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Augmenting the Canon

Recent Acquisitions of American Neo-Classical Decorative Arts

December 13, 2018 – March 2, 2019

Récamier, about 1825, Attributed to Joseph Barry (1757–1838), Philadelphia (active 1794–1833)
Monumental Pier Table with Brass Inlay, about 1815, Attributed to Joseph Barry (1757–1838), Philadelphia (active 1794–1833)
Card Table with Lyre Base, about 1815, Philadelphia
Secrétaire à Abattant, about 1820, Attributed to Duncan Phyfe (1770–1854), New York (active 1794–1847)
Box Sofa, about 1818–20, Attributed to Duncan Phyfe (1770–1854), New York (active 1794–1847)
Pier Table, about 1817–22, Attributed to Duncan Phyfe (1770–1854), New York (active 1794–1847)
Cabinet with Mirrored Doors, about 1820, Attributed to Duncan Phyfe (1770–1854), New York (active 1794–1847)
Set of Eight Klismos-form Dining Chairs (two arms and six sides), about 1820, New York ?
Pair Armchairs en Gondole, about 1835–40, Attributed to Duncan Phyfe (1770–1854), New York (active 1794–1847)
Work Table in the Sheraton Taste, about 1810, Attributed to Thomas Seymour (1772–1848), Boston (active alone, 1804–16)
Pier Table with Carved Tablet, about 1805–10, Thomas Seymour (1772–1848) with Thomas Wightman (1759–1827) as carver, Boston
Work Table, about 1819–24, Attributed to Isaac Vose & Son (active 1819–25), with Thomas Seymour (1772–1848) as foreman (active in the Vose Shop, 1819–25), Boston
Cumberland-action Dining Table, about 1815–20, Attributed to Thomas Seymour (1772–1848; active in the Vose Shop, 1819–25), possibly for Isaac Vose, Boston
Pier Table, about 1818–20, Attributed to Thomas Seymour (1772–1848) working for James Barker (active together, 1817–19), or Isaac Vose & Son (active 1819–25), with Thomas Wightman (1759–1827) as carver (active in the Vose shop, 1815–25), Boston
Set of Twelve Klismos-form Side Chairs, about 1822–24, Attributed to Isaac Vose & Son (active 1819–25), with Thomas Seymour  (1772–1848) as foreman (active in the Vose Shop, 1819–25), Boston
Seven-drawer Tall Chest, about 1825, Boston
Painted Chinese Red and Gilded “Fancy” Side Chair, about 1815, Attributed to Thomas S. Renshaw and John Barnhart, Baltimore (active about 1814–15)
Painted Black and Gilded “Fancy” Side Chair, about 1830, Attributed to John (1777–1851) and Hugh (1781–1831) Finlay, Baltimore (active about 1800/01–30)
Pair Eagle Wall Brackets, about 1820, American
Pair Wall Brackets, 1830s, American
Banjo Clock (The “Improved Timepiece”), about 1805, Simon Willard (1753–1848), Roxbury, Massachusetts (active early 1780s–1823)
Banjo Clock (The “Improved Timepiece”), 1823–26, Simon Willard & Son, Roxbury, Massachusetts (active 1823–26)
The Finding of Moses, about 1810, Lydia Townsend, at Mrs. Saunders’ and Miss Beach’s Academy, Dorchester, Massachusetts
Memorial to Ebenezer Clap[p], about 1804–07, Ann Clap[p], at Mrs. Saunders’ and Miss Beach’s Academy, Dorchester, Massachusetts
Memorial to Captain George Runey, about 1812, Hannah Runey (about 1795–1844), at Charlestown Academy, Charlestown, Massachusetts
Two-light Argand Chandelier, about 1825, Johnston Brookes & Co., London (active 1814–35)
Sinumbra Lamp, after 1826, English, probably Birmingham
Pair Argand Lamps, after 1827, English, probably Birmingham
Monumental Double Argand Lamp with Serpent Arms, about 1820, English, probably Birmingham
Small Sinumbra Lamp, about 1830, William Carleton, Boston (active about 1820–60)
Sinumbra Lamp, 1832–35, Henry N. Hooper, Boston (active about 1832–68)
Student Lamp, about 1832–35, Henry N. Hooper, Boston (active about 1832–68)
Covered Ewer, about 1807–09, Simon Chaudron (1758–1846), Philadelphia
Ewer, 1809–12, Chaudron’s & Rasch (Simon Chaudron [1758–1846] and Anthony Rasch [about 1778–about 1859]), Philadelphia (active together, 1809–12)
Five-piece Tea/Coffee Service, about 1815, Fletcher & Gardiner (Thomas Fletcher [1787–1866] and Sidney Gardiner [1785–1827]), Philadelphia (active together, 1811–27)
Chalice, Fletcher & Gardiner (Thomas Fletcher [1787–1866] and Sidney Gardiner [1785–1827]), Philadelphia (active together, 1811–27)
Monumental Ewer, about 1835, Thomas Fletcher (1787–1866), Philadelphia (active alone, 1827–42)
Round Cake Basket with Reticulated Border and Handle, Baldwin Gardiner (1791–1869), New York (active in New York, 1827–47)
Cruet Frame, Baldwin Gardiner (1791–1869), New York (active in New York, 1827–47)
Pair of Flared Vases with Floral Decoration, about 1832–38, Tucker Factories, Philadelphia (active 1826–38)
The Andrew Craig Walker Handled Urn, 1828, Tucker Factories, Philadelphia (active 1826–38)
Chinese Export Porcelain Covered Two-section Vegetable Dish from the Joseph R. Sims “Washington Memorial” Service, about 1800–05, Chinese, for the American Market
Clear “Strawberry Diamond and Fan” Pitcher, about 1820–25, Bakewell, Page & Bakewell, Pittsburgh (active 1808–82)
Pair Clear Blown and Cut Whale Oil Lamps, about 1830–35, Attributed to Boston & Sandwich Glass Company, Sandwich, Massachusetts (active 1825–88)
Pair Opaque Blue Slag Lamps with Lion Bases, about 1830, New England Glass Company, Cambridge, Massachusetts (active 1818–88), or Boston & Sandwich Glass Company, Sandwich, Massachusetts (active 1825–88)
Clear “Strawberry Diamond” Bowl with Cross, about 1830, Attributed to Boston & Sandwich Glass Company, Sandwich, Massachusetts (active 1825–88), or New England Glass Company, Cambridge, Massachusetts (active 1818-88)
Clear “Cape Cod Lily” Footed Vase, about 1830, Boston & Sandwich Glass Company, Sandwich, Massachusetts (active 1825–88)
Deep Amethyst “Lacy” Compote in the “Princess Feather” Pattern, about 1835–45, Boston & Sandwich Glass Company, Sandwich, Massachusetts (active 1825–88)
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Press Release

In honor of the sixty-fifth anniversary of Hirschl & Adler Galleries and Stuart Feld’s fiftieth year as Director of the firm, we are pleased to announce the opening of Augmenting the Canon, Recent Acquisitions of American Neo-Classical Decorative Arts on Thursday, December 13, 2018. This exhibition will be the inaugural decorative arts show in Hirschl & Adler’s new home at the, the Fuller Building, a legendary art destination at the crossroads of 57th Street and Madison Avenue. The exhibition is the eleventh in a series devoted to American decorative arts.

Augmenting the Canon will include about sixty masterpieces of Neo-Classical furniture, embroidery, silver, lighting, ceramics, and glass made in America, or in England, France, or China expressly for an American clientele between the first years of the nineteenth century and the early 1840s. Included will be many works that have never previously been exhibited or published in a scholarly context.

Illustrating the strength and breadth of American artistry and workmanship during the early years of the Republic, and the collecting habits of the patrons who bought or commissioned the works at the time they were made, this exhibition is an in-depth visual study of the indigenously American Neo-Classicism that Hirschl & Adler Galleries has previously explored through exhibitions and publications over the last twenty-seven years. The artworks included in Augmenting the Canon are shown and discussed within the framework of an area of expertise and appreciation that has grown exponentially over the past twenty years, and has recently been the focus of meaningful scholarship disseminated through museum exhibitions, books, articles, and symposia.    

Augmenting the Canon brings forth many new and exciting discoveries – and some rediscoveries – at the highest level of production in the various decorative arts media that were being produced in Federal and Neo-Classical America. This exhibition adds significant examples to the known “canon” of those already published and exhibited, and broadens the depth of our knowledge of a field that is still emerging as an important collectible. For example, a richly-figured mahogany pier table attributed to Joseph Barry of Philadelphia, with a profusion of die-stamped brass inlaid into rosewood panels, which has been in a private collection for fifty years, now comes to light to augment our knowledge of what was being produced there at the time. And a Philadelphia récamier, also attributed to Barry, has finally emerged from the family for which it was made two-hundred years ago, to claim its place as the finest example within its genre.

In several instances, this show presents works that are identical, or nearly identical, to examples long held in venerable American museums, including, for example a Thomas Seymour work table that is identical to one in the Museum of Fine Arts, Boston; a Duncan Phyfe box sofa that may be the original mate to one that Hirschl & Adler sold to the Art Institute of Chicago in 2002; and rare and perfect examples of American glass, from the Bakewell factory in Pittsburgh, Pennsylvania, and the Sandwich glassworks in Massachusetts.

Background to the broad selection of decorative arts will be provided by a number of paintings and works on paper of the period, including important works by John Wesley Jarvis, Nicolino Calyo, Auguste Edouart, Francis Guy, and Gilbert Stuart, among several dozen others.  

Augmenting the Canon will remain on view through Wednesday, February 6, 2019, and will be accompanied by an elaborate catalogue in which all of the objects will be documented through individual essays and illustrations. A comprehensive introductory essay will deal with issues of context, the history of scholarship in the field, new scholarship, and the goals and techniques of responsible conservation.  The catalogue will be available for sale on Amazon.com or through the gallery by mail. 

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