: Leaner but definitely not meaner and decidedly lush, the 45th
Ellis Antiques Show, November 3-7, brought together a diverse
array of dealers offering an exquisite range of fine furniture
and objects. Reduced space in the venerable Park Plaza Castle
(due to the presence of a new restaurant on the premises) only
allowed for 37 dealers this year rather than the previous
complement of 45. Still there was room for two new dealers and
overall the show had enormous visual appeal, was focused and
seamless.
The preview party was a decorous event as dealers, collectors and
committee people greeted one another and enjoyed superb food and
the oyster bar. Lectures and events throughout the weekend were
aimed at new collectors as well as the more seasoned ones. The
highlight was John Wilmerding's talk on "Collecting American Art:
A Personal History," which was a big hit. A designers evening on
Saturday filled the house with area decorators who discussed the
antique pieces on view in various booths.
Back for her 45th year, the elegant Elinor Gordon gave pride of
place to a very handsome lotus bowl with reserves of famille
rose. She said it was a recent acquisition and she was
justifiably pleased with it. Gordon's eyes twinkled as she
recounted the story of a collector of lotus bowls in an earlier
era: England's Queen Mary. It seems her majesty was fond of
shopping but was inclined to simply help herself to anything that
captured her interest. Tradesmen dreaded her arrival. Friends who
entertained the queen in their homes removed objects of interest
while she visited lest they be disappeared to the palace.
Gordon also showed an extensive array of Fitzhugh green and some
exceptional armorial pieces. Her booth was as filled with
interested collectors as it was with old friends dropping by to
catch up with her.
Gordon and Good & Hutchinson have both participated in the
show for all of its 45 years. Vose Galleries, a mere 44 in
comparison. They were all back in full force.
Good & Hutchinson brought along a fine circa 1650 walnut
chest with bun feet. A number of pieces in their booth wore sold
stickers early in the show: an oak sideboard, a Chippendale chest
and several paintings. They also showed a circa 1750 English oak
slant lid desk, an array of porcelain and a handsome export punch
bowl
The Sheffield, Mass., dealers also offered a circa 1770 American
Chippendale chair, an American Federal mirror with rope twist and
an imposing pair of French library steps. Antique Loo chips
scattered across a nearby table were for sale - three for $10.
Vose Galleries, the country's oldest family-owned art gallery,
made do with limited space in which they hung the stunning James
E. Buttersworth marine painting "Off Barbados," Boston artist
Josiah Wolcott's "Lawn Looking West," Harris Woods' 1883 view of
West Roxbury, Mass., two circa 1804-1809 portraits by itinerant
painter William Jennys, John Vanderlyn's circa 1826 "Niagara and
the Rapids" and Eastman Johnson's charming "Boy Eating Apple."
Carswell Rush Berlin offered a most unusual Classical corner
sideboard that was attributed to Boston makers Thomas Emmons and
George Archibald. The piece was made with exceptionally lustrous
woods and had impressive brass mounts. Another Boston piece, a
beautifully proportioned figured and bird's-eye maple sofa was
made between 1815 and 1825
An extravagant Classical rosewood games table had bronze mounts,
brass, ebony and satinwood inlay and striking carved giltwood
dolphin feet was also displayed by the New York City dealer.
Similar to an example at Winterthur, the table was attributed to
Duncan Phyfe. There was a fine complement of Boston pieces
including an 1815 set of eight carved Boston mahogany dining
chairs, along with a mirror, a commode and a rare set of very
high bedsteps.
G.K.S. Bush filled a booth with elegant Boston pieces such as the
circa 1760 Boston Queen Anne walnut bonnet top highboy with fan
carving and the pristine circa 1770 Boston Chippendale block
front chest-on-chest with elaborate and original brasses. A Queen
Anne japanned tea table drew a lot of eyes as did a portrait of a
child in a red dress and a set of six limewood figures. A small
circa 1810 Salem server by William Hooker boasted a remarkable
sunburst inlay
Stephen Score showed an impressive green-painted elephant
weathervane that he hoped to sell to a politically minded
collector. He joked that he'd considered tripling the price in
view of the late election. He also had a large French bootmaker's
trade sign, a yellow on black paint decorated chest, a Samuel
Gragg bentwood side chair in original paint and a highly colorful
ten-pin bowling set in the form of army cadets that was made in
Brooklyn, N.Y., circa 1940. He described it best himself as "a
booth full of whimsy." A striking Baltimore quilt with a large
central star and baskets of flowers set off the folk pieces.
Alan Granby, Hyland Granby Antiques, Hyannis Port, Mass., poses
with a huge piece of scrimshaw and his new book "A Yachtsman's
Eye: The Gen Foster Collection of Marine Paintings."
Hyland Granby had a seascape by W.E. Norton of a mariner in a
dory with his wife and child. The gallery's James E. Butterworth
painting of the American clipper High Flyer served as the
cover of the show catalog. Other marine gems were Duncan
McFarlane's "Young Brander" and Samuel Waters' "Martha." Three
paintings by Thomas Whitcomb depicted the War of 1812 engagement
between the American privateer Cornet and the British
Hibernia. A particularly attractive nest of Nantucket
baskets were identified as having been made by Ferdinand Sylvaro in
about 1925. Speaking after the show, Alan Granby said, "It was a
beautiful show...the quality and presentation was as good as I've
ever seen in New England."
The Pricketts had a dandy 1775 Boston Chippendale figured
mahogany reverse serpentine secretarial desk with a bookcase with
scalloped doors and elaborate dentil work, with a center gilded
eagle. They also offered a circa 1792-1799 mahogany serpentine
front sideboard attributed to William Whitehead. The piece was
made in gorgeous woods and had an amazing fan inlay and
lily-of-the-valley inlay. A Queen Anne walnut corner chair made
in Boston in about 1760 had dainty cabriole legs. The folky side
of the booth was home to an 1815 Pennsylvania blanket chest from
Lehigh County and attributed to the Leiby school. It was painted
dramatically in salmon with bold black swirls. Craig Prickett
noted that he was pleased to be back in Boston for the Ellis.
Stephen and Carol Huber's extraordinary needlework included
"Maria," based on Laurence Sterne's story of a woman who, when
jilted by her lover, went wandering in a wood and was abandoned
by her dog for a goat. Pretty sad story but a wonderful piece. It
was worked at Susanna Rowson's school in Boston in 1800.
A mourning picture in memory of Captain Thomas Chandler and
Captain James Peterson was worked in 1826 by Matilda Chadwick of
Duxbury, Mass. Fanny Wyman's 1799 sampler was for sale along with
an exceptionally early (1758) silk coat of arms for the Bolles
family of Boston. Of particular interest was a pair of samplers
wrought by Deborah Robbins in 1750 and her daughter Deborah Day
in 1777. For anyone who wanted to sit to examine the needlework
there was a fine unusual rocking reading chair that Carol Huber
had just acquired.
Jeffrey Tillou's booth was replete with stars. There was the
painting of the American clipper Dreadnought that was
built in 1853 at Currier and Townsend in Newburyport and wrecked
in 1869 off Tiera de Fuego. Tillou also offered a circa 1770-1780
Chippendale carved high chest of drawers in figured maple from
the Dunlap school with interesting cast brasses and a
Massachusetts Chippendale cherry secretary with scalloped doors
above the desk. The eye catcher was the dazzling early Eighteenth
Century English coverlet with flame stitching and embroidered
baskets.
The Philadelphia Print shop displayed the standout map of the
British and French Dominions in North America. The large map was
mounted on a roller and showed the demarcations between the
English and the French in the French and Indian War. It was
printed by Andrew Miller of London.
James M. Labaugh offered a nice New England chest of drawers, a
selection of Staffordshire figures and an elegantly colorful pair
of garden barrels decorated with pink peonies.
Kyser and Hollingsworth had four fancy painted Boston or New York
Sheraton chairs with chinoiserie scenes on the tablet of the
upper rail. A circa 1800 tabernacle mirror with allegorical
figures drew a lot of attention. They also offered a circa 1790
George III Hepplewhite cylinder desk with elaborate stringing and
an inlaid writing surface flanked by panels.
An array of tea caddies and a plenitude of other stylish boxes in
tortoise shell, ivory and porcelain were seen in the stand of
Sallea Antiques. A selection of mother-of-pearl boxes, also seen
there, was an interesting display of line and form.
Martyn Gregory was on hand from London with a booth full of fine
China Trade paintings. Pride of place went to a large circa 1790
view of the hongs at Canton. Another gem was the 1900 panoramic
view of Honk Kong, a picture of particular interest for the
eclipse of sail-powered vessels for steam-driven ones and
burgeoning development and the increasing height of the buildings
around the harbor. Four gouaches depicting the various stages in
the production of silk and a pair of scenes of imperial
receptions drew high interest.
Like many dealers who brought Boston pieces to the show, Martyn
Gregory had a fine 1860 China Trade portrait of the American
vessel Almatia off Hong Kong. The ship was built in Boston
for the Mediterranean trade but was later sent to China.
Boston's Euro Exports displayed some highly desirable Biedermeier
pieces including an impressive Austrian circa 1825 center table.
An Austrian pair of cherry cabinets for sale was made in about
1830 with mahogany inlay string banding and a set of six walnut
dining chairs had ebonized detailing.
R.M. Worth had a 1750 portrait of an English gentleman in a blue
coat with a sumptuous white and gold vest, a 1790 New York
Hepplewhite mahogany sideboard, a fancy Chippendale games table
and eight New York Sheraton fancy chairs made between 1800 and
1820.
Alfred Bullard showed a small George III mahogany chest-on-chest
that retained the original brass bail handles and escutcheons.
There was also an interesting Charles X mahogany secretary a
abattant that was made in France in around 1825 to 1830.
G. Sergeant showed the impressive late Seventeenth or early
Eighteenth Century Flemish or Italian painting of wild and
domestic animals, "Animal Kingdom." There was also a fine 1770
Italian painted and gilt console table, a 1795 pair of Consulat
Egyptian styled fauteuils with Egyptian figural hand supports.
Each was newly covered in jazzy faux lynx.
Taylor B. Williams exhibited the antique English enamels of every
variety for which he is justifiably well-known. The little
treasures have intrigued the former actor and detective since he
first encountered a collection of them some 40 years ago.
Williams also exhibited a vibrantly colorful case of canary ware
and rounded out his offerings with a Massachusetts cherry bow
front desk on French bracket feet. He also had a New England
(probably Massachusetts) Federal mahogany games table and a
George III mahogany linen press of substantial proportions that
was made between 1780 and 1820 by Graham and Lynch.
Charles L. Washburne filled his space with colorful English
majolica. The most compelling piece was the fanciful Minton ice
stand with stags' heads around the column supporting the top and
fox heads along the base alternating with panels of swags. A
George Jones bowl in the form of half an orange supported by Mr
Punch and his nose attracted lively attention. The Chappaqua,
N.Y., dealer also presented a candy dish in camel form - the
noble beast wore turquoise panniers with lavender interiors.
Mr and Mrs Jerome Blum brought a table with three plates a
lolling chair, mocha ware, creamware and redware jugs. The
Leather Bucket exhibited several cases of gleaming flatware and
some admirable Victorian silver including a fine coffee and tea
service.
Philip Suval presented a rare trio of Chinese export plates and
an array of Staffordshire among other exceptional porcelain
pieces and Peter Pap's booth was a study in the burnished hues of
finely woven antique rugs.
William Vareika exhibited William Trost Richards' "After a Stormy
Day," an apt choice for the Newport gallery: a Newport artist and
a Newport scene. Vareika brought a fine Boston picture as well:
Gilbert Stuart's portrait of his friend Allen Crocker, a Boston
lawyer and merchant. The gallery also showed an 1856 Hudson River
view by Johann H. Carmiencke that attracted a lot of interest.
Business was brisk and Bill Vareika reported after the show, "I
just love doing the Ellis!"
Pennsylvania dealer Diana Bittel offered a wall full of enticing
sailors' woolworks and sailors' valentines. She also showed "Ship
in Distress," a detailed portrait of a ship's sinking by
Liverpool artist Joseph Heard. The picture was presented to the
captain's widow after the event. A pair of sewer tile garden
lions on view live much of the time in Bittel's own garden but
she was willing to part with them. She also offered a handsome
circa 1790 Pennsylvania high chest with clean quarter columns and
Greek key molding.
The Edith Weber booth presented a concentrated selection of
gleaming antiques and vintage jewelry including a nice pair of
gold and diamond earrings with coach covers. Weber also offered a
selection of pieces by Cartier, Van Cleef & Arpels, Tiffany
and David Webb.
An interesting Eighteenth Century white pine fireplace bench in
black paint prevailed in the Irvin and Dolores Boyd booth where a
Pennsylvania Queen Anne walnut chest-on-frame that showgoers
found of interest. A tavern table was sure to be snapped up
before the end of the weekend. The Boyd's booth was dominated by
a nice black-painted settle, a tavern table and a Queen Anne
chair and a Queen Anne chest-on-frame.
Ralph M. Chait had an impressive Buddha figure and a handsome
screen. A plum flask had particularly appealing proportions and
color as did a cloisonné covered vase with peonies. Two cinnabar
lacquer panels were of great interest.
New this year was Birdie Fortescue from London whose booth was
understatedly elegant in tones of cream and beige. She had a set
of madura vases and a 1930s Art Deco French rosewood extending
table.
Kyser-Hollingsworth, Washington, D.C.
Also new was Nancy Grimes' New England Garden Ornaments of
North Brookfield, Mass. The centerpiece of her booth was an
Eighteenth Century Chinese lotus bowl, which was actually a large
marble basin that was filled with pink lotus blossoms imported from
Thailand for the show. Grimes demonstrated the origami technique
that the Thai growers used to fold the petals before shipping the
blooms. She also showed an English garden sandstone temple that
probably began life as a memorial temple. Grimes said she initially
bought the approximately 25-inch piece to use in a bath.
A Fifteenth or Sixteenth Century Chinese scroll dominated Michael
Dunn's booth. It depicted Buddha surrounded by four Bodhisattvas.
There was also a pair of Sixteenth Century Ming column bases and
a handsome red lacquer cabinet decorated with symbols of
abundance. A China Trade desk made around 1800 for the English or
French market was constructed of huang huali wood. A terrific
circa 1500 Shanxi province juniper wood game table had an incised
stone surface for Chinese chess. Dunn also showed an enviable
Ming period garden table from the Shandong province.
Show manager Josh Wainwright reported a good gate, good results
and some strong sales across the board.
Proceeds of the antiques show benefited two Boston institutions:
the Ellis Memorial & Eldredge House and Massachusetts General
Hospital's Boston Health Care for the Homeless Program.
For further information about the Ellis show, call Josh
Wainwright at Keeling Wainwright Associates, 301-263-0783.
