The Magazine Antiques is excited to announce the upcoming 2025 Winter Show to take place beginning January 24 through February 2, 2025 at the Park Avenue Armory in New York City.
The Winter Show is a benefit organized and owned by the East Side House Settlement spanning 5,000 years of art, antiques, and design. Each benefit ticket sold supports East Side House; a community-based organization headquartered in South Bronx. East Side House’s educational, career, and social services impact over 14,000 New Yorkers annually.
Below is a preview of participating exhibitors partnered with a contributing highlight. For the complete list of 2025 Winter Show exhibitors, please visit the bottom of the page. To learn more about the event, to reserve tickets, or to make a donation, please visit www.thewintershow.org/tickets
Allan Katz Americana
William Henry Harrison, “Old Tippecanoe,” depicted in this diminutive portrait bust, achieved fame with his victories over the Cheyenne Nation and at the Battle of Tippecanoe in the Ohio River Valley in 1811. Dating to 1840, the carved and polychrome painted bust measuring 18 inches high and shows him in the uniform of General of the Army, but, curiously, it’s done in a nautical style. It is speculated that the likeness may have been created as a maquette for a presidential figurehead that was never executed—a result of Harrison dying thirty-two days after being sworn in as the ninth president of theUnited States.
Barbara Israel Garden Antiques
We were thrilled to acquire this circa 1860 stoneware figure of Erin, the patron goddess of Ireland, by the exemplary English manufacturer John Marriott Blashfield (1811–1882), after a model by English sculptor John Bell (1812–1895). Erin, with shamrocks in her hair, plays the harp, a symbol of Ireland’s enduring hope for sovereignty. She stands alongside a tree trunk encircled with roses and ivy, which bears a portrait medallion of Thomas Moore (1779–1852), the Irish poet known in his time as the Bard of Erin. The use of botanical symbolism is notable: shamrocks, one of the most recognizable symbols of Ireland, represent both the holy trinity and the tenets of faith, love, and hope; roses are said to evoke eternal beauty and self-reliance, while ivy is indicative of loyalty and forward momentum. Given that a portrait medallion of Thomas Moore is tied to the tree, the roses may also be a reference to his 1813 poem “The Last Rose of Summer,” one of the most celebrated of his Irish Melodies.
Jeffrey Tillou Antiques
According to family history of the recent owners, this rare, possibly unique, four-masted ship weathervane was acquired from a Cape Cod family in the 1950s. It was purportedly mounted atop one of the buildings of the famed Shiverick Shipyard in Dennis, Massachusetts, on the Cape. The full-hull, four-masted sailing vessel, which resembles those built at the shipyard, is equipped with a detailed deck, including lifeboats, and is accurately fitted with rigging. The weathervane is further embellished with a cast-zinc figure-head of a maiden (one of my favorite elements of the piece) and a prominent American flag flying off the stern.
Though the maker is not known, the vane is most likely the work of one of the more notable New England weathervane manufacturers in the last quarter of the nineteenth century and was probably a commissioned piece. It is our best guess that the commission would have been undertaken by one of the owners or patrons of the Shiverick Shipyard. Its history, combined with its excellent condition, with traces of the original sizing and gilt surface on the full-body copper vane, make it extremely appealing to collectors. Height (on stand) 36 1⁄2, width 53 1⁄2, depth 6 1⁄2 inches.
David A, Schorsch American Antiques
A masterpiece of Shaker design, this deaconess’s desk in figured maple with original bone escutcheon was made at Enfield, Connecticut, circa 1840, in the same workshop as an iconic group of candlestands with matching posts and legs. In terms of delicacy of shape and quality of craftsmanship, the desk is considered the finest known example of this form, made all the better with a provenance going back to the early 1930s in the famed Shaker collection of Edward D. (1894–1964) and Faith Andrews (1896–1990), and purchased by us from a private collector who had acquired it in 1986. Exhibited in 1935 at Hancock Shaker Village, it has been published in several important reference books in the field: Andrews and Andrews, Religion in Wood: A Book of Shaker Furniture (Bloomington and London, 1966), p. 41; Robert Meader, Illustrated Guide to Shaker Furniture (New York, 1972), p. 38, fig. 84; Timothy Rieman and Jean Burks, The Complete Book of Shaker Furniture (New York, 1993), p. 187, fig. 124; and Lesley Herzberg, A Promising Venture, Shaker Photographs from the WPA (Clinton, NY, 2012), p. 185, no. 156.
Debra Force Fine Art
American modernist Marsden Hartley (1877–1943) first went to Nova Scotia in the summer of 1935 and returned again in 1936. That year, at age 59, he said he felt “more at home than I have felt anywhere” for the first time since his mother’s death in 1885. The artist spent much of his time with the Masons, a family of fishermen in Eastern Points, and developed a romantic relationship with Alty, one of the sons. With encouragement from the Masons, Hartley even considered building a house there to share with Alty.
Hartley’s work during the first part of the summer of 1936 depicted the artifacts of fishing life—beached crabs, corkfloats, seashells, and, as in the present work, fishing boats. He twice painted the boat, which belonged to the Mason family, likely Alty’s father, Francis Mason. The other version, Fishing Boats (Newark Museum), also shows the docked boat next to a smaller, red rowboat. Hartley often painted objects that held personal significance to him, and this boat is a premier example of how he put his feelings into inanimate objects. It held sentimental value, as it was owned and cherished by someone he loved and represented one of the happiest times in his life.
Our booth at the Winter Show will also feature works by Romare Bearden, Edward Beyer, Elbridge Ayer Burbank, Charles Burchfield, William Merritt Chase, Irving Couse, Sanford Robinson Gifford, Albert Herter, John Marin, Charles Sprague Pearce, Jane Peterson, and Francis Augustus Silva, among others.
Bernard Goldberg Fine Arts, LLC
Signed, dated, numbered, and inscribed “Emile Antoine Bourdelle/ 1912/ Alexis Rudier Fondeur/ Paris./ No. 1,” this bronze cast of Penelope Waiting by Emile-Antoine Bourdelle (1861–1929), is the first cast at the renowned Alexis Rudier foundry. Just four more are listed in the archives of the Bourdelle Museum in Paris, all now in the collections of important museums: the National Gallery of Australia, Canberra; the Kroeller-Muller Museum, Otterlo, Netherlands; the Israel Museum, Jerusalem; and the Honolulu Academy of Arts, Hawaii. In Greek mythology, Penelope was the faithful wife of Odysseus, who waited ten years for him to return from the Trojan War, hence Bourdelle’s choice of title for this major work. Bourdelle developed the model over a decade. The facial features are commonly thought to be based on Bourdelle’s first wife, Stephanie Van Parys. A smaller model was also exhibited at the groundbreaking 1913 New York Armory Show. This monumental, definitive version was completed in 1912 and exhibited that year in plaster at the Salon de la Société Nationale des Beaux Arts. Height 95, width 32 inches.
Kelly Kinzle
This is an extremely rare portrait of Hawaiian chieftess Liliha (1802–1839), a member of the Hawaiian royal family in the early nineteenth century. She and her husband Boki were principal members of the entourage that accompanied King Kamehameha II and Queen Kamāmalu on an 1824 diplomatic tour of Britain, during which they sat for the artist John Hayter (1800–1895). Lost for some 160 years, the original oil portraits of the king and queen were found in 1986 in Ireland, and this portrait of Liliha emerged in the United States in late 2023. Oil on canvas, circa 1824; 16 by 14 inches.
Avery Galleries
Nancy Maybin Ferguson (1869–1967) was a member of the Philadelphia Ten, a group of women artists who exhibited their work annually from 1917 onward for roughly thirty years. Although she began her artistic training in Philadelphia, Ferguson also studied with Charles Hawthorne at his summer school in Provincetown, Massachusetts—a locale she came to love. Many of her mature landscapes depict the area around Provincetown and demonstrate her interest in capturing an era that was slowly passing. Irrepressible joie de vivre is a hallmark of her finest work from this period. The heavy impasto and fractured lines of Summer Streetscape in New England make it an excellent example of Ferguson’s mature style, in which she combined impressionistic brushwork and effects with more modernist compositional devices. Her palette is light and cheerful, perfectly capturing a lovely summer day. The work is oil on canvas, 30 by 36 inches (76.2 x 91.4 cm).
Elle Shushan
Only seven years old and just 25 inches high when this portrait miniature was painted, General Tom Thumb was already an international sensation. Beside him is impresario Phineas T. Barnum, who had heard about the perfectly formed but tiny boy when the child, born Charles Sherwood Stratton, was only four. Barnum changed his name to General Tom Thumb and taught him to sing, dance, and perform impersonations of famous characters. When the General was five, he and Barnum embarked on a successful tour of America, and two years later they conquered Europe. After sold-out shows in Britain and a private performance for Queen Victoria and her family in London, they went on to Paris. There, in 1845, the year this portrait was painted, Tom Thumb triumphed at the Theatre du Vaudeville. The General remained a celebrity for the rest of his life. When he married in 1863, Harper’s Weekly celebrated the new couple on their cover. Amassing a fortune, he eventually became Barnum’s partner. When the General died at the age of forty-five in 1883, over twenty thousand people attended his funeral. Barnum placed a life-sized statue of him on his grave.
Inscribed on the reverse of the (4 1/8 inches high by sight) in Barnum’s hand is “The small figure is a capital representation of Charles S. Stratton known as General Tom Thumb. It was painted in Paris 1845./ Phineas T. Barnum. Dec 21st 1887.” The work is ex coll. Vito Giallo.
James Robinson, Inc.
This mid-nineteenth-century Spanish damascened bangle bracelet is reminiscent of the work the famous Zuloaga family was doing at the time. Consisting of a classical frieze, foliate ornamentation, and detailed fauna, the bangle is beautifully decorated in a rinceau style, incorporating such iconic mythological imagery as a putto, griffin’s head, and a goat. Dating from the 1850s, this bracelet sums up the incredible revivalist work done in this era.
Levy Galleries
The Ames-Frothingham family high chest of drawers has never been out of the family of the original owner and remains in the finest condition. With carving attributed to John Welch, the walnut and white pine high chest was made in Boston about 1750. The carved drawers are remarkable expressions of Welch’s work and recall the spandrels on a tall clock now in the collection of the Art Institute of Chicago ascribed to him. Height 88, width 43 1⁄4, depth 22 3⁄4 inches.
Lillian Nassau, LLC
Still Life with Peonies is likely a transcription into glass of an oil painting by Louis Comfort Tiffany, a rare distinction reserved for some of the most important early Tiffany window designs (most notably Feeding the Flamingoes, exhibited to great acclaim at the 1893 World’s Columbian Exposition and now in the Charles Hosmer Morse Museum of American Art).
Tiffany’s approach to glass was that of a painter, a natural outgrowth of his early artistic training. Depicting an overflowing bouquet set into a niche, Still Life with Peonies fits within a well-established pictorial tradition stretching back to seventeenth-century Dutch still lifes while incorporating several new types of glass pioneered by Tiffany in the 1890s, including heavy drapery glass for the velvety petals of the peonies. In promotional materials, Tiffany emphasized that it was “quite as possible to produce a masterpiece in glass as [upon] canvas, when the commission is placed in the hands of a competent artist” —which he certainly was.
While it is not known who initially commissioned Still Life with Peonies, domestic windows from this early period of Tiffany’s career were often found in the homes of some of the most illustrious Americans of the time, from Gilded Age scions and captains of industry to prominent art and literary figures.
Nathan Liverant and Son, LLC
Featuring a history of ownership by Revolutionary War officer and patriot Major General Benjamin Lincoln (1733–1810) of Hingham, Massachusetts, this elegantly crafted serpentine-front Chippendale mahogany chest of drawers of 1765–1785 features all the sophisticated elements one would expect in a piece of furniture owned by a member of one of the most prominent families in the Boston area at the time. The use of high-quality imported mahogany and large cast-brass Chippendale hardware are combined with the deft hand of a highly skilled Boston area cabinetmaker. Notable is the gentle sweep of the serpentine front and the use of blocked ends on the case, framing the center of the chest and activating the facade. The result is a Chippendale chest of drawers with both visual appeal and subtle strength, yet without excessive ornamentation.
Lincoln’s family was well connected in politics and successful in business. His father, Colonel Benjamin Lincoln (1699–1771), served as representative for Hingham to the General Court between 1746 and 1748, and more importantly held a seat on His Majesty’s Council from 1753 to 1770. The younger Lincoln served under his father during the French and Indian War, learning important military skills that would be useful during the Revolutionary War. Beginning with his public opposition to British taxation and the Boston Massacre in 1770, Major General Benjamin Lincoln’s service continued with his actions at the battles of Lexington and Concord and Bunker Hill. He served with distinction through the struggle for Independence and became one of the few soldiers present at the three great battles: Saratoga, Charleston, and Yorktown, twice as a victor and once in defeat. The moment when Major General Lincoln, astride a dashing white horse, received General Lord Cornwallis’s sword from British general Charles O’Hara after the American victory at Yorktown, is documented in the painting created by John Trumbull in 1819 that hangs in the US Capitol Rotunda to this day. Height 31, width (of case) 33 1/8, depth (of case) 19 inches.
S. J. Shrubsole
Illustrated here is one from the only known set of twelve nineteenth-century English stirrup cups. The set was made by Hunt and Roskell in London, nine in 1869 and the three smaller ones in 1893, for John Hungerford Arkwright, then owner of Hampton Court Castle—in Herefordshire, not the royal one! During the course of a long career in politics, he took his pleasure in two passions: foxhunting—he was for many years Master of the North Hereford Hunt—and raising Hereford cattle. Arkwright’s herd was one of the finest in England, and a huge number of
American and Australian Herefords are descendants. Of the twelve cups (nine are 5 1⁄4 inches high and three are 4 1⁄4 inches high) nine are engraved with the name of the bull or cow represented (they are all actual portraits), as well as its prizes at various agricultural fairs around England.
Olde Hope Antiques
This elaborate bonnet, adorned with flowers, a feather, and applied crimped edges, is an unusually large (17 1⁄4 inches high) example of tenth-wedding-anniversary tin. Dating from about 1860–1880, it may have also been used in a tinsmith’s window display. Tinsmiths employed relatively simple tools and templates to fashion anniversary gifts, soldering the various elements together and then hammering them tight. Most pieces were plain tin, but some were coated with a thin layer of asphaltum, a coal tin varnish, or personalized with painted decoration. Victorian sentimentality toward romantic love and an increase in leisure time gave rise to elaborate celebrations around weddings and anniversaries. The custom of presenting couples with gifts of increasing value dates to medieval Germany, and in the United States the “tinth” anniversary became the most widely celebrated. Party guests presented couples with a wide range of novelty tin
objects, from hats, slippers, jewelry, and combs to baskets and other items to decorate a table. Several complete collections from such parties survive intact, including one of more than one hundred pieces given to Mr. and Mrs. Frederick Ferris Thompson on their tenth wedding anniversary in 1867, now housed at the Ontario County Historical Society in Canandaigua, New York.
Robert Young Antiques
Harold Lloyd (1893–1971) was a famous silent movie star and considered the highest paid performer in the industry in the 1920s. Reputedly made for a fairground sideshow, this unique large-
scale folk art sculpture captures the actor in his role as the “Glasses Character,” who embodied the everyman in Lloyd’s comedic scenarios. “The glasses would serve as my trademark and at the same time would suggest the character,” Lloyd once explained.
Long in an English private collection, the hand-carved and painted bust is Northern European in origin and dates from c. 1920–1930. It stands 20 inches high, and is 15 inches wide and 13 1⁄2 inches deep.
THE WINTER SHOW 2025 EXHIBITORS
Didier Aaron Inc.
A La Vieille Russie, Inc.
Adelson Galleries, Inc.
Alexandre Gallery
Aronson of Amsterdam
Avery Galleries
Véronique Bamps Monaco
Michele Beiny
Blumka Gallery
Boccara Gallery
Jonathan Boos**
Ralph M. Chait Galleries, Inc.
Thomas Colville Fine Art
Jonathan Cooper
Cove Landing
Daniel Crouch Rare Books
Didier Ltd
Dolan/Maxwell
Eguiguren Arte de Hispanoamérica
European Decorative Arts Company
Peter Finer
Debra Force Fine Art
French & Company
Glass Past New York
Galerie Gmurzynska
Michael Goedhuis
Bernard Goldberg Fine Arts, LLC
Richard Green
Peter Harrington
Thomas Heneage Art Books
Hill-Stone
Hirschl & Adler Galleries
Hixenbaugh Ancient Art
Clinton Howell Antiques
Hyde Park Antiques, Ltd.
Barbara Israel Garden Antiques
Allan Katz Americana*
Kentshire
Keshishian
Kelly Kinzle*
Kunsthandel Nikolaus Kolhammer
Koopman Rare Art
Galerie Léage
Les Enluminures
Levy Galleries
Nathan Liverant and Son, LLC*
Lowell Libson & Jonny Yarker Ltd
MacConnal-Mason Gallery
Macklowe Gallery, Ltd.
Maison Gerard
Milord Antiquités
Joan B Mirviss LTD
Galerie Nathalie Motte Masselink
Lillian Nassau LLC
Jill Newhouse Gallery
The Old Print Shop, Inc.
Olde Hope
Michael Pashby Antiques
Ronald Phillips Ltd
Red Fox Fine Art
James Robinson, Inc.
São Roque
Rountree Tryon Galleries
S. J. Shrubsole
David A. Schorsch ~ Eileen M. Smiles Fine
Americana*
Elle Shushan*
Robert Simon Fine Art
Lawrence Steigrad Fine Arts
Hollis Taggart
Simon Teakle Fine Jewelry
Carolle Thibaut-Pomerantz
Thomsen Gallery
Jeffrey Tillou Antiques*
Wartski
Robert Young Antiques
Zebregs&Röell
*Exhibiting in Focus: Americana
**Entrance Exhibition: 20th-century Modernism
