The dealers of the 61st Annual Philadelphia Show, assembled at the top of the Rocky Marciano steps, outside the show’s tent on the east terrace of the Philadelphia Museum of Art. Photo courtesy Nic Johnson.
Review & Onsite Photos by Madelia Hickman Ring
PHILADELPHIA — “The preview party kicked off the 2023 show with record attendance and a fantastic energy that night as well as through the run of the show,” said Ellen Caplan, the chair of the Philadelphia Show, which celebrated its 61st edition in a mostly soggy run April 28-30 following a glittering and well-attended preview party the evening of Thursday, April 27. “The funds raised from show sponsorships and ticket sales will help fund the division of learning and engagement at the Philadelphia Museum of Art [PMA]. We are proud to contribute to vital programming that serves students, teachers, adults and families in Philadelphia and beyond.”
Huntley Platt, the manager of the Philadelphia Show, echoed and expanded on Caplan’s enthusiastic comments, “I feel great about the show. In our second year on the east terrace of the Philadelphia Museum of Art, we had a chance to improve on a great start and breathe new life into the show [from the previous year]. The energy, especially at the preview party, was really great. Everyone was really excited to be there, and we had record numbers. We saw an increase of 33 percent in general admission tickets, which was a huge bump despite the crummy weather; on Saturday, which was the best day weather-wise, we had close to 1,000 people, which is fantastic, and even on Sunday, which was really rainy, we still had more than 500 or 600 people.”
The loan exhibition for the 61st Philadelphia Show was titled “Faces in the Crowd” and celebrated the range of faces found on works of art across a variety of media, including paintings, ceramics, furniture, textiles and architectural elements. Curated by Alexandra Kirtley, the Montgomery-Garvan curator of American decorative arts at the PMA, and collector, designer, museum trustee, long-time loan exhibit curator, Joan Johnson. In addition to Johnson, works were loaned from collectors including Dr and Mrs Robert E. Booth Jr, Leslie Miller and Richard Worley, and J. Collin Gleason.
Kentshire, New York City. Photo courtesy of Kara Foran for Daniel Burke Photo & Video.
Antiques and The Arts Weekly witnessed an opening night crowd that was encouragingly diverse in terms of both age and ethnicity; several dealers echoed this observation, additionally confirming it was a trend that extended throughout the show’s run.
“We had some amazing new sponsors; our two presenting sponsors — the carpenters’ (Eastern Atlantic States Regional Council of Carpenters) and electrical workers’ (IBEW 98/NECA LMCC) unions — as well as several local unions that sponsored the show certainly helped bring in a new crowd for the show,” Platt said, when we asked her if she could explain the more diverse audience. “We also had some really wonderful [new dealers] additions, who were very distinct and different.”
The new dealers she was referring to were jewelers A La Vieille Russie (New York City), M. Hanks Gallery of Fullerton, Calif., which specializes in African American art, and US- and UK-based Trinity House fine art, a specialist in Nineteenth and Twentieth Century Impressionist, Post-Impressionist and Modern British works of art.
A La Vieille Russie, which most people refer to more simply as “ALVR” and which was founded in Kyiv in 1851, brought numerous examples of antique jewelry, gold snuff boxes and objets de vertu made by Fabergé, as well as paintings and sculptures by Ivan Konstantinovich Aivazovsky and Mark Matveyevich Antokolsky (Lithuanian.)
Though ALVR’s Peter Schaffer was not able to detail transactions begun or closed during the show, he said they were pleased with the results. “We really enjoyed our time there despite the cold and rain. It did not diminish the crowds. Their interests were as varied as what we exhibited.”
In addition to antique jewelry and objets de vertu, for their first time at the Philadelphia Show, A La Vieille Russie featured, in the foreground, Mark Matveyevich Antokolsky’s “Nestor The Chronicler,” a bronze cast by F. Barbedienne, and, on the wall, “Seascape – Crimean Coast,” an 1896 oil on canvas work by Ivan Konstantinovich Aivazovsky. New York City.
Eric Hanks chose to include in the show’s catalog a stunning pen and ink composition by Charles White titled “Dream Deferred, I have a Dream Series #2”; he had priced it at $1.5 million. For those with less deep pockets, he had both two-dimensions and sculptural works in painted plaster or bronze by Augusta Savage and Meta Warrick Fuller.
Zachary Hall, New York City-based senior sales director for Trinity House, had brought a small but choice selection of works, including a 1919 Impressionist beach scene by Paul Burlin and a work they were debuting in Philadelphia, Harry Neyland’s coastal view, done in oil on canvas. Speaking with us after the show, Hall said he had found a buyer for the Burlin while he was in Philadelphia. He noted clients of his from Pittsburgh attended and were pleased to sell to a collector who came all the way from Virginia two works by Eugene Galien-Laloue. He said the most looked at works in the booth were ones by American Impressionists; he plans to bring more to the 2024 edition.
“I think the show looked beautiful. Huntley Platt and the Women’s Committee put on a great show. The dealers there are “all in it together” and though I was there by myself, I felt very welcomed, and at home. Anne Hamilton [the show’s honorary chair] is so good to the dealers. She gets the right people in town to come in and be patrons.”
Though the Philadelphia Show has, in recent years, broadened its scope beyond traditional and historical American furniture, folk art and decorative art, a smaller but nonetheless dedicated coterie of dealers keep the Eighteenth and Nineteenth Century Americana flame lit and include Diana Bittel, Jeff Bridgman, Skip Chalfant, Kelly Kinzle, Frank Levy, Arthur Liverant, Olde Hope Antiques, Elle Shushan, Taylor Thistlethwaite and Jeff Tillou.
During the preview party, Olde Hope’s Patrick Bell was seen discussing “James Lee Harrison and His Dog,” attributed to Susan Waters (1823-1900), probably New York State, circa 1845, which had been in the collection of Peter Tillou, exhibited at the William Benton Museum of Art, and was illustrated in the show’s catalog. New Hope, Penn., and New York City. Photo courtesy of Kara Foran for Daniel Burke Photo & Video.
“It was one of our best shows there, or ever…which is saying a lot in this day and age. I thought the show looked beautiful; there were lots of great things on the floor,” Skip Chalfant reported via a phone call after the show wrapped. On opening night, red dots were spotted on a William and Mary wainscot armchair from Chester County, Penn., 1730-40, and a circa 1770 Pennsylvania Chippendale walnut bottle box that was complete with bottles. He reported also selling a lowboy, some paintings, a good map and several smalls, to both existing but also mainly new clients, some of which he even said were “younger.”
“I had a good show and was thrilled to be back in Philadelphia. I thought the foot traffic was wonderful, despite how rainy and nasty the weather was,” Taylor Thistlethwaite said, who was across the aisle from Chalfant. The Middleburg, Va., dealer’s booth offered a menagerie, including an Index running horse weathervane by J. Howard & Co, a pair of Nineteenth Century English lead peacock garden statues, a life-sized carved wood bear attributed to Scranton, Penn., that he thought might have been a high school mascot, and a folk art carved and painted bison. He sold the bison to a new collector he thought was in his mid-30s and, to a couple who had never previously purchased from him but who he had seen at previous shows, an important late Eighteenth Century cherry press from Lynchburg, Va.
“I think the women’s committee of the Philadelphia Museum, and Huntley Platt, did a fabulous job. It ran so smoothly, from the company who does the tent and the electric — it went painlessly and smoothly. It saved dealers so much time and was so professionally done. Traffic was very steady through the weekend. This show is on its way to being the best in the country,” said Arthur Liverant, whose booth was stocked not just with the inventory of Nathan Liverant & Son but the collection of Rick and Susan Copeland. He reported feeling encouraged by the response of show visitors who “asked good questions…and were very curious” about several things in the booth, most notably two New London, Conn., bed rugs from the Copeland collection. He reported selling some miniatures and “a marvelous mini model of a fire pumper that was so cool to someone who hasn’t bought from us in 25 years.”
The wainscot armchair at the back corner of Skip Chalfant’s booth sold onvopening night, one of several sales he reported making during the show. H.L. Chalfant American Fine Art & Antiques, West Chester, Penn.
“It was a very good show, very well run and well attended,” said Frank Levy, whose gallery was near a corner at the front of the show. He reported having a great after-show, making sales on things he had interest on during the event. These included three different chairs, a painting, a set of chairs, and had “strong interest in a chest and a secretary.”
Also at the front of the show but on the other side of the entrance, New Oxford, Penn., dealer Kelly Kinzle had an impressive green-lined booth. Noteworthy pieces included an Dentzel ostrich carousel figure he had acquired less than a month prior to the show, a Walter Raleigh trade figure, a pair of Chippendale library chairs that had Kindig provenance, a portrait of President John Adams that was attributed to Edward Savage and an impressive Staffordshire pottery advertising model for bear’s grease. He reported selling the bear grease figure, a fraktur, a spice chest and some stoneware and redware.
One of Kinzle’s neighbors was American flag, patriotic and printed textiles and folk art dealer Jeff Bridgman, who waxed enthusiastic about the show in a follow-up email. “I sold seven flags and a great eagle and am very pleased. I also bought three great things, two of which were sold over the phone by a friend of mine within the hour, which was rewarding and an overall positive for everyone involved. I think the spirit of Rocky Marciano was alive and well in Philadelphia. Attendance was terrific, and the huge banner on the front of the tent, visible from all around, including the expressway, was the single best piece of show advertising that I have ever seen. My hat’s off to Ellen Caplan, the tireless and amazing Ann Hamilton and Huntley Platt. They and everyone else on the committee did a tremendous job.”
Tillou Gallery, now as Jeffrey Tillou Antiques, has been at the show since its inception in 1969. The Litchfield, Conn., firm wrote receipts for three weathervanes, a rare diminutive bowfront sideboard and some decorative objects. Jeff Tillou deemed it “a good show.”
From left, Kathy Booth, Joan Johnson and Dr Robert Booth, are power-house collectors deep in conversation outside the booth of Olde Hope Antiques.
Patrick Bell, Olde Hope, who made several new contacts at the show, was busy after the show trying to close deals. He shared his feedback by email, saying, “Considering what we faced in the way of weather — torrential rains — the show was amazingly strong for attendance and the crowd was sophisticated and attentive for the most part, especially for a city show. I was actually impressed with how many young people came through and really took time to observe, read labels and discuss pieces of interest with one another.
“We sold well and are still following up with continued interest. Our only furniture sale was a candle stand, but we sold good smalls and pictures. “The show looked terrific and was improved over last year in terms of overall presentation. It is extremely well-run and dealer friendly.”
Moderne Gallery, which began showing at the Philadelphia show in 2018, specializes in Twentieth and Twenty-First Century art and design and is one of just a few exhibitors at the show in this category. Robert Aibel forwarded some feedback shortly after the show closed: “The attendees were surprisingly attuned to our modern and contemporary studio furniture, wood sculptures, metalwork and ceramics. What we were showing wasn’t at all alien to the many people with whom we had conversations. In the past, many of those at the show were somewhat baffled by our booth, but we persisted. In 2023, we felt fully accepted, even welcomed by those at the show.
“This year many people expressed how happy they were that we were showing Twentieth and Twenty-First [Century] material. We had pretty constant questions and conversations about everything that we were showing. Also, there were very few items in which interest was not expressed, and we believe that there are potential sales in the offing. Among those pieces are the ceramics by Tanaka Tomomi and Zein Daouk. We had pretty much constant discussion of their works. Overall, we are quite pleased with the response, the interest in what we were offering and the direction that the show is taking.”
“The majority of questions and comments were about [this] Arthur Espenet Carpenter desk,” said Robert Aibel, Moderne Gallery, Philadelphia.
Among Moderne’s sales were an Eric Allen spoon rack, a rare Edward Wormley Japanese ash (tamo) coffee table and a Bertoia “Bush,” with additional institutional interest in a Wharton Esherick corner mirror/cabinet.
Paul Vandekar also thought it was a good crowd, reporting seeing a few people he had not seen recently and making a few “nice sales across the board,” including “a good Chinese export bowl with ships, a Twentieth Century glass vase and some Delft.” Some of just a few of the wonderful pieces in the booth of Earle D. Vandekar of Knightsbridge were a set of nine circa 1800 Barr Worcester salmon-colored porcelain covered chocolate cups and stands, a set of six circa 1800 Chinese export porcelain green and orange Fitzhugh plates, and a set of six large Chinese watercolors on European paper depicting junks or sampans, 1805-10.
French silver dealers Silver Art by D&R was “impressed by the attendance at the preview party and during the weekend, despite the weather. We loved participating in the show and meeting new clients as well as seeing our regular clients. We think the Women’s Committee and the show manager did a great job. We look forward to coming back to the museum next year!”
Elle Shushan Fine Portrait Miniatures, Philadelphia.
Jasmine Doussiere noted they “had a lot of interest on many things.” Sales included a surtout and jardiniere by Boin Taburet, with a collector still looking at an Empire surtout and jardiniere by Emile Puiforcat. Paintings and works on paper rounded out the offerings of Silver Art by D&R.
Fine art is a recognized area of interest among collectors and, to help increase attendance, the show has gradually expanded the number of art dealers who participate, now fielding exhibitors who bring works from the Eighteenth through Twenty-First Centuries, in a broad range of subjects, media and price points. Works of local interest, be in geographically or historically, are often featured in the show’s catalog, including “Paul Beck’s ‘Shot Tower’” by Thomas Birch (Arader Galleries), “North Shore Wild Flowers” by Pennsylvania Impressionist Mary E. Marshall (Dixon-Hall Fine Art); a color study for “Riders of the Apocalypse” by Pennsylvania printmaker Benton Spruance (Old Print Shop); the works of Philadelphia photographer Ruth Thorne Thomsen (Schmidt/Dean Gallery); “Rolling Pennsylvania Hills” by Henry McCarter (Schwarz Gallery). Somerville Manning Gallery promoted works by Andrew, Jamie and N.C. Wyeth, while Thomas Colville Fine Art advertised Edward Moran’s “Union Volunteers Hospital, Philadelphia, 1865.”
New York fine art dealer Betty Krulik, an exhibitor at the show since 2016, said she had “a good show” and was thrilled to be there. She sold an Arthur Wesley Dow oil and linen painting titled “Sunset at Gay Head, Martha’s Vineyard, Mass” that she had published in the show’s catalog to what she described as “a lovely and seasoned collector,” with additional interest in “my Mangold Print portfolio as well as my Lee Gatch, which met with a great deal of conversation.” She noted that more expensive things take time but thought “people were very pleased to see the Hopper watercolor and learn more about his landscape practice. Mostly I was so happy to speak to such knowledgeable collectors from up and down the East Coast.”
The 2024 edition of the Philadelphia Show will take place April 26-28, with an opening night preview party on April 25. For additional information, www.thephiladelphiashow.com.
