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The Winter Show Online 2021

A Benefit for East Side House

January 22–31, 2021

GEORGE WESLEY BELLOWS (1882–1925) "Portrait of Elizabeth Alexander," 1924 Oil on canvas, 53 x 43 in. Showing gilded and black-painted frame.

GEORGE WESLEY BELLOWS (1882–1925)
Portrait of Elizabeth Alexander, 1924
Oil on canvas, 53 x 43 in.
Signed and inscribed (at lower right): Geo Bellows; (on the back, prior to lining): Portrait Elizabeth Alexander / Geo. Bellows / 146 E. 19 St. / NY

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"Monumental Pier Table," about 1815–20. Attributed to Vose & Coates, Boston, or Isaac Vose & Son, Boston. Mahogany, partially ebonized, with ormolu mounts, die-rolled gilt-brass moldings filled with lead, marble, and mirror 36 1/2 in. high, 50 1/2 in. wide, 25 3/8 in. deep overall

Attributed to VOSE & COATES (1774–1819), Boston (active 1804–19), or ISAAC VOSE & SON, Boston (active 1819–25)
Monumental Pier Table, about 1815–20
Mahogany, partially ebonized (secondary woods: mahogany), with ormolu mounts, die-rolled gilt-brass moldings filled with lead, marble, and mirror
36 1/2 in. high, 50 1/2 in. wide, 25 3/8 in. deep overall
Inscribed (on underside of marble): J.Q. Adams / A.H. Davenport [twice]; (on back of central mount): CO

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ANNA MARY ROBERTSON (GRANDMA) MOSES (1860–1961), "Last Snowfall," 1959. Oil on Masonite, 16 x 24 in. Showing gilded frame.

ANNA MARY ROBERTSON (GRANDMA) MOSES (1860–1961)
Last Snowfall, 1959
Oil on Masonite, 16 x 24 in.
Signed (at lower right): MOSES.

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"Monumental Pier Mirror," about 1820 Attributed to John Doggett (1780–1857), Boston. Pine, gessoed and gilded, with ebonized reeded liner, and mirror plate 70 1/4 in. high, 35 in. wide

Attributed to JOHN DOGGETT (1780–1857), Boston
Monumental Pier Mirror, about 1820
Pine, gessoed and gilded, with ebonized reeded liner, and mirror plate
70 1/4 in. high, 35 in. wide

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FRANK WESTON BENSON (1862–1951), "Redheads Lighting," 1924. Oil on canvas, 44 x 36 1/2 in. Showing original gilded and painted Walfred Thulin frame.

FRANK WESTON BENSON (1862–1951)
Redheads Lighting, 1924
Oil on canvas, 44 x 36 1/2 in.
Signed and dated (at lower left): F. W. Benson ‘24

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CHILDE HASSAM (1859–1935), "Seascape: Appledore, Isles of Shoals," 1902. Oil on canvas, 14 1/4 x 19 1/2 in. Showing gilded Louis XIV-style continuously carved frame.

CHILDE HASSAM (1859–1935)
Seascape: Appledore, Isles of Shoals, 1902
Oil on canvas, 14 1/4 x 19 1/2 in.
Signed and dated (at lower right): Childe Hassam 1902

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"Deep Amethyst 'Lacy' Princess Feather Compote," about 1835–45. Boston & Sandwich Glass Company, Sandwich, Massachusetts (active 1825–88). Glass, pressed, 6 1/4 in. high, 10 5/8 in. long, 8 3/4 in. wide.

BOSTON & SANDWICH GLASS COMPANY, Sandwich, Massachusetts (active 1825–88)
Deep Amethyst “Lacy” Princess Feather Compote, about 1835–45
Glass, pressed, 6 1/4 in. high, 10 5/8 in. long, 8 3/4 in. wide

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JOHAN LAURENTZ JENSEN (Danish, 1800–1856), "Lilies, Orange and Pink Pelargonium, Roses and other Flowers in a Greek Vase on a Marble Ledge with Cherries," 1848. Oil on wood panel, 31 x 23 1/2 in. Showing gilded Neo-Classical style frame.

JOHAN LAURENTZ JENSEN (Danish, 1800–1856)
Lilies, Orange and Pink Pelargonium, Roses and other Flowers in a Greek Vase on a Marble Ledge with Cherries, 1848
Oil on wood panel, 31 x 23 1/2 in.
Signed and dated (at lower right): J. L. Jensen. 1848.

 

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CHARLES HOUGHTON HOWARD (1899–1978), "Bouquet," 1932. Oil on canvas, 31 x 41 in. Showing gilded Modernist frame.

CHARLES HOUGHTON HOWARD (1899–1978)
Bouquet, 1932
Oil on canvas, 31 x 41 in.
Signed and dated (at lower right): howard 32; (on the back): C. H. Howard

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"Work Table in the Sheraton Taste," about 1810 Attributed to Thomas Seymour, Boston. Mahogany, striped and bird’s eye maple, and ebony, with gilt-brass drawer knobs, and fabric work bag 27 3/4 in. high, 19 1/4 in. wide, 15 3/4 in. deep

Attributed to THOMAS SEYMOUR (1771–1848; active alone, 1804–16), Boston
Work Table in the Sheraton Taste, about 1810
Mahogany, striped and bird’s eye maple, and ebony (secondary woods: ash and mahogany), with gilt-brass drawer knobs, and fabric work bag
27 3/4 in. high, 19 1/4 in. wide, 15 3/4 in. deep

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THOMAS RIDGEWAY GOULD (1818–1881), "The West Wind," 1874. Marble, 48 in. high, on original marble pedestal, 33 in. high

THOMAS RIDGEWAY GOULD (1818–1881)
The West Wind, 1874
Marble, 48 in. high, on original marble pedestal, 33 in. high
Signed, dated, and inscribed (on back support): THE WEST WIND. / T. R. GOULD INV. et FECIT / FLORENCE / 1874
Modeled in 1869–70

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PRISCILLA WARREN ROBERTS (1916–2001), "Home of the Artist," about 1944–45. Oil on wood panel, 35 3/8 x 29 1/4 in. Showing gilded "cassetta" frame.

PRISCILLA WARREN ROBERTS (1916–2001)
Home of the Artist, about 1944–45
Oil on wood panel, 35 3/8 x 29 1/4 in.
Signed (at lower left): Priscilla Roberts

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French, “'Old Paris' Vase with a Portrait of Thomas Jefferson," about 1828–30. Porcelain, partially painted and gilded, with iron tie-rod, 14 in. high, 7 1/2 in. wide, 5 1/8 in. deep

FRENCH
“Old Paris” Vase with a Portrait of Thomas Jefferson, about 1828–30
Porcelain, partially painted and gilded, with iron tie-rod
14 in. high, 7 1/2 in. wide, 5 1/8 in. deep
Inscribed (below the portrait): THOMAS JEFFERSON

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O. LOUIS GUGLIELMI (1906–1956), "The American Dream," 1935. Oil on Masonite, 21 1/2 x 30 in. Showing original painted frame.

O. LOUIS GUGLIELMI (1906–1956)
The American Dream, 1935
Oil on Masonite, 21 1/2 x 30 in.
Signed, dated, and inscribed (at lower left): Guglielmi / ’35; (on the back): O. Louis Guglielmi / ’35 // “The American Dream”

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Baldwin Gardiner (1791–1869), New York, "Neo-Classical Tea or Coffee Urn," about 1831–35. Silver, 12 3/4 in. high, 9 1/4 in. wide, 11 1/2 in. deep (overall).

BALDWIN GARDINER (1791–1869), New York (active 1827–47)
Neo-Classical Tea or Coffee Urn, about 1831–35
Silver, 12 3/4 in. high, 9 1/4 in. wide, 11 1/2 in. deep (overall)
Signed and inscribed (with touches, on the bottom): B • GARDINER / NEW • YORK; (with raised monogram, on back): DEA
Weight: 73 oz. Troy

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WILLIAM GLACKENS (1870–1938), "I Went Down to Coney for a Swim," about 1907. Ink, charcoal, and gouache on paper, 13 1/2 x 17 in. Showing gilded Louis XVI-style frame.

WILLIAM GLACKENS (1870–1938)
I Went Down to Coney for a Swim, about 1907
Ink, charcoal, and gouache on paper, 13 1/2 x 17 in.
Signed and inscribed (at lower left): W. Glackens; (on the back): I Went Down to Coney for a Swim

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JANE PETERSON (1876–1965), "The Beach, Gloucester," about 1915. Gouache on paper, 18 x 24 in. Showing gilded American Impressionist-style frame.

JANE PETERSON (1876–1965)
The Beach, Gloucester, about 1915
Gouache on paper, 18 x 24 in.
Signed (at lower right): JANE PETERSON

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Attributed to Thomas Seymour (1771–1848), Boston. "Wine Cooler," about 1815. Rosewood and mahogany (secondary woods: mahogany, rosewood, and white pine), with brass line inlay, gilt-brass dolphin toe caps and castors and lion-head handles, ormolu mount, and zinc liner, 25 1/2 in. high, 36 1/8 in. wide, 30 in. deep

Attributed to THOMAS SEYMOR (1771–1848; active alone, 1804–16), Boston
Wine Cooler, about 1815
Rosewood and mahogany (secondary woods: mahogany, rosewood, and white pine), with brass line inlay, gilt-brass dolphin toe caps and castors and lion-head handles, ormolu mount, and zinc liner
25 1/2 in. high, 36 1/8 in. wide, 30 in. deep

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GEORGE WESLEY BELLOWS (1882–1925), "Grammy Ames’ House, No. 1," 1916. Oil on panel, 18 x 22 in. Showing gilded Louis XV-style frame.

GEORGE WESLEY BELLOWS (1882–1925)
Grammy Ames’ House, No. 1, 1916
Oil on panel, 18 x 22 in.
Inscribed (by the artist’s wife, at lower left): Geo Bellows / ESB; (on the back): GRAMMY AMES’ HOUSE / Mrs GEO BELLOWS / 146 E 19st / NY

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English, "Regency Work Table with Chinoiserie Penwork Decoration," about 1820. Japanned wood (birch, cypress, and mahogany), with penwork decoration, and fabric-covered workbox, 31 in. high, 20 3/4 in. wide, 15 in. deep.

Regency Work Table with Chinoiserie Penwork Decoration, about 1820
English
Japanned wood (birch, cypress, and mahogany), with penwork decoration, and fabric-covered workbox
31 in. high, 20 3/4 in. wide, 15 in. deep

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The Winter Show Live at Hirschl & Adler. Installation view of paintings, furniture, and decorative arts.

The Winter Show Live at Hirschl & Adler.
Installation view of paintings, furniture, and decorative arts.

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The Winter Show Live at Hirschl & Adler. Installation view of paintings, furniture, and decorative arts.

The Winter Show Live at Hirschl & Adler.
Installation view of paintings, furniture, and decorative arts.

Inquire
The Winter Show Live at Hirschl & Adler. Installation view of paintings, furniture, and decorative arts.

The Winter Show Live at Hirschl & Adler.
Installation view of paintings, furniture, and decorative arts.

Inquire
"The Winter Show Live" at Hirschl & Adler. Installation view of paintings, furniture, and decorative arts.

The Winter Show Live at Hirschl & Adler.
Installation view of paintings, furniture, and decorative arts.

Inquire
"The Winter Show Live" at Hirschl & Adler. Installation view of paintings, furniture, and decorative arts.

The Winter Show Live at Hirschl & Adler.
Installation view of paintings, furniture, and decorative arts.

Inquire
"The Winter Show Live" at Hirschl & Adler. Installation view of paintings, furniture, and decorative arts.

The Winter Show Live at Hirschl & Adler.
Installation view of paintings, furniture, and decorative arts.

Inquire
"The Winter Show Live" at Hirschl & Adler. Installation view of paintings, furniture, and decorative arts.

The Winter Show Live at Hirschl & Adler. Installation view of paintings, furniture, and decorative arts showing:

Frank W. Benson, Redheads Lighting and a Neo-Classical Sofa with Flanking Eagles on Crestrail attributed to Duncan Phyfe, New York.

 

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"The Winter Show Live" at Hirschl & Adler. Installation view of paintings, furniture, and decorative arts.

The Winter Show Live at Hirschl & Adler. Installation view of paintings, furniture, and decorative arts showing:

George Bellows, Portrait of Elizabeth Alexander, and a Box Sofa attributed to Duncan Phyfe, New York.

Inquire
"The Winter Show Live" at Hirschl & Adler. Installation view of paintings, furniture, and decorative arts.

The Winter Show Live at Hirschl & Adler.
Installation view of paintings, furniture, and decorative arts.

Inquire
"The Winter Show Live" at Hirschl & Adler. Installation view of paintings, furniture, and decorative arts.

The Winter Show Live at Hirschl & Adler. Installation view of paintings, furniture, and decorative arts, showing (left to right):

Childe Hassam, Seascape: Appledore, Isles of Shoals; Johan Laurentz Jensen, Lilies, Orange and Pink Pelargonium, Roses and other Flowers in a Greek Vase on a Marble Ledge with Cherries; Boston & Sandwich Glass Co., Deep Amethyst "Lacy" Compote; attributed to Joseph Barry, Philadelphia, Monumental Pier Table in the Neo-Classical Taste; and Jane Peterson, Beach—Gloucester.

 

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Press Release

The Winter Show is celebrating its 67th anniversary in an all-new guise: an immersive and interactive online platform. The online show runs from January 22–31, 2021, with VIP Preview Access from January 19–21.

The Winter Show’s new virtual platform will feature some 60 exhibitors, bringing together a dynamic group of leading international dealers that represent a diverse and global mix of fine and decorative arts from ancient times to the present day. The Show is New York’s longest-running art, antiques, and design fair, established in 1954 by East Side House Settlement to benefit the community-based organization’s critical mission serving the Bronx and Northern Manhattan. All net proceeds from The Winter Show’s VIP Preview Access and any additional donations directly benefit East Side House and contribute substantially to the organization’s life-changing work.

As we celebrate one of the world's most venerable art and antiques shows in these most unusual times, please spend some time browsing this selection of 20 paintings, drawings, sculpture, furniture, and decorative arts, many of which are making their public début in this virtual show. And if you find yourself in New York City during the run of the fair, please visit the Gallery to see this curated selection—and some carefully chosen additions—"live." We have dedicated one of our galleries to a physical installation of our virtual booth. The live installation runs concurrently with the online fair.

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