 01258 413-528-3581 (T) • 413-441-4065 (C) [email protected] • www.elliottandgracesnyder.com BOOTH 14

A truly exceptional 18th c. maple armchair with original red wash. Mid-Atlantic states, probably Delaware, c. 1750; 46” h. Provenance: Private collection; Paul and Margaret Weld collection.

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THE FEDERALIST ANTIQUES 515 Park Drive, Kenilworth, IL 60043 847.256.1791 [email protected] • www.federalistantiques.com BOOTH 24

BOSTON CHIPPENDALE OXBOW SLANT FRONT DESK The desk features a stepped interior, and the four graduated drawers retain their original swan neck cast brass bail & rosette pulls and key escutcheons. Swietenia mahogany primary wood with northern white pine secondary. Boston, Massachusetts, 1788–1800. 46" Wide x 25" Deep x 44" High

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FRANCIS J. PURCELL, INC. 251 N. 3rd Street, Philadelphia, PA 19106 267.496.8161 [email protected] • 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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GRATZ GALLERY AND CONSERVATION STUDIO, INC. 5230 Silo Hill Road, Doylestown, PA 18902 215.348.2500 [email protected] • www.gratzgallery.com BOOTH 25

Peter Miller (American, 1913–1996) Patchwork in Red Oil on canvas, 1950s, 42 x 54 inches

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GREG K. KRAMER & CO. 27 West Freeman Street, Robesonia, PA 19551 By appointment 610.693.3223 [email protected] • www.gregkramerandco.com BOOTH 6

Exceptional Folk Art Rooster Full Body Weathervane Lancaster Country, Pennsylvania, ca. 1853

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G. SERGEANT ANTIQUES 289 Main Street South, Woodbury, CT 06798 203.266.4177 [email protected] • www.gsergeant.com BOOTH 58

A fine George I giltwood table attributed to James Moore, circa 1715. Royal provenance.

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THE HANEBERGS ANTIQUES 5 Boston Post Road, East Lyme, CT 06333 By appointment 860.389.1908 [email protected] • www.hanebergsantiques.com BOOTH 29

China Trade painting of the Hongs at Canton, ca 1847–1856 21" height by 30" width; Sight: 24" height by 34" width overall.

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HILARY & PAULETTE NOLAN Falmouth, MA 508.548.0127 [email protected] BOOTH 48

Rare Colonial Boston Fishing Lady Needlework Picture An original folky composition with a lady playing mandolin and a gentleman in a waistcoat presenting her with flowers. Large folky lion, a stag, oak trees, an apple tree, birds, butterflies, flora and fauna, and a center chimney house. Signed D M. Circa 1760–1770 12¾" x 15" sight

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HL CHALFANT American Fine Art & Antiques 1352 Paoli Pike, West Chester, PA 19380 610.696.1862 www.hlchalfant.com BOOTH 35

Carved Ostrich Carousel Animal Made by The Dentzel Carousel Company of Philadelphia. Circa 1890–1900.

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ITA J. HOWE Ming and Early Qing Porcelain 5565 Landis Mill Road, Bethlehem, PA 18015 484.241.7349 • [email protected] www.itahowe.net BOOTH 39

A fine blue and white 8" tall teapot decorated in a honeycomb design called Ling Lung. Kangxi period, 1662–1722.

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JAMES L. PRICE ANTIQUES P.O. Box 919, Carlisle, PA 17013 717.448.9272 • [email protected] BOOTH 44

Aesop Fable in Iron The Fox and the Stork England or American H 29" W 28¾" Circa 1770–1780

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JAMES M. KILVINGTON, INC. P.O. Box 4666, Greenville, DE 19807 302.270.1869 BOOTH 13

A rare early nineteenth century school girl drawing and watercolor of the state of Delaware. The source for this image was Delaware from the Best Authorities, 1795 or 1796 by Mathew Carey. The first map to show Delaware without being part of a Pennsylvania or Maryland map.

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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 [email protected] • www.jrobinson.com BOOTH 27

Third Republic Period 18kt Gold Necklace, Bangle Bracelet, and Pair of Earrings en Suite. Made in France circa 1875 and retailed by C. I. & H. Cristophe, Piazza San Marco, Venice, Italy – jewelers to the Italian Royal family.

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JEFFREY TILLOU ANTIQUES 39 West Street, Box 1609, Litchfield, CT 06759 860.567.9693 • Fax: 860.567.8526 [email protected] • www.tillouantiques.com BOOTH 59

MATCHING QUEEN ANNE BONNET-TOP HIGH CHEST AND DRESSING TABLE Rare Matching Queen Anne Bonnet-Top High Chest and Dressing Table with Matching Carved Shells Connecticut River Valley, ca. 1765. Cherry, white pine secondary. Both retain their original cast pierced brass and bail handles, central finial and drop pendants. The varnish finish of both cases has mellowed to a warm patina. Among a very few known surviving sets, this Connecticut Bonnet-Top High Chest and Dressing Table have features that make them stand alone, notably the carving of the fans, the applied molding that conforms to the carved drawer of the high chest, and the stepped-in waist molding. Both pieces have survived in a wonderful state of preservation. Provenance: Descended through a prominent New England Family. High Chest Dimensions: 84½" h, 38” w lower case, 34½" w upper case 36 ¾" d. Dressing Table: 32¼" h, 30” w case 36½" x 20¾" top

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JEWETT-BERDAN ANTIQUES 15 Hopkins Hill Road, Newcastle, ME 04553 207.563.3682 [email protected] • www.jewett-berdan.com BOOTH 19

A fine folk portrait of young boy with riding crop Prior-Hamblin, circa 1845

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JOHANNA ANTIQUES 316 Wyndhurst Avenue, Baltimore, MD 21210 410.937.3444 [email protected] BOOTH 11

18k carved and painted rock crystal intaglio of a Jack Russell terrier. Collection of a Palm Beach animal rescue benefactor.

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JOHN CHASKI, INC. 11 North Main Street, Camden, Delaware 19934 Open By Chance or Appointment 302.448.6492 [email protected] • www.johnchaski.com • Shop and Blog BOOTH 53

Set of six bold paint-decorated chairs, Pennsylvania, circa 1830

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JONATHAN TRACE 27 Hancock Street, Portsmouth, NH 03801 By appointment 603.431.1197 • [email protected] BOOTH 34

Small American Silver Cann Joseph Richardson, Philadelphia, Circa 1760

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KELLY KINZLE Shop: 9 Center Square, P.O. Box 235, New Oxford, PA 17350 717.495.3395 [email protected] • www.kellykinzleantiques.com BOOTH 8

Tall Case Clock Inscribed John Fisher, York Town A superb cherry tall case clock, circa 1775 with a brass dial by one of York’s most talented clockmakers, John Fisher (1736–1808). The case is a rare, rural interpretation of Philadelphia high style clocks with a sunken panel on the base, applied carving on the tympanum and a central carved cartouche flanked by carved floral rosettes. Height: 108"

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LEATHERWOOD ANTIQUES P.O. Box 1676, Sandwich, MA 02563 508.420.1433 [email protected] • www.leatherwoodantiques.com BOOTH 38

We specialize in high-quality unusual objects in Folk Art, Black Forest Carvings, Cold Painted Vienna Brones, Children’s Pottery (including Christening Mugs & Plates), Sailor’s Woolwork Pictures (Woolies).

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ALAN KAPLAN LEO KAPLAN, LTD. P.O. Box 26, New Rochelle, NY 10804 212.355.7212 [email protected] BOOTH 37

A rare and fine signed E. Michel cameo glass vase with floral design, green on red clear with a Martelé background, 9" high, French, circa 1895.

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LILLIAN NASSAU, LLC 220 East 57th Street, New York, NY 10022 212.759.6062 • Mobile: 917.863.5649 [email protected] • www.lilliannassau.com BOOTH 26

Tiffany Studios Lotus Table Lamp American, circa 1906 22" H x 26" D Leaded glass, patinated bronze

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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 [email protected] • www.marcyburns.com BOOTH 16

Antonio Pineda 1953+

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MARIA & PETER WARREN ANTIQUES New Store Front at: 150 Main Street, Monroe, CT 06488 203.984.6174 • [email protected] www.warrenantiques.com BOOTH 55

A Rare English Staffordshire Creamware vine molded teapot, with a vine knop and handle and a molded spout, c1750

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NATHAN LIVERANT AND SON, LLC 168 South Main Street, P.O. Box 103, Colchester, CT 06415 860.537.2409 • [email protected] www.liverantantiques.com BOOTH 32

Edward Savage (1761–1817) Portrait of a gentleman, possibly George Athearn (1754-1837) of Martha’s Vineyard, Massachusetts. Signed by the artist in the lower left, “E. Savage, Pinxt” and dated on the ledger December 11, 1786. Oil on canvas. Held in the original molded pine and gilt decorated frame.

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THE NORWOODS’ SPIRIT OF AMERICA Doug and Bev Norwood Timonium, MD 410.252.2012 • Cell: 410.960.1311 [email protected] BOOTH 50

A superbly carved wooden love token in the form of a spoon from a suitor to his sweetheart, letting her know she has the key to his heart. Circa early nineteenth century. 10½" x 3".

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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 [email protected] • www.oldehope.com BOOTH 7

A fine pair of decorative carvings by Ira Hudson (1873–1949), painted by Delbert Hudson, of a full-sized flying mallard drake and pintail drake.

Chincoteague, VA, 1940s Mallard, 30"; Pintail, 28½"

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PETER H. EATON ANTIQUES 8 Federal Street, Wiscasset, ME 04578 207.687.8512 [email protected] • www.petereaton.com BOOTH 61

A very fine and rare painted and stenciled two drawer blanket chest. The stencil decoration on the front is repeated on the top. Never overpainted or over varnished. Probably Paris Hill area of Maine, c. 1815–20. 39" width, 38½" height, 16½" depth.

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THE PHILADELPHIA PRINT SHOP WEST Denver, Colorado 303.322.4757 [email protected] • www.pps-west.com BOOTH 43

John Ogilvy Nova Terrae —Mariae Tabulae Lobdon, 1671 The Lord Baltimore map of Maryland, the first obtainable map of the colony.

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POLLY LATHAM ASIAN ART 535 Albany Street, Boston, MA 02118 617.823.5796 [email protected] • www.pollylatham.com BOOTH 3

A very fine pair of 16" Chinese porcelain figures of Court Ladies decorated in Famille Rose enamels. Qianlong period. Mid-18th century. Always interested in buying single objects or entire collections.

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RALPH M. CHAIT GALLERIES, INC. 16 East 52nd Street, 10th Floor, New York, NY 10022 212.397.2818 [email protected] • www.rmchait.com BOOTH 31

RARE CHINESE SANCAI / FAMILLE VERTE GARDEN SEAT Kangxi period, circa late 17th century Decorated with horses leaping over swirling waves, and with additional Precious Things.

Height: 13½ inches (34.5cm) Ex: New York Private Collection

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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 • [email protected] BOOTH 18

Oil on canvas painting by Susan Waters; dated 1890 Signed, lower left: Mrs. Susan C. (Catherine) Waters All original Site size: 36 x 24 inches

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