The Winter Show 2026 Catalogue

A Benefit for East Side House

5,000 YEARS OF ART, ANTIQUES & DESIGN

THE WINTER SHOW

A BENEFIT FOR EAST SIDE HOUSE

January 23 – February 1, 2026

The Park Avenue Armory Park Avenue at 67th Street New York City

Monday, Wednesday, and Friday | 12 PM to 8 PM

Tuesday and Thursday | 12 PM to 4:30 PM

Saturday | 12 PM to 7 PM

Sunday | 12 PM to 6 PM

East Side House Settlement Education, Innovation, Results

337 Alexander Avenue, Bronx, New York 10454 Telephone: (718) 665-5250 Fax: (718) 585-1433 www.eastsidehouse.org info@eastsidehouse.org

The Winter Show is a world-renowned exhibition by distinguished dealers featuring fine and decorative arts for sale. East Side House Settlement owns the Show and benefits from the fair’s ticket sales, catalogue revenues, and corporate sponsorships. No portion of sales revenue made by exhibitors financially supports East Side House.

THE WINTER SHOW 2026

THE WINTER SHOW 2026

schaferco.com

The prestige of Hindman, Cowan’s and Freeman’s under one timeless name.

PRESENTING SPONSOR CHUBB

Melissa Scheffler

I am pleased to welcome you to the 2026 Winter Show.

This year is especially meaningful for all of us at Chubb, as we celebrate our 30th year as a sponsor of The Winter Show. Over the past three decades, it’s been a privilege to support an event that brings together collectors, dealers, design professionals, curators, and new buyers from across the country.

Our long-standing partnership with East Side House Settlement is central to our involvement. Since 1954, East Side House has made a profound impact in the community, and we are honored to support its mission through our continued sponsorship. The Winter Show is more than a celebration of art and culture — it’s also a vital fundraiser that supports educational programs and opportunities for thousands of New Yorkers each year.

At Chubb, we understand the importance of protecting collections and the stories they represent. As a leading insurer for private collectors, our team is committed to helping our clients safeguard what matters most, whether they are experienced collectors or just beginning their journey. We tailor our solutions to fit the unique needs of each collection, offering guidance on risk management, security, and preservation. If you would like to learn more about how Chubb can help protect your collection, please visit chubb.com/collectionsprotected or speak with a member of our team during the Show.

Thank you for joining us at this year’s Winter Show and for supporting an event that benefits both the art world and the broader community. We look forward to celebrating with you and continuing our shared commitment to excellence, preservation, and philanthropy.

Melissa Scheffler

North American Division President

Chubb Personal Risk Services

PROUDLY SUPPORTS THE 2026 WINTER SHOW FOR EAST SIDE HOUSE

CO-CHAIRS THE WINTER SHOW

Lucinda C. Ballard Michael R. Lynch

We are delighted to welcome you to the 72nd edition of The Winter Show.

It is a privilege to celebrate this milestone alongside our East Side House family and our devoted supporters at the Park Avenue Armory, our home for decades and a cherished cornerstone of New York’s cultural landscape. For more than 70 years, The Winter Show has set the standard for connoisseurship, scholarship, and innovation, uniting leading dealers, collectors, and institutions from around the world. In a constantly evolving art market, we remain committed to presenting exceptional quality while embracing new generations of collectors and diverse perspectives. This year, we are delighted to showcase an extraordinary roster of exhibitors, representing the very best in fine and decorative arts across a range of periods, styles, and price points. Their expertise and passion continue to make The Winter Show an essential destination for art lovers, collectors, and museums.

At its heart, The Winter Show is more than an exhibition — it is a vital fundraising initiative for East Side House, a community-based nonprofit that has been a beacon of opportunity and hope since 1891. Through innovative programs in education, workforce development, and family services, East Side House transforms lives and strengthens communities in the Bronx and northern Manhattan.

We are especially proud to applaud the opening of the Haven Charter High School in Mott Haven a groundbreaking initiative that will provide at-risk youth with the academic foundation, structure, and support they need to thrive. These transformative achievements — including the community center opened in 2025 — stand as a testament to East Side House’s unwavering mission to build brighter futures.

None of this would be possible without you — our sponsors, partners, benefactors, and the dedicated staff, interns, volunteers, and student ambassadors who power both The Winter Show and East Side House. We extend our deepest gratitude, with special thanks to Chubb for 30 years of steadfast support. As we look ahead, we remain committed to ensuring that the Show continues as a source of inspiration while helping East Side House build a more inclusive, prosperous, and vibrant future for all New Yorkers.

Lucinda C. Ballard

Michael R. Lynch

EXECUTIVE DIRECTOR THE WINTER SHOW

Helen Allen

For more than seven decades, The Winter Show has stood as a hallmark of excellence in the world of fine and decorative arts. Taking place at the historic 69th Regiment Armory, our 72nd edition proudly continues its mission to raise essential funds for East Side House Settlement, one of New York City’s most impactful community organizations. Since 1954, the Show has generated crucial unrestricted support for East Side House’s transformative programs, which combat poverty through education, workforce development, and essential resources for residents of the Bronx and northern Manhattan.

This year, we are thrilled to build on our tradition of showcasing extraordinary works of art, antiques, and jewelry from world-renowned exhibitors. We are delighted to present Study of a Young Collector, an immersive installation that recreates the private study of an imaginary collector, offering an intimate glimpse into a curated interior where tastes and curiosities converge. I was thrilled to collaborate on the curation of this exhibition with a dear friend, author and art advisor Patrick Monahan. I am delighted to continue our collaboration with Alexandra Kirtley of the Philadelphia Museum of Art, whose expertise guided the thoughtful selection of chairs that so vividly trace how design, craftsmanship, and cultural values have evolved over 250 years in America.

As you explore the Show floor, you will encounter a vibrant mix of longtime exhibitors and exciting new additions, reflecting our commitment to discovery and excellence. We are proud to honor a remarkable group of dealers marking milestone anniversaries this year: A La Vieille Russie (55 years), Michele Beiny (30 years), Thomas Colville Fine Art (35 years), Thomas Heneage Art Books (10 years), Hirschl & Adler Galleries (50 years), Joan B Mirviss LTD (45 years), The Old Print Shop, Inc. (65 years), James Robinson, Inc. (45 years), S.J. Shrubsole (40 years), Robert Simon Fine Art (10 years), and Carolle Thibaut-Pomerantz (25 years).

Their longevity is a testament to the exceptional quality and trust that define The Winter Show.

Our work would not be possible without the steadfast support of our sponsors and partners. We are so grateful to Chubb for 30 years of steadfast support! Their partnership has been a true inspiration, and I could not ask for a better partner. We are also delighted to welcome back Cara Cara and Freeman’s, whose unique perspectives add vibrancy to this event.

We extend our deepest appreciation to Wendy Goodman, returning as Design Council Honorary Chair, and to our outstanding 2026 Design Council Co-Chairs — Noz Nozawa, Ben Pentreath, Jane Keltner de Valle, Giancarlo Valle, Michael Bargo, and Sarah Harrelson — for their enthusiasm and leadership.

To our Co-Chairs and Vice Chairs: your guidance continues to shape the Show’s success. To our Advisory Council, Young Ambassadors, Special Events Committee, and Young Collectors Night Co-Chairs: your energy and insight are invaluable.

Finally, to our exhibitors, Vetting and Dealers Committees: thank you. Your expertise, scholarship, and passion make this Show what it is: an extraordinary gathering of art and design spanning over 5,000 years of creativity.

Along with my colleagues Beatrice Giuli, Layne Hubble, and Wendy Buckley, whose imagination and dedication fuel this work every day, I thank you for joining us in supporting East Side House and for making The Winter Show a beacon for art lovers, collectors, and philanthropists alike.

Helen Allen Executive Director

The Winter Show

ACKNOWLEDGMENTS

Presenting Sponsor CHUBB

Supporting Sponsors

BANK OF AMERICA CARA CARA FREEMAN’S

Event Partners

APERTURE BFA BLACK RIVER CAVIAR DIAGEO FAIRE LA FÊTE MANHATTAN MAGAZINE

Design Partners

BANG & OLUFSEN DALIA FORMAN DESIGN FOR MERCEDES COSTAL FRENCHCALIFORNIA

JD STARON REFLECTEL VAN GO, INC.

Media Partners

AD PRO AIR MAIL ANTIQUES AND THE ARTS WEEKLY APOLLO ARTNET

THE ART NEWSPAPER COUNTRY LIFE CULTURED GALERIE HOMEWORTHY

INCOLLECT MAGAZINE NYC&G OBSERVER STIR THE MAGAZINE ANTIQUES

VENÜ MAGAZINE VERANDA

Cultural Partners

AMERICAN FRIENDS OF ATTINGHAM APPRAISERS ASSOCIATION OF AMERICA

ART & ANTIQUE DEALERS LEAGUE OF AMERICA ASIA WEEK NEW YORK CINOA

THE DECORATIVE ARTS TRUST THE DRAWING FOUNDATION

INSTITUTE OF CLASSICAL ARCHITECTURE & ART MASTER DRAWINGS NEW YORK

PRESERVATION LONG ISLAND SOCIAL REGISTER ASSOCIATION

Hospitality Partners

THE LOEWS REGENCY HOTEL THE MARK HOTEL

Educational Partners

CUNY SOTHEBY’S INSTITUTE OF ART

THE WINTER SHOW

Executive Director

HELEN ALLEN

Fair Manager Marketing Consultant Communications Associate

BEATRICE GIULI WENDY BUCKLEY LAYNE HUBBLE

East Side House Settlement

DANIEL DIAZ Executive Director

East Side House Executive Leadership

NATALIE LOZADA SYDNEY MOSHETTE DIANA RODRIGUEZ

Dealers Committee

DEBRA FORCE Chair LOWELL LIBSON Vice Chair ANDREW CHAIT Treasurer

JOAN BOENING FLEUR CALLEGARI BENOIST DRUT REDMOND FINER

MARTINE NEWBY HASPESLAGH MATTHEW IMBERMAN ARLIE SULKA

Vetting Committee Co-Chairs

JOAN BOENING ALICE LEVI DUNCAN JAY GRIMM ROBERT YOUNG

THE WINTER SHOW 2026

Co-Chairs

LUCINDA C. BALLARD MICHAEL R. LYNCH

Vice Chairs

JEFFREY CALDWELL MICHAEL DIAZ-GRIFFITH MARY ANNE HUNTING MAUREEN KERR

HELEN FRECH KIPPAX LUCINDA MAY

Advisory Council

COURTNEY BOOTH CHRISTENSEN SAM DANGREMOND LOIE DEVORE JAMIE DRAKE

ALLEGRA O. EIFLER LIZ FELD JONI GROSSMAN CHRISTINE DONAHUE KAVANAGH

TENA KAVANAGH GEORGE KING ELLEN WASHBURN MARTIN LARK MASON

KATHARINA PLATH NOURRY GEMMA SUDLOW

OPENING NIGHT PREVIEW

Opening Night Preview Honoree

CAROLINE KENNEDY

Design Council Honorary Chair

WENDY GOODMAN

Design Council Co-Chairs

MICHAEL BARGO SARAH HARRELSON NOZ NOZAWA BEN PENTREATH

JANE KELTNER DE VALLE GIANCARLO VALLE

LEGACY LEADERS

JODY & JOHN ARNHOLD

NEIGHBORHOOD HEROES

MARY B. GALVIN

MR. & MRS. BARCLAY JONES

KATHARINE RAYNER

THOMAS REMIEN & MARY ANNE HUNTING

COMMUNITY CHANGEMAKERS

RICHARD BEARD

BLAVATNIK FAMILY FOUNDATION

THADDEUS GRAY

KAREN Z. GRAY-KREHBIEL

JUDY HART-ANGELO

RICHARD HAMPTON JENRETTE FOUNDATION

MR. & MRS. JOSEPH C. HOOPES, JR.

AMIE JAMES

TENA KAVANAGH

MR. & MRS. JOHN E. KIPPAX

ANNE DE RICHEMONT SMITHERS

LOIS & ARTHUR STAINMAN

MR. & MRS. PHILIP L. YANG

COCO KOPELMAN

MR. ANDREW LAW

MICHAEL R. LYNCH & SUSAN BAKER

MARTIN FAMILY

THE MARTINI FOUNDATION

ELIZABETH G. & RICHARD A. MILLER

CHARLOTTE RIGGS & ALEXANDER B. SCHAFFEL

JEFFREY & ELIZA STEIN

TANAKA MEMORIAL FOUNDATION

JOHN L. & SUE ANN WEINBERG

LITERACY SUPPORTERS

Anonymous

Lucinda C. Ballard

Felipe de la Balze & Analia de la Balze

Leslie Banker

Joe Bondi

Adelle W. Bottom

Doug Bradburn

Nadene Bradburn

Wendy Goodman

Mimi & Peter Haas Fund

FAMILY SUSTAINERS

Mr. Keith Adams

Richard & Alix Barthelmes

Gigi Becker

Elizabeth K. Belfer

Stephana Bottom

Mr. Brendan W. Clark, Esq

Ms. Sarah R. Coates

Francine Crawford

Cullman & Kravis Associates

Mark Cunningham

Anthony Terranova

CeCe Barfield Thompson

Linda Wallner

Patti Watson, Taste Design Inc.

Duncan M. Webb

Jane Win x Cara Cara

Patrick & Jina Yurgosky

OPPORTUNITY CHAMPIONS

Heinz Family Foundation

Heinz Family Foundation

Hannah L. Henderson

Mrs. Cecily Horton & Dr. David Becker

Steve Klinsky & Maureen Sherry

Richard & Debra Kolman

Joseph Charles Kotarski

Michael A. Kovner & Jean Doyen de Montaillou

Jerry Lauren

Jill Lord & Stephen Byrd

Mr. & Mrs. Jeffrey Loria

Karen Thornwell May

David & Dolores Miller

Federico Mingozzi

Robert & Ellen Meyer

Iliana Moore

John E. Oden

Peter Pennoyer & Katie Ridder

David, Christine & Allie Provost

Ms. Gretchen S. Redden

Eileen Rosenau

Lisa Rosenblum

Charles Royce

Deborah Goodrich Royce

Georgina Schaeffer

Elizabeth Sigety & Jeffrey Nicholas

Tanya Sridaromont Wells

William W. Stahl, Jr.

Eric Steiner

Liz Sterling

Amanda Taylor

Amy Turcotte

Tara & Roy J. Zuckerberg

Hornor Davis

Martha Dippell

Stephen & Michelle Dizard

Miriam Ellner LLC

Kristin Frank

Judd Grossman

Allen & Deborah Grubman

Leslie S. Hindman

Ken Imlej, Clarke Auction Gallery

Yanrui “Rae” Jiao

Harry & Jill Kargman

Mrs. Linda H. Kaufman

Maureen B. Kerr

Danny Korengold

Sarah Magness

Grete Meilman

Virginia A. Millhiser

Patrick Mizrahi

Mrs. Mary Kathryn Navab

Mark Nelson

Alex Papachristidis Interiors & Scott Nelson

Jennifer R. Poteat

James Rhodes

The Rosenstiel Foundation

Irving Sanchez, Clarke Auction Gallery

Peter Schweller, Clarke Auction Gallery

Constantine Sidamon-Eristoff

Jamie Singer Soros

Frances Bailey

William H. Bates

Anne Bickerstaff

Mia Campbell

James H. Carter

Dr. Kate Carter

Erin Corrales-Diaz

Anna Day

Joseph Sebastian Fichera

William T. Hobbs II

Christine Janis

Leslie B. Jones

Lydia F. Kimball

Margaret McGetrick

Anastasia Morozova

Ann Oppenheim

Dr. Robert Palmer

Tanya Pattison-Arraiza

Susan H. Perkins

Polina Proshkina

Lilli & Jonathan Roth

William M. Singer

(as of 12/27/25)

INSIDERS PREVIEW

FRIDAY, JANUARY 23, 2026

10 AM – 12 PM

Exhibitor Hosts

JONATHAN BOOS

DEBRA FORCE FINE ART

BARBARA ISRAEL GARDEN ANTIQUES

KENTSHIRE

LEVY GALLERIES

LOWELL LIBSON & JONNY YARKER LTD

DESIGN COUNCIL

Platinum

Wendy Goodman

John B. Murray Architect

Noz Design

Ben Pentreath Ltd

Studio Valle de Valle

Gold

Ramona Dessouki

Eleish Van Breems Home

Fairfax & Sammons Architecture

Ferguson & Shamamian Architects

Gachot

Ashley I. Ganz

Michael G. Imber Architects

Lichten Architects

Lindley Martens Design

Moran Hook Architecture

Peter Pennoyer Architects

LILLIAN NASSAU LLC

MACKLOWE GALLERY, LTD.

MAISON GERARD

S.J. SHRUBSOLE

SYMBOLIC & CHASE

Thomas Pheasant Schafer & Company

Steven W. Spandle Architect

Williams Lawrence

CeCe Barfield Thompson

Fernando Wong Outdoor Living Design

Yellow House Architects

Silver

Lily Dierkes

Elaine Truong

Suzanne Tucker

THE DESIGN LEADERSHIP NETWORK SALUTES EAST SIDE HOUSE SETTLEMENT ON 7 2 YEARS OF THE WINTER SHOW — AND ITS OUTSTANDING TRACK-RECORD OF SUCCESS IN HELPING IMPROVE THE LIVES OF NEW YORKERS.

The DLN champions community, collaboration, growth, and best practices in the high-end design industry. We create tailored experiences, educational programs, and resources for our members, who include principals of architecture, interior design, and landscape architecture firms as well as professionals from affiliated disciplines, media partners, and corporate leaders. Visit our website to learn more.

SPECIAL EVENTS

Special Events Committee

SARAH DONNEM, EMERITA

TENA KAVANAGH HELEN FRECH KIPPAX ELLEN WASHBURN MARTIN

DESIGN LUNCHEON

Hosted by

Design Luncheon Co-Chairs

JULIA WORKMAN BROWN LUCINDA MAY STARRETT RINGBOM

Design Luncheon

Table Hosts

Tatyana Miron Ahlers

Jacquelin Sewell Atkinson

Genevieve Wheeler Brown

Julia Workman Brown

Ferguson & Shamamian

Joni Grossman

Karla Harwich

Kate Marshall

Lucinda May

Studio McGrath

Eby McKay

Ariel Okin

Alexandra Pappas

Jackie Powers

Starrett Ringbom

Max Sinsteden

Gemma Sudlow

Kristin Ursano

JEWELRY BRUNCH

Jewelry Brunch Honoree

ULLA JOHNSON

Jewelry Brunch Chair

MARY ANNE HUNTING

Jewelry Brunch Advisory Committee

MARY ANDRYC LEVI HIGGS CARRIE IMBERMAN JULIE MANNION

HALLIE NATH THOMAS REMIEN COURTNEY STERN CATERINA HEIL STEWART

Partner

Generously Supported by

a haven for hope HELP US BUILD

Transforming Education · Strengthening Community · Inspiring Generations.

Transforming Education · Strengthening Community · Inspiring Generations.

Since 1891, East Side House has been a lifeline for generations striving to build better futures. We are embarking on a $30 Million Capital Campaign to create the Haven Campus- a first of its kind space uniting Haven Charter High School and a state of the art Community Center offering jobtraining, youth enrichment, inter-generational programs, and family supports, creating a livingbridge from education to economic mobility for the South Bronx.

Since 1891, East Side House has been a lifeline for generations striving to build better futures. We are embarking on a $30 Million Capital Campaign to create the Haven Campus- a first of its kind space uniting Haven Charter High School and a state of the art Community Center offering jobtraining, youth enrichment, inter-generational programs, and family supports, creating a livingbridge from education to economic mobility for the South Bronx.

“This is more than a building—it’s a promise to the Bronx. A place where hope h as an address and the future begins.”

“This is more than a building—it’s a promise to the Bronx. A place where hope h as an address and the future begins.”

— Daniel Diaz, Executive

— Daniel Diaz, Executive Director

Director

Together, we can build a brighter, stronger Bronx - a true Haven for Hope.

Together, we can build a brighter, stronger Bronx - a true Haven for Hope.

JOIN US.

INVEST IN HOPE. TRANSFORM LIVES.

JOIN US. INVEST IN HOPE. TRANSFORM LIVES.

EXECUTIVE DIRECTOR

EAST SIDE HOUSE SETTLEMENT

Daniel Diaz

As our nation prepares to mark its 250th anniversary and East Side House celebrates an extraordinary 135 years of service, I am humbled to reflect on the deep legacy we carry and the future we are building together.

This is a moment of convergence, a time to honor the resilience of generations past while daring to reimagine what’s possible for those still rising. As the latest iteration of East Side House’s enduring vision, Haven Charter High School opened its doors to 100 students and reimagined what education can be in the Bronx — a rigorous, supportive environment where academic excellence is intertwined with real-world experience. With healthcare training embedded into the curriculum and partnerships with leading hospital systems, students are gaining direct access to pathways in one of the city’s most vital and growing sectors. But this is just the beginning.

We continue to expand our Post-Secondary Pathways (PSP) programming to create a robust network into other sectors that blends education, career readiness, and real-world training. This approach provides our young people with true optionality because whether they choose a college, career, or certification program, they are

supported every step of the way. At East Side House, we have never believed in limiting our participants to one path. We believe they can do it all, and we are building the systems to make that possible.

In the months ahead, we will break ground on a state-of-the-art gymnasium and community hub to support our students during the day and welcome families, neighbors, and older adults during evenings and weekends. It will be a shared place of wellness, connection, and community, and we invite you to help build this opportunity with us.

To every board member, donor, collector, and friend of East Side House who makes our projects possible through your generosity at The Winter Show — thank you. You are not simply supporting an organization; you are investing in a legacy. One that spans generations. One that continues to rise.

With deepest gratitude,

Daniel Diaz Executive Director East Side House Settlement

2026 DESIGN COUNCIL

East Side House Settlement and The Winter Show are proud to once again assemble a council of leading designers and architects whose discerning perspectives bring fresh context to the historic artworks and objects displayed throughout the Park Avenue Armory.

We are delighted to welcome Noz Nozawa, Ben Pentreath, Jane Keltner de Valle, and Giancarlo Valle as our esteemed Design Council Co-Chairs. Each is recognized for their meaningful influence on design, culture, and connoisseurship, and together they help illuminate the enduring relevance of the material presented at the Show.

We are also deeply honored to celebrate the return of Wendy Goodman, the renowned critic and Design Editor of New York magazine/Vox Media, who joins us for her 12th year as Design Council Honorary Chair. Her enduring commitment and unparalleled eye continue to set a benchmark for excellence in the field.

Wendy Goodman Design Council Honorary Chair

A leader in the international design community, Wendy Goodman has defined trends, discovered new talent, and collaborated with eminent designers, architects, and photographers throughout her career. Since 2007, she has served as Design Editor at New York magazine/Vox Media, where she produces design stories for print issues and content for the Curbed website, now part of New York magazine. Previously, she was Harper’s Bazaar’s Style Editor and covered the world of style and fashion for House and Garden. In addition to authoring several books, Goodman frequently hosts design talks and has been featured on Good Morning America and NBC’s Open House, among other outlets.

THE WINTER SHOW 2026 DESIGN COUNCIL CO-CHAIRS

Noz Nozawa Design Council Co-Chair

Noz Nozawa is founder and principal of Noz Design, an interior design firm based in San Francisco with projects across the United States. Her work is known for its artful, highly personal spaces that joyfully employ color and layered styles. She has been celebrated as a rising talent on lists from Architectural Digest, House Beautiful, Sunset, and Luxe. Expanding beyond a residential practice, Noz has won acclaim for retail and hospitality projects, with two restaurants winning their first Michelin stars in the spaces she and her firm designed. In addition to her numerous magazine features, she is a regular featured designer on Architectural Digest‘s popular YouTube series, Space Savers

Ben Pentreath Design Council Co-Chair

Ben Pentreath is an award-winning architectural designer and decorator whose work merges the highest principles of traditional and classical architecture with contemporary urbanism. After an undergraduate degree in art history, he trained at the King’s Foundation (formerly the Prince of Wales’s Institute of Architecture). He started his own practice, Ben Pentreath Ltd, in 2004. Since then, the firm has grown to occupy two studios in Bloomsbury, London. With Bridie Hall, he co-founded a distinctive interiors and decoration shop, Pentreath & Hall, and has authored multiple design tomes, including English Decoration, English Houses, and An English Vision, newly out from Rizzoli. He is also a regular contributor to the Financial Times. In 2023, he was awarded the prestigious Driehaus Architecture Prize, given to a major contributor in the field of contemporary traditional and classical architecture; he is one of the youngest laureates of the award. He and his husband, Charlie McCormick, split their time between London, West Dorset, and the west coast of Scotland.

Jane Keltner de Valle & Giancarlo Valle Design Council Co-Chairs

Studio Valle de Valle is an award-winning international design practice dedicated to creating spaces that are playful, studied, and unexpected. The studio’s holistic approach encompasses architecture, interiors, and the decorative arts, spanning both residential and hospitality spheres, with values from thoughtful refinement to total reimagination in mind. In 2024, the couple opened Casa Valle, an immersive design gallery in Tribeca, New York. The space serves as an extension of their home and design practice, merging the studio’s furniture and lighting with historic design pieces. Giancarlo is an architect and grew up between San Francisco, Chicago, Caracas, and Guatemala City, and received his Master of Architecture from Princeton University. A veteran editor and former Style Director at Architectural Digest, Jane grew up in New York City and received a bachelor’s degree in literature and art history from Barnard College.

nozdesign.com

@noznozawa

hello@nozdesign.com

BY

YOUNG COLLECTORS NIGHT

THURSDAY, JANUARY 29, 2026

6 PM – 9 PM

Honorees

FERNANDO GARCIA LAURA KIM

Co-Chairs

SOPHIA COHEN LAURA DOYLE JUSTIN FICHELSON FLETCHER KASELL ISIAH MAGSINO MADELINE O’MALLEY

TANNER RICHIE ELISE TAYLOR

Steering Committee

JOSHUA BARBA-HILL KEVIN BARBA-HILL ANDERSON SOMERSELLE LAURA DAY WEBB

Host Committee

Cameron J. Bell

Alice Berman

Natalie Dougherty

Justin Fichelson

Victoria Gray

Jenna Kefeli

Casey Kohlberg

Robert Levy, M.D.

Valerie Ludorf

Tim O’Connor

Polina Proshkina

Eric Viner & Dr. Jordan Wise

Benefit Committee

Avery Bowers

BarlisWedlick Architects

Ferguson & Shamamian

Architects

Victoria & Gordon Gray III

Kristian Ivanov

Kathryn Kerns

Winnie W. Lau

William Radin

Elaine Santos

Howard Yim

(as of 12/22/2025)

warpandweft.com

OPENING NIGHT PREVIEW 2025

YOUNG COLLECTORS NIGHT 2025

The G allery at 200 Lex

The ultimate destinati on for modern an d classic interior design

Shop the finest antiques, vintage and 21st century dealers and view our extensive inventory powered by Incollect.com 200 Lexington Avenue, 10th floor, New York City 10016 | 646.293.6633 | thegallery@nydc.com

A TOAST & WARM THANK YOU TO THE WINTER SHOW

Collections, whether cherished antiques or modern finds, tell a story. Together, they weave a rich tapestry of time, connecting the past and present. Cheers to America’s longest-running art, antiques & design fair!

JANUARY 28 — 29

AMERICANA WEEK AT STAIR

Justin Fichelson

Justin Fichelson’s approach to collecting is as spirited and expansive as the stories behind the objects he treasures. A lifelong devotee of history, beauty, and craftsmanship, he follows instinct and emotion rather than trends, building a collection defined by passion, provenance, and a love of the hunt. In the conversation that follows, Fichelson shares the inspirations, discoveries, and defining moments that have shaped his eclectic eye and ever-evolving collection.

What was the first piece you ever collected, and what drew you to it?

I have very eclectic taste. My great passions are Old Masters and decorative arts, but I also love photography and modern art. I collect items that I love, first and foremost, and the first piece I acquired was a photo by Terry O’Neill called The Morning After. It’s an iconic Hollywood image of Faye Dunaway with her Oscar at the Beverly Hills Hotel the morning after she won. I simply love the photo — the colors, the atmosphere, and the glamour that it exudes.

Tell us the story behind your favorite piece — or the one that best represents you — and why it holds that place in your heart.

It’s so hard to choose a favorite piece and I really don’t have one; it’s like asking which child is your favorite! Overall, I am most excited about a pair of early 18th-century William Kent chairs that were originally made for Ditchley Park, a splendid Georgian estate built for the 2nd Earl of Lichfield, grandson of King Charles II and courtesan Barbara Villiers. Following a private visit and lunch at the magnificent Blenheim Palace — in celebration of King Charles III’s coronation — our host, led us to Ditchley Park for a tour and tea. In the 1930s, Ditchley and all its contents were purchased by politician Ronald Tree and his wife, designer Nancy Lancaster.

COLLECTORS IN CONVERSATION

During the war years, Churchill often stayed at Ditchley with his family, as it was close to his ancestral home, Blenheim, and considered a safe, untargeted location. In the late 1940s, following the Trees’ divorce, all the original furnishings — including the chairs — were auctioned. Ann and Gordon Getty acquired the chairs in the 1980s, and Ann, renowned for her love of textiles, reupholstered them in 18th-century crimson velvet set against an ivory background. When I saw the chairs after visiting Ditchley Park, I knew it was a match made in the stars, and I was meant to have them. After acquiring them, I found out that they once flanked the grand entrance to the Getty’s San Francisco mansion, which made them all the more special. They are incredibly sculptural and beautiful, but the provenance and story behind them excite me most!

How have your personal experiences, background, or culture influenced what you choose to collect?

I’ve always had a great love of history and anything and everything with aesthetic beauty. As a child growing up in the heart of San Francisco, I would slip away to the Legion of Honor and the de Young Museum, often roaming the galleries alone until the paintings became as familiar — and as dear — as old friends. They became windows into another time and place. I vividly remember, as a child, reading an article about Ann Getty’s San Francisco home and being captivated by the remarkable provenance of each piece. The idea that furniture, art, and rugs could be more than functional — that they could hold stories and historical significance — immediately

Previous Page: Justin Fichelson in his dining room pictured with a painting of London, a View of the Thames with Westminster Abbey by Joseph Nicholls, c. 1742, courtesy of Angie Silvy Photography.

A pair of George II giltwood side chairs attributed to Thomas Roberts, c. 1730. Image courtesy of the Ann & Gordon Getty Collection.

resonated with me. Since then, provenance has been paramount, often representing the greatest value an object can hold.

How has your taste evolved over time? Was there a specific piece or artist that shifted your perspective on collecting?

There are so many great things out there! For example, when I began, I wasn’t interested in chinoiserie, but recently I have become very interested in it. As I sadly can’t have everything, I’ve become more discerning about what I buy. The collectors that I identify with most, when it comes to their approach to collecting, would be those who collect everything. While I generally gravitate towards an English aesthetic, I don’t focus specifically on any one style or period, and I will acquire anything regardless of where it comes from. Beauty and craftsmanship transcend time periods, styles, and countries of origin.

While I do think it’s important to be selective with what you collect, I think it is equally important to mix high and low and make a space feel comfortable and lived-in, not stiff and cold. Ann Getty mixed different time periods and styles and the interior of her San Francisco mansion exuded personality and taste. Her home’s “Turkish Bedroom” was spectacular — antique Turkish wall paneling with sections upholstered in William Morris textiles. Like William Randolph Hearst, who collected everything he loved, Ms. Getty created a collection with unmistakable personality. The same can be said for the Rothschilds, JP Morgan, and Henry Clay Frick.

All these collectors built distinct collections that reflected their personality. I believe you can know someone through what they collect, and your interiors and possessions should reflect your personality. There was once a grand tradition of building magnificent collections; today this practice seems to have become a lost art.

What do you look for when deciding to acquire a new piece — historical relevance, the artist’s story, or something else entirely?

I collect based on four criteria: provenance, historical relevance, story, and — most importantly — love. You must love what you collect. I can instantly tell when a collection was designed for someone rather than by them. When advisors curate an entire collection, it shows immediately. Every piece I acquire must speak to me personally, and I prefer objects with known histories — they add layers of meaning to both the piece and the interior. When a painting or object carries a story, it transforms your surroundings. You’re not just living with beautiful things; you’re surrounded by history with inspiring tales to tell.

A pair of Edwardian silvermounted stag’s foot candle holders by Charles Edwards, crafted in 1901. Image courtesy of Sotheby’s.

Is there a piece you regret not buying — or one you’re still searching for?

One notable piece that got away was an 18th-century English tortoiseshell tea caddy belonging to the Duke of Hamilton. Originally made for English collector William Beckford, it bore his silver-engraved initials on the lid.

What’s the most surprising or “out of place” piece in your collection, and why did you choose it?

I became the proud owner of an extraordinary pair of Edwardian candlesticks made from stag hooves and mounted in silver. King Edward VII shot the deer, had them crafted by a premier London silversmith, and gifted them to his friend the Duke of Hamilton — complete with engravings marking the hunt’s location and date. When they came up for auction, I got into a fierce bidding war. Yes, they’re literally deer hooves, but as only the second owner outside the ducal family, I regret nothing! Their incredible backstory made them irresistible.

a c.1775

III ormolu table clock, early 19th-century miniature table globes

the Ann & Gordon Getty Collection, and Giacomo Guardi’s The Rialto Bridge, Venice Image courtesy of Angie Silvy Photography.

How do you display or live with your collection? Has it influenced the way you design or experience your home?

Over half my collection is in art storage — there’s simply no room for it all. My home showcases a curated mix of photography, modern art, and Old Masters. My friend who’s head curator at the Fine Arts Museums of San Francisco placed each artwork. Working with him taught me that placement is everything — how you display a piece transforms how you experience it daily. It’s given me profound respect for museum curators; their work is truly an art form. I’m also fortunate to have loaned a Salomon van Ruysdael to San Francisco’s Legion of Honor. My dream is to have a proper kunstkammer — a space in New York or London packed floorto-ceiling with antiques, Old Masters, and decorative arts, just like those glorious 18th-century rooms where paintings covered every inch of wall space.

What motivates you to keep collecting? Has there ever been a moment you considered stopping, and what reignited your passion?

Collecting is a combination of two things: an innate collecting bug and early exposure. For me, it’s a healthy addiction with no off switch — I love every aspect of it. Nothing relaxes me more than browsing auction lots, and nothing thrills me more than winning a coveted piece. The hunt is a big part of the excitement and fun in collecting.

Do you collect with a theme or narrative in mind, or is it purely instinctual?

It’s purely instinctual. Collector Jayne Wrightsman apparently said, “I don’t collect anything, but I collect everything” — that resonates deeply with me. If something is beautiful, unusual, and draws me in (and is remotely affordable), I go for it. I don’t believe in perfectly curated collections. I buy what I love and what inspires me.

How do you balance personal passion with investment value when collecting? Which matters more to you?

First rule: buy what you love. I live for the hunt—finding unusual, special pieces at great prices. You’ll find far better deals in Old Masters, antiques, and decorative arts than in modern or contemporary work. If selected with good taste, quality pieces generally appreciate over time.

What advice would you give to young or new collectors just starting their journey?

Discover what sets your soul on fire — then chase it relentlessly! Once you find what truly excites you, focus on that. Collecting should ignite pure joy, so it must be something you absolutely love no matter the genre. If it doesn’t thrill you, why collect it at all?

Spencer Park

Spencer Park’s collecting began with a spark of curiosity that deepened into a passion for objects with rich histories. His first major acquisition — a 19th-century Korean soban once owned by the Rockefellers — opened his eyes to the power of pieces that carry cultural and personal narratives. Today, his instinctive, history-driven approach shapes an eclectic collection. In the conversation that follows, he reflects on how that formative discovery continues to guide him.

What was the first piece you ever collected, and what drew you to it?

I started collecting back in high school and college, first with coins minted in Britain and her colonies between the 1700s and early 1900s. But my collection truly began in earnest with a 19th-century Korean low table — a soban — that I bought at Christie’s Peggy and David Rockefeller auction in May 2018. I had just arrived in New York City to start my first full-time job after graduating from University of Virginia, when my wife, Wonka, suggested we stop by Christie’s that evening. That detour changed everything.

The night of the auction, I began casually flipping through the catalogue. The Rockefellers, it turned out, had amassed an impressive number of Korean antiques. Then I saw it: a soban, the small, low table once found in every pre-industrial Korean household. Its simple, iconic form carried centuries of tradition, and this one had the added allure of having lived in the Rockefellers’ Upper East Side mansion. The idea of letting it slip away felt unthinkable. When would I ever have another chance? My pulse quickened as the bidding opened. I gripped my paddle, reminding myself this was my very first auction. Numbers climbed, but so did my resolve. Then came my turn. Paddle 749 in the air — sold. I left that night not just with a soban, but with the first piece in what would become my serious collection.

Tell us the story behind your favorite piece — or the one that best represents you — and why it holds that place in your heart.

My favorite piece is the first piece that I ever collected — the soban. When I brought the table home, I turned it over and spotted something Christie’s hadn’t mentioned: a faint, almost illegible word in Chinese characters on the underside. After some painstaking deciphering and a bit of research, I discovered it was the old name of a Seoul district, used before 1914. Suddenly, the soban’s journey came into focus — its life in Korea, its passage halfway across the world, and its years in the Rockefellers’ home. Winning the bid was thrilling; uncovering its hidden history was unforgettable. Now it sits atop a Georgian bookcase, commanding my living room — and my heart.

How have your personal experiences, background, or culture influenced what you choose to collect?

I’m a history-loving Korean expatriate in Manhattan and an unabashed Anglophile, having grown up immersed in Austen, Wilde, Dickens, C.S. Lewis, Kipling, Gilbert & Sullivan, and Blackadder. Living between these cultural spheres has shaped my collecting. I naturally gravitate toward Korean antiques, but due to strict laws that prevent anything more than 50 years old from leaving the country, they are difficult to acquire outside Korea. This scarcity has pushed me to explore other Asian works, especially Qing Chinese furniture, porcelain, and snuff bottles.

I am also fascinated by pieces that blend cultures, like my Paul Jacoulet (1896–1960) woodblock prints. As a Frenchman who spent most of his life in Japan, Jacoulet combined traditional ukiyo-e techniques with a distinctly European touch. This cultural duality also fuels my love of English art from the Georgian and Regency periods — an age of neoclassical refinement and romantic flourish, often accented with Greco-Roman and imagined “oriental” motifs, but with more restraint than Louis XVI opulence. Nothing captures this balance better than Wedgwood Jasperware. I own several pieces and admire how Josiah Wedgwood created pottery that honored classical antiquity while remaining distinctly English. A large Jasperware piece often graces my dining table when I entertain, and it never fails to spark conversation.

Is there a piece you regret not buying — or one you’re still searching for?

So many. Earlier this year, I was outbid for a late Joseon Dynasty chaekgeori (a still life painting highlighting books and scholarly objects) screen that I was hoping to win dearly at the Freeman’s Asian Works of Art auction. What made this piece stand out amongst other numerous Korean chaekgeori was that, in addition to its undisputable royal provenance given its stylistic refinement, the painter Lee Taek-gyun had left a seal mark bearing his name —something which Korean court painters rarely did. I find chaekgeori fascinating, and I hope to add one to my collection in the near future, regardless of whether it bears its painter’s name.

Above: Korean Ancestral Rite Tables, 18-19th century. Image courtesy of Spencer Park.

Left: A Korean soban, one of the first objects in Park’s collection. Image courtesy of Christie’s.

How has your taste evolved over time? Was there a specific piece or artist that shifted your perspective on collecting?

My taste hasn’t changed all that much since I began collecting. I am a bit more oldfashioned than my peers (I go to work in a full suit and tie five days a week!) and have always preferred old things over new and trendy ones. In a similar vein, my taste and perspectives on what is sublime have been very slow to change, if at all.

What do you look for when deciding to acquire a new piece — instinct, historical relevance, the artist’s story, or something else entirely?

Historical relevance is probably the biggest determining factor in acquiring a new piece for me. I am a big history buff and often visualize the moment of time in which the item was made or used. Afterwards, I begin to notice the other factors such as the intricate details, the finishes, or other unique aspects about the work.

What’s the most surprising or “out of place” piece in your collection, and why did you choose it?

I have a small collection of Toby Jugs that is somewhat out of place compared to the rest of my collection. I never set out to collect them — they simply surfaced from time to time, and I couldn’t resist them and how funny-looking they are. My wife, however, hates them and insists they take up far too much space. As a result, the Toby Jugs have been exiled from our apartment and now line the shelves of my office at the firm. My colleagues like to tease that my workspace looks less like an attorney’s office and more like that of an art dealer.

How do you display or live with your collection? Has it influenced the way you design or experience your home?

My goal is to create a collection — despite cultural origins and material— that is both eclectic and harmonious. My living room is anchored by a Georgian mahogany bookcase, which is complemented by Qing hongmu yokeback side chairs, Korean pinewood sobans, and a Qing peking carpet. The theme is “East meets West,” but not in a way that is instantly apparent. To extend this collage onto the walls, I hung prints with no thematic or chronological overlap, achieving a unified but varied display — an 1879 etching of Midtown Manhattan with its vanished reservoir; a 1680 lithograph of Louis XIV’s visit to the Royal Academy; Jacques Onfroy de Breville’s illustration of the Children’s Crusade; an 1891 French map of East Asia; a Danish etching of ancient siege machines from an 18th-century encyclopedia; and a late-19th-century drawing by Léon Salles. The result is a space that sparks conversation whenever guests visit — though I sometimes get carried away explaining each piece. Even my tableware and drinkware echo the theme: many of my wine and champagne glasses are reproductions of Thomas Jefferson’s, excavated at Monticello.

What motivates you to keep collecting? Has there ever been a moment you considered stopping, and what reignited your passion?

It’s a bit of an addiction to be honest. As someone who loves history, the entire process — discovering an antique, researching it carefully, acquiring it, and then living with it — feels far more immersive than reading about the past or viewing objects behind glass in a museum. It gives me an indescribable thrill, as though I’m quite literally holding a piece of history in my hands. I also keep collecting because there is always something new that captures my imagination; any resolve to rein in my spending tends to vanish the moment I encounter a particularly compelling piece.

Do you collect with a theme or narrative in mind?

Cabinet of curiosities is the overarching theme that I have in mind. When I was little, more than a decade before that fateful night at Christie’s, I was infatuated with the descriptions of Georgian aristocrats’ and Victorian gentlemen’s cabinets of curiosities in English novels — this inspired my dream of having a cabinet of curiosities of my own. It is probably the reason why my collection is so eclectic. It is also why I like works that combine different elements and influences into one, such as the Jacoulet prints and chaekgeori I mentioned earlier.

How do you balance personal passion with investment value when collecting? Which matters more to you?

For me, personal passion far outweighs investment value. While I consider an object’s long-term value when buying, that should never be the main factor; collecting is not an efficient way to grow wealth, and markets fluctuate.

Wedgwood Jasperware, for example, has lost much of its demand over the past two decades, yet I keep collecting it because I believe in its timeless beauty. Modern and contemporary art, though more popular and likely to appreciate in value, doesn’t speak to me. I realize that postwar works might (currently) be a better investment, but my passion lies with the “old stuff.”

What advice would you give to young or new collectors just starting their journey?

Don’t box yourself in too early — you risk missing something wonderful by rigidly sticking to specific themes or periods. Often, you only discover what you love by stumbling across it. And most importantly, be yourself. Collect what genuinely speaks to you, not what’s fashionable. I’m still learning, like everyone else, but I believe a good collector knows the difference between personal passion and outside opinion.

America’s oldest preserved plantation open to the public.

MUSEUM GALLERIES | HISTORIC HOUSE | ACTIVE ARCHAEOLOGY

A SPECIAL EVENING BENEFITING DRAYTON HALL PRESERVATION TRUST MARCH 19, 2026

FESTIVAL HALL 56 Beaufain Street Charleston

Through Time and Space

LAYERS OF HISTORY REVEALED FROM THE GROUND BENEATH US TO THE STARS ABOVE featuring a special exhibit curated by Drayton Hall

LEARN MORE AT DRAYTONHALL.ORG

THE CHARLESTON SHOW IS PRODUCED BY THE ANTIQUES COUNCIL

Show Hours

FRIDAY AND SATURDAY, MARCH 20 & MARCH 21 | 10AM – 6PM

SUNDAY, MARCH 23 | 11AM – 5PM

Helen Sunderland-Cohen

Director, The Sunderland Collection

For more than 30 years, The Sunderland Collection — founded by Dr. Neil Sunderland — has assembled an extraordinary archive of early cartographic material, spanning atlases, books, globes, and manuscripts from the early 13th to the late 17th centuries, with select Asian works into the early 1800s. Though the collection has no permanent physical space, it has been fully digitized and made publicly accessible through its online museum, Oculi-Mundi.com. The Sunderland Collection actively lends objects, supports scholarship, commissions contemporary artists, hosts conferences, and produces the award-winning podcast What’s Your Map?

In the interview below, Helen Sunderland Cohen — the next Sunderland generation — discusses carrying this vision forward, as well as her own collecting passions, which include literary and world-building maps and modern and contemporary art, particularly photography.

What was the first piece you ever collected, and what drew you to it?

One of the earliest I can remember is an atlas by John Speed. It was the first atlas printed in English by an English person, and it covers the counties of the UK as well as town plans and the known world from a British perspective. The atlas has a beautiful original leather cover, with a raised oval decorative panel in the center. Inside the frontispiece is a beautiful hand-written text about John Speed and his “attainments.” It always fascinated me because it is such a tactile object; that quality and the inscription make you imagine who else has picked up that atlas and read it. Since it is written in English rather than Latin or old Dutch, for example, it is very accessible and really triggers the imagination.

Speed’s Atlas of the World - Hemisphere World Map

Speed dedicated Theatre, the first atlas of the British Isles, to King James VI, praising him as the “inlarger and uniter of the British Empire.” The atlas was hugely popular, with multiple editions published during Speed’s lifetime. The 1676 edition—widely regarded as the finest — combines Theatre of the Empire of Great Britaine and The Prospect of the Most Famous Parts of the World, and includes newly prepared English maps of New England, Virginia, the Carolinas, Barbados, and Jamaica; it is also the last edition printed with text on the verso of the maps.

Tell us the story behind your favorite piece and why it holds that place in your heart.

My favorite piece varies depending on the day and the circumstances! One that I particularly enjoy and return to often is the world map in the Rudimentum Novitorum from the late 1400s. The Rudimentum was a teaching encyclopedia for monks; it contains biblical history as well as genealogy and beautiful woodcut illustrations. The world map features both geographical information and legends. There are people, places, animals, Paradise with rivers flowing from it, a sun-and-moon tree, and other magical images. Each time I look at it, I find something new. It is a fantastic overview of what was known at the time, and a superb piece of graphic design.

Hybrid

JOB: 109423 EastSideHouse_WAS_2026

JOB: 109423 EastSideHouse_WAS_2026

European/world chronicle to include maps. Written by an

Above: Hybrid mappa mundi world map, part of The First Chronicles of the World with Printed Maps, published in 1475. The Rudimentum Novitiorum is the earliest known printed European \world chronicle to include maps. Written by an anonymous theologian as an educational work, it traces six ages of history from Creation to the contemporary era and features maps of the world and Palestine. This hand-colored volume is especially rare, with only a few comparable copies known.

Right: Speed’s Atlas of the World, 1676, Map of the Invasion of the English in Ireland.

SunderlandCohen shares a colorful tome from the Sutherland collection.

How have your personal experiences, background, or culture influenced what you choose to collect?

We try to be very focused because maps are such entrancing objects that it would be very easy to collect anything and everything! The Sunderland Collection focuses on objects that fit within its themes, represent the best quality we can obtain, and — if they are colored — feature original hand color. Since we are based in Switzerland, most of the objects are European, but we try to collect as broadly as possible and have been fortunate to acquire items from China, Japan, Nepal, Tibet, Korea, and the Ottoman Empire.

How has your taste evolved over time? Was there a specific piece or artist that shifted your perspective on collecting?

I think that for many collectors, taste evolves with looking and spending time with objects. The more that you look at different examples by the same mapmaker, of the same map or related objects, the more you can train your eye. You can also learn a great deal in general. The Sunderland Collection began with individual world maps and moved into atlases — partially because we were following the maps, and partially because the stories and connections that were evolving within the Collection really lent themselves to a broader range of objects. One item that shifted our perspective somewhat was the Cadamosto Codex, a 16th-century portolan (sea chart) atlas. It is an interesting example of beautiful cartography, the rich and varied contexts behind mapmaking — as well as the interplay between artisanal skills, intergenerational narratives, and atlases.

What do you look for when deciding to acquire a new piece?

Quality above everything, and whether it fits into our collection themes and timeframe.

Is there a piece you regret not buying — or one you are still searching for?

We have been extremely fortunate and privileged with what we have acquired so far. There are a few items on our wish list, but we have so many stories and research to tease out in the existing contents of the collection that we are kept quite busy! It is interesting, I have found that even with a wish list, there are many maps and atlases that we never thought of, that we did not know existed, or that we never believed would become available, and so the process of collecting is a real adventure with lots of surprises and wonderful opportunities. For example, we recently acquired a prototype atlas that was prepared around 1630 but never actually published. As we learn more about the field, we also find more and more narrative tissue among the objects. Collecting has become a never-ending journey of discovery.

What is the most surprising or “out of place” piece in your collection, and why did you choose it?

That would probably be a very old carved stone tablet from the Valdivia culture (modern-day Ecuador). The exact purpose of these tablets is not entirely known, but it is believed they are votive, and could be cosmograms. We have not yet had time to commission proper scholarship on this piece but hope to do so. It is a lovely example, and it was important to us to present more world views in the collection than just the European lens.

How do you display or live with your collection? Has it influenced the way you design or experience your home?

The majority of objects in the map collection are in fine art storage. However, we do live with some of them. Having maps in one’s home is delightful as they are beautiful artworks in their own right — the etchings and colors are fabulous, for example — but they are also fascinating, evocative objects to revisit and engage with.

What motivates you to keep collecting? Has there ever been a moment you considered stopping, and what reignited your passion?

JOB: 109423

Deciding to open the Sunderland Collection to the public and to make it as accessible and useful as possible has been a hugely inspiring and revelatory decision. It has given the collection energy, and a purpose, and it has led us to meet great people and learn a huge amount. It is a passion project for sure!

sure!

How do you balance personal passion with investment value when collecting? Which matters more to you?

We always try to collect the best or most appropriate version of what we are looking for. We spend a lot of time thinking about each acquisition, checking the provenance, researching other examples, and evaluating the condition of every specific item. When the item is a book or atlas, we think about which edition we would like and why. These considerations help us to determine whether the value and price of an acquisition is something we are comfortable with. The maps are not for sale, and so we do not look at them as investments per se.

EastSideHouse_WAS_2026

What advice would you give to young or new collectors just starting their journey?

Do you collect with a theme or narrative in mind?

Yes. The themes are: the evolution of human knowledge across cultures, development of cartography, and artistry of maps.

Look as often as you can at as much as you can, even if it is not directly relevant to what you are collecting. Don’t be afraid to ask questions. Explore multi-disciplinary connections as they can be extremely rich and rewarding. Have fun. And never worry about what other people think of your taste!

STUDY OF A YOUNG COLLECTOR

to of Young Collector, an exhibition curated by

Winter Show’s Executive Director, Helen Allen. “The title

A Regency-era “sorcerer’s mirror” hangs near the entrance to Study of a Young Collector, an exhibition curated by writer and art advisor Patrick Monahan alongside The Winter Show’s Executive Director, Helen Allen. “The title is a bit of a double-entendre,” Monahan explains. “It’s a physical study, representing a room in some one’s home, but also a character study of an anonymous art collector.”

but also a character study of an anonymous art collector.”

A glance in the mirror reveals just who that collector is. Study is The Winter Show’s first-ever exhibition both by and for young tastemakers. Assembling a freshly imaginative selection of art, furniture, and objects from 11 promising international dealers who have never before exhibited at the Show, it highlights crosscurrents across time and space that speak to the bold taste of the newest generation of collectors. Monahan is accustomed to abolishing the boundaries between genres and time periods in his role as art advisor, through which he consults with museums and collectors on artworks from antiquity to the present, and as a writer on contemporary culture for magazines such as Vanity Fair, Country Life, and Air Mail. “Visitors may enter the Study looking for the imaginary collector,” he says. “Hopefully, however, they will find something more about themselves.”

A glance in the mirror reveals just who that collector is. Study is The Winter Show’s first-ever exhibition both by and for young tastemakers. Assembling a freshly imaginative selection of art, furniture, and objects from 11 promising international dealers who have never before exhibited at the Show, it highlights crosscurrents across time and space that speak to the bold taste of the newest generation of collectors. Monahan is accustomed to abolishing the boundaries between genres and time periods in his role as art advisor, through which he consults with museums and collectors on artworks from antiquity to the present, and as a writer on contemporary culture for magazines such as Vanity Fair, Country Life, and Air Mail. “Visitors may enter the Study looking for the imaginary collector,” he says. “Hopefully, however, they will find something more about themselves.”

Here, Monahan and Allen delve into their process of imagining the exhibition and explain what young collectors might discover.

Here, Monahan and Allen delve into their process of imagining the exhibition and explain what young collectors might discover.

The Winter Show: How did the idea for the Study first come about?

Patrick Monahan: Last summer, Helen and I started talking about young collectors and dealers, while in London during the art weeks. Helen had been looking for ways to represent both groups at The Winter Show, so we decided to bring them together in a way that had never been done before. As a writer, I was eager to tell a story, rather than just hang works of art on the wall. We began to picture an intimate space where a young collector could admire their favorite treasures. Before we knew it, the Study was borne!

How do you envision your young collector?

PM: It’s funny, I imagined the collection before the person. The first works which came to mind were ceramics by Puerto Rican artist Roberto Lugo, which resemble ancient Greek pots but depict scenes from contemporary urban life. I could see them exhibited next to real classical examples, and considered what type of collector might display them together — perhaps a 21st-century Grand Tourist, who’s been around the world and brought the best of it back home, including traditional Grand Tourist objects such as Italian rosso antico obelisks and also a bronze death mask of Nietzsche, which we have on view. Though the premise was fluid, the place was set in our minds: Helen and I are both born New Yorkers, so we knew exactly where our collector lived.

Exhibitors:

Exhibitors:

Abbott & Holder

Abbott & Holder

Colnaghi

Colnaghi

Curious Objects

Curious Objects

Dominic Fine Art

Dominic Fine Art

Harry Gready

Harry Gready

Karma Gallery

Karma Gallery

La Gabrielle Fine Arts SA

La Gabrielle Fine Arts SA

Moderne Gallery

Moderne Gallery

Philip Mould & Company

Philip Mould & Company

Myers & Monroe

Myers & Monroe

R & Company

R & Company

Walker Decorative Arts

Walker Decorative Arts

Previous page:

Gerda Wegener (1885 - 1940)

(1885-1940)

Portrait of Lili Elbe as a Spaniard, Circa 1920-1925

C. 1920-1925

Watercolour and gouache on paper

Courtesy of Harry Gready

Curt Stoeving (1863-1939)

Friedrich Nietzsche Death Mask, c. 1900

Bronze

Courtesy of Dominic Fine Art

Roberto Lugo

Central Park, from the Orange and Black series, 2023

“Central Park,” from the ‘Orange and Black’ series, 2023, Amphora, Glazed stoneware

Glazed stoneware

Courtesy of R & Company

Courtesy of R & Company

This page, clockwise from left:

Mira Nakashima (b. 1942)

What should visitors notice throughout the room?

since it’s a study, there should be an important

PM: Well, because it’s a study, there should be an important desk. In this case, we have one created in Carpathian Elm by the American architect/furniture maker Mira Nakashima. Behind it, there’s a portrait of a gentleman clad in a crimson cloak by 17th-century artist Mary Beale. All at once, visitors can imagine the collector inside the Study, a person who would leaf through illuminated manuscripts such as the c. 1460 Book of Hours on the desk or admire an 11th-century silver coffer on a nearby shelf.

Visitors can imagine the collector inside the Study, a person who would leaf through illuminated manuscripts such as the c. 1460 Book of Hours on the desk or admire an 11th-century silver coffer on a nearby shelf.

So what else does this eclectic collector pursue?

So what else does this eclectic collector pursue?

A lot! As with many of collectors, the Study has several collections,” or organizing themes within the larger

One centers on historic gay and transgender art; highlight medieval objects, such as a Merovingian loop fibula (from the sixth century) and the Book of Hours mentioned previously, as well as antiquities (and artworks influenced them) such as a Roman amphora and a

PM: A lot! As with lots of collectors, the Study has many “mini collections,” or organizing themes within the larger whole. One centers on historic gay and transgender art; others highlight medieval objects, such as a Merovingian loop fibula (from the sixth century) and the Book of Hours mentioned previously, as well as antiquities (and artworks influenced by them) such as a Roman amphora and a corresponding contemporary interpretation by Roberto Lugo.

Exceptional Custom Desk, 1998

This page, clockwise from left: Mira Nakashima (b. 1942)

Carpathian Elm Burl, American Black Walnut

Exceptional Custom Desk, 1998

Carpathian elm burl, American black walnut

Courtesy of Moderne Gallery

Courtesy of Moderne Gallery

Book of Hours

Book of Hours

Bruges, c. 1460

Bruges, c. 1460

Courtesy of La Gabrielle Fine Arts SA

Courtesy of La Gabrielle Fine Arts SA

Merovingian Fibula

France or Germany, c. 700

Merovingian Fibula

France or Germany, c. 700

Silver and silver-gilt, set with seven garnets

Silver and silver-gilt, set with seven garnets

Courtesy of Curious Objects

Courtesy of Curious Objects

Do you think young collectors collect differently from previous generations?

Young collectors are more willing to collect across traditional categories than earlier generations. They may focus on women artists or on printmaking, which allows them to embrace art from different periods and places. For instance, a collector of women artists might enjoy portraits by both contemporary American painter Jennifer Packer and Italian Renaissance artist Sofonisba Anguissola. I also find that young collectors today are as interested in the stories surrounding works as they are in the works themselves.

PM: Young collectors are more willing to collect across traditional categories than earlier generations. They may focus on women artists or on printmaking, which allows them to embrace art from different periods and places. For instance, a collector of women artists might enjoy portraits by both contemporary American painter Jennifer Packer and Italian Renaissance artist Sofonisba Anguissola. I also find that young collectors today are as interested in the stories surrounding works as they are in the works themselves.

Helen Allen: As Patrick said, young collectors are motivated both by the visually compelling nature of the artworks as well as the extraordinary stories behind them. Regarding the theme of LGBT art, for example, we’ve selected three notable works by or depicting Lili Elbe (born Einar Wegener), most notably Gerda Wegener’s portrait of Lili, her partner, who transitioned in the 1920s to become Lili Elbe — her remarkable life later brought to wider public attention in the 2015 film The Danish Girl. Also featured is a series of drawings by Brian Stonehouse, a World War II spy who was imprisoned

important works by or depicting Lili Elbe (born Einar Wegener,. most notably, a portrait by Elbe’s partner, Gerda Wegner. Elbe transitioned in the 1920s — her remarkable life was later brought to wider public attention in the 2015 film, The Danish Girl. Also featured is a series of drawings by Brian Stonehouse, a World War II spy who was imprisoned in

Rosso

from

of the Flaminian and Lateran Obelisks (detail), Rome, c.1830-50 Courtesy of Walker Decorative Arts

M.B.E. (1918-1998) gouache

Brian Stonehouse M.B.E., Brian (1918 - 1998) Modelling a Brown Checked Suit, c. 1960 Charcoal, watercolour and gouache. Courtesy of Abbott & Holder

Attributed to the Tyskiewicz Painter Red-figure Amphora (Type C) Greek, Attic, Terracotta, ca. 480 B.C. Courtesy of Colnaghi

Tyszkiewicz Painter amphora (Type C) terracotta, c. 480 B.C.

in multiple concentration camps, including Dachau, where he survived by sketching portraits for his captors before being liberated by U.S. troops in April 1945; after the war, he moved to New York and became a celebrated fashion illustrator, the first new illustrator hired by American Vogue since the war and a defining figure of fashion illustration’s golden age.

multiple camps, including Dachau. Stonehouse survived by sketching portraits for his captors before being liberated by U.S. troops in April 1945. After being freed, he moved to New York, was American Vogue’s first new illustrator hired since the war, and rose to become a defining figure in the Golden Age of fashion illustration.

Is there any advice you would give a young collector, or really any collector who’s just starting out?

PM: For anyone beginning to collect, the most important advice is to focus on what you genuinely, personally love — objects that you can’t stop thinking about, not what happens to be trending or highly visible at the moment. Buying what everyone else is buying is often more expensive than it should be, and ultimately less satisfying; a collection built on instinct and curiosity will always feel more meaningful and authentic.

Company

HA: It is also important to approach collecting with confidence and openness. Art fairs are actually a wonderful place to discover and engage. Don’t be intimidated — ask questions, ask about prices, ask about history and condition. Dealers, curators, and gallerists expect and welcome these conversations, and learning is part of the pleasure of collecting. Over time, those questions sharpen your eye, deepen your knowledge, and help you build a collection that truly reflects your taste rather than anyone else’s.

What do you hope visitors take away from the Study?

Study?

the contrary, it will feel like a special, private gallery you can

PM: The whole premise of this exhibition is to illustrate how one can live comfortably with classic art and integrate it into a modern, livable aesthetic. If you love and connect with the works you own, your home will never feel like a museum — on the contrary, it will feel like a special, private gallery you can enjoy at any time of day or night. To me, that’s the greatest luxury!

Patrick Monahan is a writer and an independent art advisor to museums and private collectors. He contributes regularly to Vanity Fair, Country Life, Air Mail, and The Paris Review, and advises the Museo de Arte de Ponce, Puerto Rico. He holds degrees from the University of Chicago and Cambridge University, both in art history.

“A good restoration is never finished.”

JOIN US IN OUR COMEBACK FROM COLLAPSE

An icon of American decorative arts, just one hour north of NYC on the Hudson River.

Join us in honoring the 2026 recipients of the

Historic New England Medal

Stephen S. Lash

Chairman Emeritus at Christie’s, former Trustee of the Park Avenue Armory and mayoral appointee to the New York City Landmarks Preservation Commission

Nancy R. Coolidge

Former Director of Historic New England and founding member of the Fidelity Non-Profit Management Foundation and the Lynch Foundation

Saturday, March 7, 2026

6:30 p.m.

Fairmont Copley Plaza, Boston, Massachusetts

A Dinner in Support of the Historic New England Fund and the Annual Presentation of The Historic New England Medal

Celebrate preservation, community, and cultural legacy.

Wunderkammer

New Catalogue no. 43 available upon request

Exhibiting at:

B { AFA, Halls 3&4, Brussels Expo, 1020, Brussels

25 January – 1 February

Also: sarah stones unseen worlds A Rare Collection of 18th CenturyOrnithological Watercolours

Exhibiting at: Master Drawings New York

Peter Harrington Rare Books 35 East 67th Street (3rd floor) New York 10065

30 January – 7 February New Book Available

w: www.finchandco.art

m: +44 (0)7768 236921

e: galleria@finchandco.eu

WILLIAM SOMMER A

Celebrating the career of one of America’s finest Modernists

Exhibition Spring 2026

EXHIBITORS

GALLERY 19C

A LA VIEILLE RUSSIE, INC.

ALEXANDRE GALLERY

ARONSON OF AMSTERDAM

AVERY GALLERIES

MICHELE BEINY

BLUMKA

BOCCARA GALLERY

JONATHAN BOOS

BOWMAN SCULPTURE

GALERIE CAHN

RALPH M. CHAIT GALLERIES, INC.

THOMAS COLVILLE FINE ART

JONATHAN COOPER

COVE LANDING

DANIEL CROUCH RARE BOOKS

DIDIER LTD

GEOFFREY DINER GALLERY

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

GRAF, KAPLAN & ZEMAITIS

RICHARD GREEN

PETER HARRINGTON

THOMAS HENEAGE ART BOOKS

HILL-STONE

HIRSCHL & ADLER GALLERIES

HIXENBAUGH ANCIENT ART

CLINTON HOWELL ANTIQUES

BARBARA ISRAEL GARDEN ANTIQUES

KENTSHIRE

KUNSTHANDEL NIKOLAUS KOLHAMMER

KOOPMAN RARE ART

GALERIE LÉAGE

LES ENLUMINURES

LEVY GALLERIES

LOWELL LIBSON & JONNY YARKER LTD

MACCONNAL-MASON GALLERY

MACKLOWE GALLERY, LTD.

MAISON GERARD

MILORD ANTIQUITÉS

JOAN B MIRVISS LTD

LILLIAN NASSAU LLC

AMBROSE NAUMANN FINE ART

JILL NEWHOUSE GALLERY

THE OLD PRINT SHOP, INC.

PETER PAP RUGS

MICHAEL PASHBY ANTIQUES

GREG PEPIN SILVER

RONALD PHILLIPS LTD

RED FOX FINE ART

RICCO/MARESCA

JAMES ROBINSON, INC.

S. J. SHRUBSOLE

ROBERT SIMON FINE ART

LAWRENCE STEIGRAD FINE ARTS

SYMBOLIC & CHASE

HOLLIS TAGGART

CAROLLE THIBAUT-POMERANTZ

THOMSEN GALLERY

JEFFREY TILLOU ANTIQUES

ROSE UNIACKE

WARTSKI

ROBERT YOUNG ANTIQUES

GALLERY 19C | B11

Dallas/Fort Worth, TX

T: (310) 306-4624

www.gallery19c.com info@gallery19c.com @gallery19c

Eric Weider, Polly Sartori

19th-century European paintings.

A LA VIEILLE RUSSIE, INC. | D9

New York

T: (212) 752-1727

www.alvr.com

alvr@alvr.com

@alavieillerussie

Paul Schaffer, Peter L. Schaffer, Mark Schaffer

European and American antique jewelry, Fabergé, and objets de vertu.

ALEXANDRE GALLERY | B10

New York

T: (212) 755-2828

www.alexandregallery.com inquiries@alexandregallery.com @alexandregallery

Phil Alexandre

Early 20th-century American artists.

ARONSON OF AMSTERDAM | E14

Amsterdam

T: 011-3120-623-3103

www.aronson.com mail@aronson.com @aronsondelftware

Robert D. Aronson

17th- and 18th-century Delftware.

AVERY GALLERIES | A13

Bryn Mawr, PA & New York

T: (610) 896-0680 | T: (929) 625-1008

www.averygalleries.com info@averygalleries.com @averygalleries

Richard Rossello, Nicole Amoroso, Chloe Heins, Laura Adams

American paintings and works on paper from the late 19th and early 20th centuries.

MICHELE BEINY | D1

New York

T: (212) 794-9357

www.michelebeiny.com

michele@michelebeiny.com @michelebeiny

Michele Beiny Harkins

18th- and early 19th-century English and Continental porcelain, as well as American modern and contemporary ceramics and glass.

BLUMKA | D7

New York

T: (212) 734-3222

www.blumkagallery.com info@blumkagallery.com @blumkagallery

Tony Blumka, Sarina Lewis

Medieval and Renaissance artworks.

BOCCARA GALLERY | C5

New York & Paris

T: (347) 585-8580 www.boccara.com info@boccara.com @boccaragalleryofficial

Didier Marien

Textile art, including modern masters, tapestries, and artistic rugs.

JONATHAN BOOS | E7

New York

T: (212) 535-5096 www.jonathanboos.com info@jonathanboos.com @jonathanboos

Jonathan Boos, Sheri Boos, Minnie Hutchins 20th-century modernism.

BOWMAN SCULPTURE | B7

London

T: +44 (0) 20 7930 0277 www.bowmansculpture.com gallery@bowmansculpture.com @bowmansculpture

Robert Bowman, Mica Bowman 19th-century to contemporary sculpture.

GALERIE CAHN | D15

Basel, Switzerland

T: +41 61 271 67 55 www.cahn.ch mail@cahn.ch @galerie_cahn

Jean-David Cahn

Ancient Greek, Etruscan, and Roman antiquities.

RALPH M. CHAIT GALLERIES, INC. | E8

New York T: (212) 397-2818 www.rmchait.com info@rmchaitgal.net @ralphmchaitgalleries

Steven J. Chait, Andrew H. Chait

Fine antique Chinese porcelain and artworks.

THOMAS COLVILLE FINE ART | C4

Guilford, CT & New York

T: (203) 453-2449 | T: (212) 879-9259

www.thomascolville.com tlc@thomascolville.com @thomascolville_fineart

Thomas Colville, Kathy Lett, Jay Qin

19th- through 20th-century American and European paintings, drawings, and sculpture.

JONATHAN COOPER | D11

London

T: +44 (0) 20 7351 0410

www.jonathancooper.co.uk

mail@jonathancooper.co.uk @jonathancoopergallery

Jonathan Cooper

Contemporary artists specializing in the natural world.

COVE LANDING | A1

New York

T: (212) 288-7597 covelanding@gmail.com @covelanding

Angus Wilkie, Len Morgan

18th- and 19th- century English and Continental furniture, with an emphasis on works of art and objects with distinct character.

DANIEL CROUCH RARE BOOKS | E15

London

T: +44 (0) 20 7042 0240 www.crouchrarebooks.com info@crouchrarebooks.com @crouchrarebooks

Daniel Crouch, Kate Hunter, Ellida Minelli

Rare and antique atlases, maps, plans, sea charts, and voyages.

DIDIER LTD | D6

London

T: +44 (0) 7973 800 415 www.didierltd.com info@didierltd.com @didierltd

Didier Haspeslagh, Martine Newby Haspeslagh

Artistic post-war jewelry by painters, sculptors, architects, and designers.

GEOFFREY DINER GALLERY | B12

Washington, D.C.

T: (202) 904-5005

www.dinergallery.com geoff@dinergallery.com @dinergallery

Geoffrey Diner, Maureen Diner

Post-war art and design.

DOLAN/MAXWELL | D12

Philadelphia

T: (215) 732-7787

www.dolanmaxwell.com

info@dolanmaxwell.com @dolan.maxwell

Ron Rumford, Jonathan Eckel

Modernist and contemporary artworks from 1930 to present.

EGUIGUREN ARTE DE HISPANOAMÉRICA | D10

Buenos Aires

T: +54 11 4806 7554 www.eguiguren.com info@eguiguren.com @jaime_eguiguren

Javier A. Eguiguren

Antique Hispanic American art and equestrian silver from the River Plate.

EUROPEAN DECORATIVE ARTS COMPANY | C14

Port Washington, NY

T: (516) 643-1538 www.eurodecart.com

eurodecart@gmail.com @europeandecorativearts

Scott Defrin

European artworks from the 17th, 18th, and 19th centuries.

PETER FINER | A3

London

T: +44 (0) 20 7839 5666 www.peterfiner.com gallery@peterfiner.com @peterfiner

Peter Finer, Redmond Finer

Antique arms, armor, and related objects.

DEBRA FORCE FINE ART | A2

New York

T: (212) 734-3636 www.debraforce.com info@debraforce.com @debraforcefineart

Debra Force, Bethany Dobson

American paintings, drawings, and sculpture from the 18th, 19th, and 20th centuries.

FRENCH & COMPANY | C11

New York T: (646) 289-0186 www.frenchandcompanyart.com henry@frenchandcompanyart.com @frenchandcompanyart

Henry Zimet

European Old Master and 19th-century paintings.

GLASS PAST NEW YORK | A5

New York

T: (212) 343-2524

www.glasspast.com

glasspast@earthlink.net @glasspast

Sara Blumberg, Jim Oliveira

Specialists in Italian glass from 1870 to 1970.

GALERIE GMURZYNSKA | D4

Zurich & New York

T: +41 44 2 26 70 70 | T: (212) 535-5275

www.gmurzynska.com

galerie@gmurzynska.com @gmurzynska

Mathias Rastorfer, Isabelle Bscher

20th-century masters.

MICHAEL GOEDHUIS | B1

London

T: +44 (0) 20 7823 1395 www.michaelgoedhuis.com london@michaelgoedhuis.com @michaelgoedhuisgallery

Michael Goedhuis, Eileesh Spyke

Chinese and Western contemporary and ancient art, as well as modern sculpture.

BERNARD

New York

GOLDBERG FINE ARTS, LLC | C1

T: (212) 813-9797

www.bgfa.com info@bgfa.com @bernardgoldbergfinearts

Bernard Goldberg, Ken Sims

Early 20th-century American and European art and design.

RICHARD GREEN | B3

London

T: +44 (0) 20 7499 4738 www.richardgreen.com paintings@richardgreen.com @richardgreengallery

Jonathan Green

A London gallery specializing in Old Masters to Modern British paintings for 70 years.

PETER HARRINGTON | C12

London & New York

T: +44 (0) 20 7591 0220 | T: (212) 293-8341

www.peterharrington.co.uk

mail@peterharrington.co.uk @peterharringtonrarebooks

Pom Harrington, Ben Houston

First editions of landmark works, fine bindings, inscribed copies, manuscripts, and original artwork.

THOMAS HENEAGE ART BOOKS | B4

London

T: +44 (0) 20 7930 9223 www.heneage.com artbooks@heneage.com @thomasheneageartbooks

Thomas Heneage, Patricia Avganti-Buican

Leading art bookshop also specializing in intaglios, cameos, and engraved gems.

HILL-STONE | D3

South Dartmouth, MA

T: (212) 249-1397

www.hill-stone.com

oldmaster@hill-stone.com @hill_stone_art_dealer

Lesley Hill, Alan N. Stone

Old Master and modern works on paper.

HIRSCHL & ADLER GALLERIES | B8

New York

T: (212) 535-8810

www.hirschlandadler.com gallery@hirschlandadler.com @hirschlandadler

Stuart P. Feld, Elizabeth Feld, Eric Baumgartner

American and European paintings, drawings, and sculpture, as well as American furniture and decorative arts.

HIXENBAUGH ANCIENT ART | E12

New York

T: (212) 989-9743

www.hixenbaugh.net info@hixenbaugh.net @hixenbaughancientart

Randall Hixenbaugh

Antiquities from the Ancient World, including Egypt, Mesopotamia, Greece, and Rome.

CLINTON HOWELL ANTIQUES | A9

New York

T: (646) 489-0434

www.clintonhowellantiques.com clintonrhowell@gmail.com

@clintonhowell

Clinton Howell

Fine English antique furniture and decorative objects.

BARBARA ISRAEL GARDEN ANTIQUES | C8

Katonah, NY

T: (212) 744-6281

www.bi-gardenantiques.com eva@bi-gardenantiques.com @barbaraisrael_gardenantiques

Barbara Israel, Eva Schwartz, Sylvia Falcón

The finest garden ornaments from America and beyond.

KENTSHIRE | C3

New York

T: (212) 872-8653

www.kentshire.com info@kentshire.com @kentshire

Carrie Imberman, Matthew Imberman

Fine antique, period, and estate jewelry.

KUNSTHANDEL NIKOLAUS KOLHAMMER | D14

Vienna

T: +43 676 40 64 600

www.kolhammer.com

info@kolhammer.com

@nikolauskolhammer

Nikolaus Kolhammer

20th-century Viennese fine art and design.

KOOPMAN RARE ART | E3

London

T: +44 (0) 20 7242 7624 www.koopman.art info@koopman.art @koopmanrareart

Lewis Smith, Timo Koopman

Fine English silver, gold boxes, and jewelry.

GALERIE LÉAGE | E6

Paris

T: +33 (0)1 45 63 43 46 www.galerieleage.com contact@galerieleage.com @galerieleage

Guillaume Léage

Furniture and objets d’art from the 18th century.

LES ENLUMINURES | A6

New York, Chicago & Paris

T: (773) 929-5986

www.lesenluminures.com newyork@lesenluminures.com @lesenluminures

Sandra Hindman

Medieval and Renaissance illuminated manuscripts, miniatures, rings, and jewelry.

LEVY GALLERIES | E1

New York

T: (212) 628-7088

www.levygalleries.com frank@levygalleries.com @levygalleries

Frank Levy

17th- to 19th-century furniture and decorative arts.

LOWELL LIBSON & JONNY YARKER LTD | B6

London

T: +44 (0) 20 7734 8686

www.libson-yarker.com pictures@libson-yarker.com @libson_yarker

Lowell Libson, Jonny Yarker, Cressida St Aubyn

17th- to 19th-century British paintings, watercolors, drawings, and sculpture.

MACCONNAL-MASON GALLERY | D5

London

T: +44 (0) 20 7839 7693 www.macconnal-mason.com fineart@macconnal-mason.com @macconnalmason

David L. Mason, O.B.E.

Eclectic British, European, and American works of art.

MACKLOWE GALLERY, LTD. | C9

New York

T: (212) 644-6400

www.macklowegallery.com email@macklowegallery.com @macklowegallery

Benjamin Macklowe, Lary Matlick, Carol Federer

Tiffany Studios lamps and glass, French Art Nouveau decorative arts, and antique jewelry.

MAISON GERARD | C7

New York

T: (212) 674-7611 www.maisongerard.com home@maisongerard.com @maisongerard

Benoist F. Drut

20th-century and contemporary furniture, lighting, and objets d’art

MILORD ANTIQUITÉS | A8

Montréal

T: (514) 933-2433 www.milordantiques.com showroom@milordantiques.com @milordantiques

Francis Lord

20th-century design, antique furniture, and artworks.

JOAN B MIRVISS LTD | E5

New York

T: (212) 799-4021

www.mirviss.com info@mirviss.com @joanbmirvissltd

Joan B. Mirviss, Chelsea L. Cooksey, Bonnie B. Lee, Tracy Causey-Jeffery

Modern and contemporary Japanese ceramics, screens, paintings, and ukiyo-e prints.

LILLIAN NASSAU LLC | B2

New York

T: (212) 759-6062

www.lilliannassau.com

info@lilliannassau.com

@lilliannassau

Arlie Sulka, Eric Silver, Daniela Addamo

Museum-quality works by Louis Comfort Tiffany and Tiffany Studios.

AMBROSE NAUMANN FINE ART | D2

New York

T: (914) 320-7597

www.anfainc.com

info@anfainc.com

@ambrosenaumannfineart

Ambrose Naumann

19th- and 20th-century European paintings, works on paper, and sculpture.

JILL NEWHOUSE GALLERY | A7

New York

T: (212) 249-9216

www.jillnewhouse.com

info@jillnewhouse.com

@jillnewhousegallery

Jill Newhouse, Amelia Gorman

Paintings and drawings by 19th- and 20th-century European masters.

THE OLD PRINT SHOP, INC. | A12

New York

T: (212) 683-3950

www.oldprintshop.com

info@oldprintshop.com

@theoldprintshop

Robert K. Newman, Harry S. Newman, Brian Newman

American prints, photographs, drawings, paintings, sculpture, and antique maps.

PETER PAP RUGS | B13

Dublin, NH & San Francisco

T: (603) 563-8717 | T: (415) 956-3300

www.peterpap.com

inquiries@peterpap.com

@peterpaprugs

Peter Pap

Antique rugs, carpets, and tribal weavings.

MICHAEL PASHBY ANTIQUES | D8

New York

T: (917) 414-1827

www.michaelpashbyantiques.com

info@michaelpashbyantiques.com

@michael_pashby_antiques

Michael Pashby, Ellie Kim

17th- to 19th-century fine English antiques and decorative arts.

GREG PEPIN SILVER | A10

Hellerup, Denmark

T: +45 53 88 71 10 www.gregpepinsilver.com info@gregpepinsilver.com @gregpepinsilver

Greg Pepin

Georg Jensen silver.

RONALD PHILLIPS LTD | E2

London

T: +44 (0) 20 7493 2341 www.ronaldphillipsantiques.co.uk advice@ronaldphillips.co.uk @ronaldphillips.antiques

Simon Phillips

18th- and 19th-century English furniture.

RED FOX FINE ART | E9

Middleburg, VA

T: (703) 851-5160

www.redfoxfineart.com tr@redfoxfineart.com @redfoxfineart

Turner Reuter, Hannah Rothrock

19th- and 20th-century sporting paintings and sculpture.

RICCO/MARESCA

| C16

New York

T: (212) 627-4819

www.riccomaresca.com info@riccomaresca.com @riccomaresca

Frank Maresca

Self-taught, outsider, and folk-art masterpieces from the 18th through 20th centuries.

JAMES ROBINSON, INC. | C2

New York & Nantucket, MA

T: (212) 752-6166 www.jrobinson.com info@jrobinson.com @jamesrobinsoninc

Joan Boening, James Boening

Antique jewelry, silver, porcelain, and glass, as well as handmade sterling silver.

S. J. SHRUBSOLE | A4

New York

T: (212) 753-8920 www.shrubsole.com inquiries@shrubsole.com @sjshrubsole

Timothy Martin, James McConnaughy, Benjamin Miller

English and American silver, as well as antique jewelry.

ROBERT SIMON FINE ART | C10

New York & Tuxedo Park, NY

T: (212) 288-9712

www.robertsimon.com

rbs@robertsimon.com

@robertsimonfineart

Robert Simon, Dominic Ferrante

European and New World paintings, drawings, and sculpture from 1300 to 1900.

LAWRENCE STEIGRAD FINE ARTS | B5

New York

T: (212) 517-3643

www.steigrad.com

gallery@steigrad.com

@steigradart

Lawrence Steigrad, Peggy Stone

Old Master paintings and drawings, with an emphasis on portraiture.

SYMBOLIC & CHASE | E11

London

T: +44 (0) 20 7499 9902

www.s-c.com enquiries@s-c.com

@symbolicchase

Martin Travis

Fine jewelry and objets d’art

HOLLIS TAGGART | C13

New York

T: (212) 628-4000

www.hollistaggart.com

info@hollistaggart.com

@hollistaggart

Hollis Taggart

Abstract expressionist, pop, American post-war, and contemporary artworks.

CAROLLE

THIBAUT-POMERANTZ | E6

New York & Paris

T: (646) 322-3570 | T: +33 (0)6 09 05 35 98

www.antique-wallpaper.com

carolle@ctpdecorativearts.com

@antiquewallpaper

Carolle Thibaut-Pomerantz

Historic and decorative wallpaper panels.

THOMSEN GALLERY | C6

New York

T: (212) 288-2588

www.thomsengallery.com

info@thomsengallery.com

@thomsengallery

Erik Thomsen, Cornelia Thomsen

Japanese screens, paintings, gold lacquer, and ceramics from the 5th to 21st centuries.

JEFFREY TILLOU ANTIQUES | A11

Litchfield, CT

T: (860) 567-9693

www.tillouantiques.com jeffrey@tillouantiques.com @tillouantiques

Jeffrey Tillou

Americana from the 18th and early 19th centuries.

ROSE UNIACKE | B9

London

T: +44 (0) 20 7730 7050 www.roseuniacke.com mail@roseuniacke.com @roseuniacke

Rose Uniacke

17th- through 20th-century design and decorative arts.

WARTSKI | E13

London

T: +44 (0) 20 7493 1141 www.wartski.com wartski@wartski.com @wartski1865

Katherine Purcell, Kieran McCarthy, Thomas Holman

Antique jewelry, artworks by Carl Fabergé, objets de vertu, and antique silver.

ROBERT YOUNG ANTIQUES | E4

London

+44 (0) 20 7228 7847 www.robertyoungantiques.com office@robertyoungantiques.com @robertyoungantiques

Robert Young, Josyane Young, Florence Grant

Fine vernacular furniture and folk art.

GRAF, KAPLAN & ZEMAITIS | E10

Oscar Graf

Paris

T: +33 6 71 43 19 90 www.oscar-graf.com info@oscar-graf.com @oscargrafgallery

European artworks from 1870 to 1914.

Robert Kaplan

Maplewood, NJ

T: (917) 576-2819 www.robertkaplancollection.com info@robertkaplancollection.com @robertkaplancollection

Specializing in furniture, ceramics, lighting, and metalwork from the American Arts and Crafts movement.

James Zemaitis

Mendham, NJ

T: (917) 756-7662

jmzemaitis@gmail.com @james_zemaitis

20th-century American and European design from 1920 to 1980.

SPECIAL EXHIBITIONS

STUDY OF A YOUNG COLLECTOR | A14

Abbott & Holder

Study of a Young Collector: Discerning Eye

Harry Gready

London

Benappi Fine Art

London

Christopher Cawley

www.abbottandholder.co.uk

www.harrygready.com

Jane Lombard Gallery: Squeak Carnwath

Philip Mould & Company

London

www.philipmould.com

Curious Objects

@abbottandholder

@harteyg

@philip_mould_gallery

Tom Edwards

Dominic Fine Art

Abbott and Holder

Harry Gready

Lawrence Hendra

Moderne Gallery

R & Company

Colnaghi New York

Karma Gallery

New York

www.colnaghi.com

Walker Decorative Arts

@Colnaghi1760

Mickal Adler

Curious Objects New York

www.curiousobjects.nyc @curiousobjectsnyc

Benjamin Miller

Dominic Fine Art Plymouth, UK www.dominicfineart.com

@dominicfineart

Dominic Sanchez-Cabello

FPO TK

www.karmakarma.org

@karmakarma9

Clémence White

La Gabrielle Fine Arts

Geneva

www.lagabriellefinearts.com @lagabriellefinearts

Constantin Favre

Moderne Gallery Philadelphia www.modernegallery.com

@modernegallery

Joshua Aibel

ENTRANCE EXHIBITION

The American Chair: 250 Years of Form

Lenders:

Hirschl & Adler Galleries www.hirschlandadler.com

Levy Galleries www.levygalleries.com

Nathan Liverant & Son www.liverantantiques.com

David A. Schorsch-Eileen M. Smiles Fine Americana www.americanantiqueart.com

Preservation Long Island www.preservationlongisland.org

Maison Gerard www.maisongerard.com

MillerKnoll www.millerknoll.com

In collaboration with Alexandra Kirtley, Philadelphia Museum of Art

Myers & Monroe Kansas City, MO www.myersandmonroe.com

@myers_and_monroe

Cole Myers

R & Company

New York

www.r-and-company.com @randcompanynyc

Evan Snyderman, Zesty Meyers

Walker Decorative Arts Philadelphia www.walkerdecarts.com

@walker_decarts

David Walker

SOUTH HALL EXHIBITIONS

Building a Haven for Hope

Presented by East Side House www.eastsidehouse.org

George W. and Walter S. Bromley, Atlas of the City of New York — Borough of Manhattan

Presented by Daniel Crouch Rare Books www.crouchrarebooks.com

Squeak Carnwath, Home

Presented by Jane Lombard Gallery www.janelombardgallery.com @janelombardgallery

Lisa Carlson, Ariel De Sal

VETTING COMMITTEE

Vetting Co-Chairs

JOAN BOENING ALICE LEVI DUNCAN JAY GRIMM ROBERT YOUNG

Alan Andersen

Seth Armitage

Robert D. Aronson

Debra Schmidt Bach

Peter Barnet

Craig Basmajian

Frances Beatty

Peter Bell

Carlo Bella

Robin Beningson

John Bidwell

Simona Blau

James Boening

Joan Boening

Graham Boettcher

Emerson Bowyer

Giovanni Bucchi

Jonathan Burden

Marcus Burke

Jason Busch

Paul Carella

Ned Catto

Steven J. Chait

Tara Gleason Chicirda

Alistair Clarke

Sarah D. Coffin

Paul Cohen

Thomas Colville

Daniel Crouch

Barbara Deisroth

Rachel Delphia

Ulysses Grant Dietz

Dennis R. Dodds

Nancy Druckman

Alice Levi Duncan

Jeannine Falino

Jackie Fay

Elizabeth Feld

Stuart P. Feld

Daniel Finamore

Mimi Findlay

Peter Finer

Hélène Fontoira-Marzin

Debra Force

Jim Francis

Ron Fuchs

Melissa Gagen

Donna Ghelerter

Judith Glass

Dessa Goddard

Joseph Goddu

James B. Godfrey

Spencer Gordon

Lynda Greig

Leslie Grigsby

Jay Grimm

Titi Halle

Michele Beiny Harkins

Stephen Harrison

Michael Harrison

Gregory Hedberg

Nicholas Herman

Ariel Herrmann

Edwin Hild

Sandra Hindman

Erica Hirshler

Ryoichi Iida

Barbara Israel

Mark Jacoby

Margot Johnson

Brian Kathenes

Brian Kish

Marilyn Kushner

Simeon Lagodich

Martin P. Levy

Becky MacGuire

Michele Majer

Katherine Martin

Tim Martin

Lark Mason

John Metcalfe

Mary Cheek Mills

Joan B. Mirviss

John Molloy

Jeffrey Myers

Kirk J. Nelson

Robert Newman

Jutta-Annette Page

Elisabeth Poole Parker

Lindsy R. Parrott

Simon Phillips

Elena Ratcheva

Ann-Marie Richard

Letitia Roberts

Jennifer Garland Ross

Nina Rowe

Polly Sartori

Paul Schaffer

Peter Schaffer

Cameron M. Shay

Elle Shushan

Rand Silver

Robert Simon

Suzanne Smeaton

Sheila Barron Smithie

Jonathan Snellenburg

William Stahl

Douglas B. Stock

Alan N. Stone

Mark M. Topalian

James W. Tottis

Olaf Unsoeld

Madeleine Viljoen

Meredith Ward

Virginia-Lee Webb

Beth Carver Wees

Leon Wender

Roger Wieck

Jody Wilkie

Robert Young

James Zemaitis

(as of 11.18.25)

The Winter Show Vetting Committee is comprised of over 120 distinguished experts in their respective fields. Their impartial expertise affords the public the highest level of confidence in the fine and decorative arts showcased at the 2026 Show.

Each member of the Vetting Committee acts independently and does not represent any institution or business, ensuring an unbiased evaluation of each item presented at the Show. The process of vetting assures the purchaser that every item offered at The Winter Show has been authenticated through careful professional scrutiny, satisfies all vetting guidelines, and is accurately described on its label.

As in previous years, each exhibitor takes personal responsibility for each work sold at The Winter Show, providing a certificate of guarantee and a bill of sale which includes full particulars about the item as found on the descriptive label.

East Side House Settlement and The Winter Show Committee wish to thank the individuals listed above, as well as all who have given their time and expertise in these procedures. Their contributions ensure the success and integrity of the Show.

A LA VIEILLE RUSSIE

Early Victorian multi-gem floral spray brooch mounted in silver and gold with crown rose diamond-set stems, the eleven gem-set clusters consisting of amethyst, diamond, opal, aquamarine and multi-colored sapphires. English, ca. 1840. Shown actual size.

Blue and White Flower Vase Delft, circa 1710

Marked for Lambertus van Eenhoorn or his widow Margaretha Teckmann, owners of 'De Metaale Pot' factory, 1691 – 1724 Height: 8.2 in.

Provenance: The Kitty Valkier-Schreurs Collection, Belgium

Photo:

Madonna Immaculata

Balthasar Ferdinand Moll

Austria, 18th Century

Polychrome Limewood

Height, overall 13 ¾ in. ; 35 cm

Didier Marien, expert and curator of Boccara Gallery is opening his doors to his collection of modern tapestries. This collection brings together the rarest and most compelling tapestries by visionary artists such as Alexander Calder, Man Ray, Fernand Léger, and Sonia Delaunay.

Come discover the art of Modern Tapestry.

Amphora of Panathenaic Shape

Attributed to the Acheloos Painter

Attic | ca. 500 B.C. | H. 43 cm

Provenance: Counts von der Pahlen Collection, 19th century

Juan Egenau

Santiago

Signed

Quito (Ecuador), 1723 - after 1796

The Marriage Proposal ca. 1783/1785

Oil on canvas

30.8 x 38.23 in / 78.3 x 97.2 cm

An Italian Half-Armour

c. 1580 – 1600

Northern Italy, Brescia or Milan. Steel, gold, leather, textile

Restoration to the blueing. The leathers and piccadills are modern.

87.5 cm × 72 cm / 34.3 in × 28.3 in (on mount)

Provenance

Private collection, USA

The half-length configuration of this armour was best suited to foot combat in late 16th century warfare. The new widespread use of military firearms now made agility in the field a defensive requirement, rendering cumbersome leg defences redundant. Italian decorated armours such as this one are frequently identified with the elite small bodies of troops which formed the bodyguard of politically significant noblemen and senior clergy.

The open-faced helmet, properly described in this instance a ‘morione aguzzo’ or pointed morion, was the preferred head defence for field combat by the close of the 16th century. The present example is notably elegant and richly ornamented with etched and gilt linear bands of warrior figures and trophies-of-war against a ground of scrollwork and mythical grotesques.

The body of the armour is decorated in the more open incised designs which emerged in north Italian armour after about 1560, in parallel with armour decorated with the more often observed bands of etching. Armour decorated with incised flowing symmetrical patterns of foliage and plain broad gilt bands, such as we see here, was also the style worn by the Vatican Papal Guard in the latter decades of the 16th century. A particularly distinctive feature of the present armour is the Christian iconography incised and gilt over each of the lower-cannons of the arm defences. This would suggest probable wear by a member of a guard, or armed retainer, in the service of a monastic or otherwise religious body. The letters ‘I O H’ are incised above, which may be interpreted as the abbreviated Latin name ‘JOHANNES’ (John), very likely a reference to St. John The Evangelist.

Winslow Homer

The Light-Keeper’s Daughter, 1886, watercolor, pencil, and gouache on paper, 13 ⅝ x 12 ⅞ in.

Thomas Heneage Art Books

42 Duke Street St James’s, London SW1Y 6DJ

The foremost specialist art bookshop in the English speaking world

Royal Doulton Factory Pattern Book or Ledger from the studio of Robert Allen, c. 1917-1918.

We buy art libraries

We buy, sell and curate art libraries. We focus on books for the art world from the ancient to the modern. We also deal in fine works of art associated with antiquarianism in the library.

+ 44 (0)20 7930 9223 • artbooks@heneage.com

Neo-Classical Sofa with Flanking Eagles on Crestrail, about 1815. Attributed to Duncan Phyfe (1770–1854), New York. Mahogany, with gilt-brass castors and bolster buttons, 35¾ in. high, 90 in. long, 26¾ in. deep

CLINTON HOWELL ANTIQUES

This pair of beautifully-drawn chairs are identical in almost every respect to a suite of seat furniture, six armchairs and two settees, supplied to Sir Richard Colt Hoare at Stourhead c.1780. This furniture has been attributed to Thomas Chippendale the Younger by Lucy Wood. The constructional details of this suite include such idiosyncratic features such as cramp cuts in the seat rails and an exposed back strut which are associated with attributions to the Chippendale workshops. These same features are present in the pair of chairs under discussion here. In fact the only notable difference between the Stourhead suiteand our chairs is that the Stourhead examples lack the pearl beading on the frames which is a further sign of refinement on our models In her article, Lucy Wood noted the existence of other sets of near-identical chairs. One was made for Egremont House in London or Petworth House, Sussex, for the Earls of Egremont in c.1778 and another suite of 16 armchairs was supplied to Burton Constable. However it is a set of four chairs from Somerville House, Balrath, County Meath, Ireland which are of the greatest comparative value. These chairs mirror the present pair entirely, including the pearl beading, and have a fascinating history. Somerville House descended in the family of Lady Maria Conyngham, one of George IV's mistresses. It has long been alleged that Lady Conyngham stole items from the Royal Collection at Windsor Castle as George IV lay dying and this led to a long-running series of legal repercussions. In 1875, Lady Conyngham's daughter, Elizabeth, Countess of Charlemont, gave a sworn deposition in which she identified several pieces of furniture at Somerville which were allegedly given to her mother by George IV. It is possible that the set of four chairs were part of these gifts and they are certainly of a level of quality which would have graced any royal residence of the period. These chairs remained in Somerville House for the entire 20th century, being sold early in the 21st century at Sotheby's. These chairs are made with a degree of refinement that is unusual and there is no doubt whatsoever that they were made for a wealthy client in the most modern taste of the time. Although their quality is self-evident, the overall design is not at all ostentatious and, as such, they are as practical today as they were when they were first made and would grace any interior whether traditional or contemporary.

n Exceptional Pair Of George IV Period Giltwood Armchairs, Firmly Attributed To Thomas Chippendale The Younger

Provenance : Possibly Part of a Suite of Royal Furniture that left the Royal Collection under King George IV

Pair of Neoclassical Carved and Gilded Open Armchairs

Ht. 36", Seat ht. 17.5", W. 24", D. 22"

A magnificent pair of neoclassical carved and gilded open armchairs having upholstered backs with molded and carved show wood rails with shaped and carved downswept arms with padded tufts, the upholstered seat also having carved and molded show wood rails resting on turned and fluted legs. English circa 1780. Dry stripped and partially re-gilded.

The Universal Paris Exhibition 1889 Gold Prize

A Magni cent 19th Century Figural Centrepiece

Paris, 1889 Maker’s mark of Edmond Tétard

The Hours of La Baume (Use of Rome)

France, Dauphiné, perhaps Grenoble, c. 1480-1485, by the Master of the Apocalypse of Aymar de Poitiers

Collection of Yves Saint Laurent and Pierre Bergé

Charlotte PERRIAND, 1903-1999; LE CORBUSIER, 1887–1965; Pierre JEANNERET, 1896–1967

Chaise longue basculante — B306 Lounge Chair

Height: 27" Width: 63" Depth: 22.5"

France, the model designed in 1928. 1930s edition, most likely by Thonet-France Copper tubular frame with extremely rare copper finish, black lacquered steel base. Beige fabric upholstered mattress, stretched with metal cords.

One of the rarest of all printed portraits of Abraham Lincoln as candidate. Abraham Lincoln. From the portrait taken from life by Charles A. Barry, Springfield, Illinois, June 1860. Boston, Thayer & Eldridge, Publishers for N. E. States. New York edition Published by Geo Ward Nichols. Lithograph, 1860. age size vignette 19 1/2 x 23” (49.5 x 58.4 cm).

“MR. BARRY’S PORTRAIT OF ‘HONEST ABE’ IS A CORRECT AND STRIKING LIKENESS. SIGNED JOHN WOOD, GOVR. OF STATE. S. A. SUTTON, MAYOR OF SPRINGFIELD. WILLIAM BUTLER, STATE DEPARTMENT AND 60 OTHERS. I CONCUR IN THE ABOVE. JOHN WENTWORTH, MAYOR OF CHICAGO.”

Peter Pap Rugs

Dublin, NH 603.563.8717

San Francisco, CA 415.956.3300 inquiries@peterpap.com @peterpaprugs

View over 1,500 rugs online www.peterpap.com

Persia,

century, 10’0” x 13’0”A Persian

masterpiece of the 1850–1875 renaissance, combining classical inspiration with human artistry and vitality.

Original Georg Jensen Silver Six-Light Chandelier #307

A masterpiece of design and history, this original Georg Jensen silver six-light chandelier #307 is widely regarded as one of the rarest Georg Jensen pieces in the world.

Designed by Johan Rohde in 1918 for Georg Jensen’s first flagship store at Bredgade 21, this chandelier marked the electrification of Copenhagen.

Rohde created the store’s entire interior—including panels, counters, furniture, and this electrified centerpiece. The design bridges Art Nouveau and early Art Deco, with a hand-hammered circular dome decorated with grapes, beads, and Rohde’s Cosmos pattern. Six hand-chased light sockets hang from silver chains detailed with acorn and floral motifs from his 1915 Acorn silverware pattern, while a handchased ceiling mount with Cosmos-inspired detailing completes the piece.

opportunity to own a pivotal work of Danish design history.

Can be viewed at Stand A10

Specialist in Heritage Georg Jensen silver

Decades of Excellence in Danish Silver

Gregory “Greg” Pepin, a Danish-American silver expert with over 30 years’ experience, is founder of Denmarkbased Greg Pepin Silver, home to the world’s largest Georg Jensen inventory of early, rare pieces.

He founded Danish Silver in 1999, later sold it to Georg Jensen in 2013, and served as Managing Director of Silver, overseeing hollowware, silverware, and the Heritage Collection. Since 2016, he has led Greg Pepin Silver, emphasizing close client relationships. Meet Greg on Stand A10

ROBERT SIMON FINE ART

Paolo Uccello was one of the giants of the Italian Renaissance. Independent paintings by him are of the greatest rarity—only 24 survive and this work is one of the few still in private hands. Our Saint Jerome is a precious rediscovery and an important addition to the artist’s oeuvre.

Paolo Uccello (Florence, ca. 1397 – 1475)

Saint Jerome in the Wilderness Tempera on panel, curved top 11 ⅜ x 8 ¼ inches (29 x 21 cm)

22 East 80th Street, 4th Floor, NYC, 10075

rbs@robertsimon.com 212-288-9712

www.robertsimon.com

Dutch School, 1638

Portrait of Jacobus at 6 ½ Years Old inscribed and dated in the upper left Anno 1638 8/19 Aetatis Sua 6

49.2 x 29.1 inches (125 x 74 cm.)

Brush. A pure gold and steel ‘Scholar’s Table #10’, 1996

Maurizio Fioravanti. A micro-mosaic and diamond insect pin, 2025

Opposite Page A coloured diamond insect pin, 1920s

Fine and Rare ‘Index Horse’ Weathervane J. Howard & Co. (active 1850-1868), West Bridgewater, Massachusetts. Ca. 1854-1867. Swell-bodied molded copper and cast zinc with sheet copper mane and tail. Impressed on hind section: Made by J. Howard & Co., W. Bridgewater, MASS. 17 ¾” h., 18 ½” l., 2 ¼” d. (body), base: 4” d.

On the Green in Litchfield, Connecticut | 860.567.9693 | www.tillouantiques.com

Alphonse Auger (1837-1904) made a speciality of such traines de corsage, the flowers mounted in gold and the diamonds set in silver He had been trained, like Frédéric Boucheron, in the Marret Frères’ workshop, where he learnt the skill of gem-setting. This delicate work of art demonstrates why jewels by Auger were in such demand by his contemporaries, his observation of nature allowed botanical forms to be translated into diamond set confections, in which flower heads naturalistically trembled in wear as if swaying in the breeze. A corsage brooch by Alphonse Auger Paris, c.1890.

www.robertyoungantiques.com

Squeak Carnwath (b. 1947, Pennsylvania)

The following pages highlight some notable works on view at the 2026 edition of the Show.

Compiled by Helen Allen, Executive Director of The Winter Show

Chaise longue basculante by Charlotte Perriand, Le Corbusier & Pierre Jeanneret, 1930s Beige fabric, copper, steel

Presented by Maison Gerard

Based on a model designed in 1928 by French architect and designer Charlotte Perriand, in collaboration with Le Corbusier and Pierre Jeanneret, this “chaise longue basculante” is a rare 1930s Thonet series edition, unusually customized with successive copper, nickel, and chrome plating to achieve a warm metallic finish. The original model B306 chaise was later updated with beige upholstery.

This chaise entered Yves Saint Laurent’s collection in the 1970s and was placed in his Avenue de Breteuil studio by designer Jacques Grange; it later appeared in a celebrated Duane Michals photograph. It remained with Saint Laurent until his death in 2008, after which it traveled with his partner, Pierre Bergé, to their New York pied-àterre where it remained as part of the estate until 2017.

THE WINTER SHOW SPOTLIGHT

Lantern by Charles Sumner Greene & Henry Mather Greene, c. 1907

Leaded glass

Presented by Geoffrey Diner Gallery

Architect brothers Charles Sumner Greene and Henry Mather Greene, trained at MIT and seasoned in Boston firms, arrived in Pasadena in the 1890s and transformed California domestic design. After Charles’s formative 1901 trip to England — where he absorbed emerging Arts and Crafts ideals — the brothers evolved beyond neo-Colonial and Queen Anne motifs, crafting a new regional vernacular that blended Mission and adobe forms, Richardsonian Shingle Style, and Italian and Japanese influences. Their “ultimate bungalows,” including the Gamble, Blacker, and Thorsen houses, remain masterpieces of American craftsmanship.

This lantern — designed by Greene & Greene and executed by Peter Hall’s workshops for the Blacker House — is an exceptionally rare surviving example. One of only two made, it features an Orientalinspired overhanging top and iridescent amber leaded glass with stylized seagulls in flight.

Revolving

Doors by Man Ray, 1973 Wool

Presented by Boccara Gallery

Man Ray’s Revolving Doors mark the first U.S. exhibition of the complete series created in 1973 in collaboration with Atelier 3. The works reinterpret Man Ray’s 1916–1917 paper collages — first shown in 1919 at the Daniel Gallery in New York City —which demonstrate the artist’s bold geometry and chromatic experimentation that anticipated abstraction and positioned him at the forefront of modernism. More than 50 years later, Man Ray worked directly with Atelier 3 in Paris to translate these collages into monumental wool tapestries. Employing innovative weaving techniques, the artisans preserved the clarity of his forms while adding new depth and texture.

Authorized by the artist at the end of his life and produced in editions of only six per design, the series has remained largely hidden in private collections.

Born Emmanuel Radnitzky to Russian Jewish parents, Man Ray was the only American central to both Dada and Surrealism. A lifelong experimenter across media, he consistently blurred boundaries between fine art and design. The Revolving Doors tapestries embody this spirit, merging Surrealist abstraction with the tactility of textiles and expanding his visual language in bold, unexpected ways.

Presented by Lowell Libson & Jonny Yarker Ltd.

This unfinished late painting by Angelica Kauffman (1741–1807) embodies the elegance and ambition of European neoclassicism. Left in her Roman studio at her death, it has remained largely unseen in a private collection since the mid-19th century.

JOB: 109423 EastSideHouse_WAS_2026 CYANMAGENTAYELLOWBLACK

Born in Switzerland and trained in Italy, Kauffman was celebrated across Europe as a prodigy. After joining the Royal Academy of Arts in London — one of only two female founding members — she built a successful portrait career but long aspired to history painting, a rare pursuit for women.

In 1782, Kauffman returned to Rome, establishing herself as the city’s leading portraitist while embracing mythological and classical subjects. Among these was Hebe, goddess of eternal youth, shown serving Zeus in eagle form. The theme, popular in neoclassical art, allowed Kauffman to merge myth, allegory, and portraiture, reaffirming her place as one of the most innovative female artists of her age.

Chest of drawers attributed to Job Townsend, Jr., 1760–1770 Mahogany, white pine, chestnut, tulip poplar

Presented by Levy Galleries

Job Townsend, Jr. was part of the renowned Goddard-Townsend cabinetmaking dynasty and likely trained in the shop of his father, Job Townsend, Sr. (1699–1765). Together with the Goddards, their in-laws, the Townsends dominated 18th-century cabinetmaking in Rhode Island. After his father’s death, Job, Jr. inherited the Bridge Street shop in Newport, where he also served with John Goddard as a “viewer of lumber,” an appointed job charged with inspecting the quality of wood. Between 1745 and 1775, Newport supported more than sixty cabinetmakers, and Job, Jr. focused largely on supplying furniture for local use. His ledger from 1750 to 1759 and daybook from 1762 to 1778, preserved at the Newport Historical Society, reveal that tables and desks accounted for 73 percent of his furniture income, with coffins as his second most profitable product.

Only a handful of pieces can be firmly attributed to Job, Jr. Among the most important is a block-front chest with carved shells, bearing a faint chalk signature with the same distinctive “J” found in his account books and on a related desk. This piece is thought to correspond to the “mahogany case of drawers” sold to Katherine Gould in 1763 for £315 — the only such example in his daybook and the second most costly item recorded. Its carved shells and highquality brass pulls and escutcheons reflect the expensive finishes that distinguished the finest Newport furniture of the period.

Paris neoclassical brooch by Jules Wièse, c. 1890

18-karat gold

Presented by Kentshire

This striking Victorian brooch in the neoclassical style, crafted in 18-karat gold, features a finely modeled bas relief of a bejeweled woman’s profile framed by a granulated surround. This piece was made by 19th-century Parisian jeweler Jules Wièse, renowned for his archaeological and Gothic Revival jewels.

The brooch’s unusual surface treatment paired with irregular, distorted edges and a warm red patina lend an aura of an ancient artifact. This surface treatment, combined with the classical motif, demonstrates Wièse’s mastery in evoking antiquity for a modern audience.

The figure bears a strong resemblance to depictions of the water nymph, Arethusa, found on Hellenistic coins minted in Syracuse, Sicily. This reference underscores Wièse’s fascination with ancient motifs and his ability to translate them into jewelry for a modern audience.

De la démocratie en Amérique. Orné d’une carte d’Amérique by Alexis de Tocqueville, 1838–1840

Presented by Peter Harrington

This first edition is a presentation copy inscribed in both parts by Alexis de Tocqueville to the work’s first reviewer, Léon Faucher (1803–1854), who later became prime minister of France. This edition is exceptionally rare, as the two parts were issued years apart.

Faucher, a liberal journalist turned statesman, reviewed the first volumes in Le Courrier français on Christmas Eve in 1834. Though grudging in praise, he recognized its importance, writing “This book seems destined for great success . . . it will come to its readers as a revelation.”

His marginal notes remain in these volumes.

De la démocratie en Amérique, now hailed as “one of the most significant works ever written on American political and civil life,” appeared in only 500 copies in 1835; Volumes 3 and 4 followed in 1840 in an edition of 2,500.

The William Randolph Hearst Dionysos, c. 300 B.C. Marble

Presented by Galerie Cahn

This slightly under-life-size statue represents Dionysos, god of wine, ecstasy, and transformation, as an idealized, androgynous youth with long curling hair. He wears a short chiton girdled at the waist, over which a pardalis (panther skin) is draped diagonally and fastened with a belt. High leather boots with overhanging flaps complete the costume. The chiton’s surface, incised with tight, undulating lines, evokes the texture of fleece, contrasting with a smooth hemline. His face is strikingly feminine, with delicate proportions and visible Venus rings on the neck. At his side sits a panther, long associated with Dionysos. Its subdued pose reflects the god’s mastery over the untamed forces of nature.

Unlike the more familiar nude images of Dionysos in the languid Lykeios pose, this depiction — robed and frontal — belongs to a rarer tradition. It recalls late classical cult statues of the god, dated around 375 to 350 B.C., and associated with the Hope-Leningrad Dionysos type, known from Roman replicas in New York and St. Petersburg. Yet the naturalistic treatment of drapery, the sturdy stance, and the limited use of the drill suggest a later date, in the early third century B.C. The reverse, roughly finished with visible tool marks, indicates the work was originally displayed in a niche.

Purchased in 1924 by William Randolph Hearst, Dionysus was later retained by the Gimbel Brothers until it entered the collection of Horace Richter and his descendants.

Presented by Peter Pap Rugs

This highly refined Amritsar carpet combines classical Persianate drawing with a distinctly Indian color sensibility recalling Mughal precedents of the 17th century. Large-scale, intricately rendered palmettes are arranged within a mirrored lattice design on an ivory ground. Although corner pieces are employed and the composition is strongly centralized, the weaver achieves a perfect sense of scale without relying on a true medallion. Accents of gold and pale blue articulate the design throughout, while a characteristically blood red enlivens the border and highlights subtle vine-scroll ornament and the central quatrefoil. The result is a composition that is both elegant and visually compelling.

Presented by Joan B Mirviss LTD

Fujino Sachiko’s (b. 1950) sculptural practice reflects her early training in fashion design at the Fujikawa Design School in Kyoto. While working as a designer and fabric dyer, she took a pottery class that ultimately led her to Tetsukayama Junior College, where she studied under the pioneering ceramic artist Tsuboi Asuka (1932–2022). Fujino’s background in textiles is evident in the crimping, folding, and tucking of her softly textured stoneware surfaces, further enriched by her use of an airbrush to apply slip and subtle glaze, imparting depth to otherwise unembellished forms.

Imagery ‘25-1 unfurls in rippling, petal-like layers rising from crescent foundations that seem casually stacked yet perfectly balanced, evoking perpetual motion held in suspension. Airbrushed in a matte white with dark gray accents, it embodies her signature blend of delicacy and dynamism.

Fujino’s work was recently featured in the traveling exhibition, Radical Clay: Contemporary Women Artists from Japan, organized by the Art Institute of Chicago.

2026 Alexandria,

5.6 Ct. Natural Sapphire Set in White Gold with Diamonds Feb. 2026

Antiques and Art Professionals on Why Trades Education Matters

Preservation is a shared cultural responsibility — one that safeguards the material traces of our collective past so they may continue to inform the present and inspire the future. While preservation focuses on stabilizing the work of art, conservation entails preserving the artist’s materials and intent, which requires analysis and research, and often, restoration. This skilled, often painstaking work is required to restore objects that have endured the ravages of time, environment, or use. Collectors, dealers, and curators alike rely on highly trained conservators whose work combines science and artistry, ensuring that artworks and historical objects retain their integrity for generations to come. How, then, can the art world better sustain these essential trades and the people whose knowledge and labor underpin the longevity of our cultural heritage?

What Restoration Looks Like in the Museum World

At the Philadelphia Museum of Art, American decorative arts curator Alexandra Kirtley finds purpose and inspiration in the preeminence given at that museum to the decorative arts — formerly known as industrial arts or applied arts — as well as its long history of conservation. The Pennsylvania Museum and School of Industrial Art (as it was called until 1938) was founded as an outgrowth of the 1876 Centennial Exhibition and was modeled on the South Kensington Museum in London, now the Victoria and Albert Museum. At the museum, the goal was to collect models that inspired contemporary artisans and designers, both encouraging an appreciation of the decorative arts and promoting the application of industry to the production of art. The earliest collections were both historic and contemporary, with the latter celebrating the innovations of the late19th century as well as the enduring legacy of historic techniques.

Curators like Kirtley are often called upon to give tours to VIPs. One Monday in August 2013, Kirtley was asked to give such a tour to the most famous cabinetmaker in the world: Harrison Ford. They strolled the galleries and period rooms and then visited the museum’s famed conservation

labs. Thrilled but remaining calm, cool, and collected, the furniture conservators suddenly found themselves explaining scientific processes and investigative treatments to the man they knew as a cabinetmaker who landed his first film role by making bookshelves for George Lucas’s garage — but who most others would know only as Han Solo, Indiana Jones, or Jack Ryan. At the time, PMA conservator Peggy A. Olley (now the Elaine S. Harrington senior conservator of furniture and woodwork) was treating the museum’s set of classical painted furniture designed by architect B. Henry Latrobe and made by Philadelphia cabinetmaker John Aitken. Ford was enthralled by the dramatic curve of the Klismos chairs and sofa. While cleaning his glasses with a nearby Chem Wipe, he said to Olley with his classic Indiana Jones eye, “They look Egyptian.”

Kirtley and Olley explained to Ford how — along with the PMA’s upholsterer Beth Paolini — they had used historic designs and surviving physical evidence to uncover the original upholstery design and materials. (The results of this curatorial-conservation collaboration resulted in their groundbreaking 2016 exhibition and catalogue, Classical Splendor: Painted Furniture for a Grand Philadelphia House.) Kirtley and Olley explained that for the reproduction upholstery they sourced the silk from Lyon, the tape from a liturgical manufacturing company from Italy, and the fringe from Watts 1874 in London. Unable to find them commercially, Paolini painstakingly made the large tassels — turning the bobbins, dying the silk, spinning the silk onto the bobbin, tying the netting, and spinning the fringe. (It took Paolini eight hours to make one tassel, and 36 tassels were needed to upholster the museum’s furniture.) This underscores how conservators are not only scientists but artists in their own right.

As Kirtley and Ford perused the galleries of modern and contemporary art, Ford explained that for films, production companies often have great success in the United Kingdom because the pomp required to put on the pageantry of Britain’s Royal Family supports the livelihoods of artisans and craftspeople. Without the trades, and the centuries of accumulated technical knowledge they represent, the spectacle of royalty would be impossible — and the art of decoration would be lost too.

THE CONSERVATION CONVERSATION

by

The Value of Apprenticeship Programs

For centuries, apprenticeship programs have provided immersive, dedicated training in craftsmanship. These programs were once integral to passing down traditional skills that kept entire industries alive. In the past, such expertise would transfer within families, allowing knowledge to outlast generations and fostering enduring career paths. Today, however, these opportunities are increasingly scarce as traditional master craftsmen retire with no successors to carry on their techniques.

Joan Boening is the owner of third-generation antique silver and jewelry dealer James Robinson, Inc., which opened its first storefront on Madison Avenue in 1912. Having spent 45 years as a dealer, Boening has witnessed firsthand how declining demand for silver over recent decades has been matched by an equally troubling trend: a severe shortage of skilled craftsmen. “The decrease demand for these items has resulted in a dearth of craftsmen with the appropriate skills to work with antique silver,” she observes.

The world of antiques restoration is deeply intertwined with curation, as each discipline relies on specialized skills that complement the other. While bringing young restorers into the field seems like an obvious solution, opportunities remain limited. University-affiliated institutions rarely offer these programs, and Boening has proposed an alternative: bringing in talent through apprenticeships. An immersive, hands-on training experience would ensure that traditional skills continue to be preserved by a new generation of craftspeople working one-on-one with antique silver.

Left: Mold of four-pronged fork for silver

Below: Soane Britain’s chairs in situ made in the rattan workshop in Leicestershire, England. Photograph courtesy of Soane Britain.

This approach keeps invaluable knowledge contained within families and workshops, preventing the loss of expertise in skills that can take decades to master and cause significant financial damage when mishandled.

The urgency is real. Over the past decade, the silver industry has lost at least three master silversmiths, and the remaining experts have no apprentices to continue their craft. “There are barely any programs teaching the decorative arts,” Boening explains, “so the only way to learn is hands-on with a dealer or craftsperson.” Without immediate action to establish apprenticeship programs at arts and crafts-specific schools, the field faces a bleak future with no trained silversmiths or restorers to carry on this centuries-old tradition.

Heritage silversmithing techniques represent only one category of endangered traditional crafts. According to Lulu Lytle, cofounder and creative director of Soane Britain, other endangered crafts that face extinction in the contemporary era include basketry, hand papermaking, pietra dura, and rattan furniture-making. Over the past 15 years, Soane has revived the last rattan workshop in the United Kingdom after its unexpected closure in 2010. Today, the reopened workshop employs 17 rattan craftspeople, and in 2013, Soane initiated a rattan apprenticeship scheme to keep the skills alive. To date, four craftspeople have successfully completed the program, and ten more are currently in training.

“Conservation evolves, but respect for craft remains timeless.” Vera Indenbaum

Vera Indenbaum, is a nationally renowned expert in textile conservation and restoration. Born in the former Soviet Union, she developed expertise in textile conservation through structured career training that included an apprenticeship and a specialized trade program in rug restoration. Her training led her to work at the Museum of Decorative Art in Moscow. After moving to the U.S., she became an independent textile conservator and, in 1996, launched the Antique Textile Clinic. Textile conservation plays a crucial role in preserving cultural heritage, as historic fabrics, rugs, and garments serve as tangible records of artistic traditions, social customs, and technological innovations across civilizations. Beyond their historical significance, these textiles often represent irreplaceable examples of craftsmanship and design that continue to influence contemporary fashion and decorative arts.

Safeguarding Historic Material Culture for the Future

One of the most persistent challenges in preserving historic material culture is the lack of transparency surrounding how objects were originally made. For those working to sustain traditional trades, the opacity of past production techniques becomes a serious obstacle: without clear communication or accessible knowledge of how something was crafted, maintaining the integrity of restoration work becomes far more difficult. Terminology can be inconsistent, methods poorly documented, and essential steps obscured by time. Practitioners like Indenbaum address this problem by carefully reconstructing and explaining each object’s manufacturing process — identifying materials, clarifying techniques, and outlining the work required to ensure longevity. Their goal is not to reinvent an object, but to enable it to endure.

Museum exhibitions, such as those organized by the Philadelphia Museum of Art or the Metropolitan Museum of Art, play a vital role in promoting the decorative arts and traditional trades to the public. By investing in their own collections, museums facilitate the preservation of heritage objects and simultaneously enable broader public engagement with conservation work. As conversations around sustainability intensify, the conservation of antiques exemplifies sustainable practice. The work aims to extend the lifespan of artifacts while respecting their integrity and the narratives of both the objects and their custodians. With exhibitions becoming an increasingly popular vehicle for consumption of antique objects, there is growing emphasis on maintaining sustainable conservation processes. Some specialists argue that museums should prioritize their permanent collections in storage rather than borrowing pieces exclusively for temporary display.

In a world increasingly concerned with sustainability, conserving antiques is inherently sustainable. It extends the life of existing objects while honoring the intentions of their makers and the histories they embody. Kirtley emphasizes that exhibitions should follow this ethos as well: “Museums should rely on their own deep collections in storage much more — and only borrow a handful.”

Across disciplines, the message is consistent. The skills required to preserve our material culture are endangered, but not lost. With intentional training, clearer communication, and renewed commitment, these crafts can survive. Together, we can safeguard the longevity of objects that connect generations — keeping them “healthy” for those who will one day inherit them.

As Indenbaum reminds us, “Conservation evolves, but respect for craft remains timeless.”

CURIOUS OBJECTS

Join Ben L. Miller on Curious Objects, the podcast from The Magazine Antiques that brings you behind the label and into the workshop, the archive and the living room, to explore the hidden craftsmanship, surprising stories and human lives of the objects we think we know.

We believe every home has a story.

A media network devoted to filming beautiful home tours around the world, reaching over 150 million viewers annually.

EAST SIDE HOUSE SETTLEMENT

Providing Education, Innovation, and Results . . . For the Whole Family

East Side House cares for the individuals, families, and communities we serve by expanding opportunities to live more fulfilling lives through education, career, and supportive services.

East Side House Settlement Board of Managers

Chairman Thomas H. Remien*

President Thaddeus Gray

Vice Presidents

Wendy Holmes

Dolores O’Brien Miller

Treasurer

Richard E. Kolman

Secretary Marvena St. Agathe

Lucinda Ballard

Caroline Beshara

Stephanie B. Clark

Ramona Dessouki

William S. Elder

Jahcina Francis

Barclay G. Jones, III

Rahul Kamalapurkar

Maureen Kerr

George G. King

Michael R. Lynch

Kevin McAlister

Robert L. Meyer

Ron Miller

Hon. Eugene Oliver, Jr.

Elizabeth Donnem Sigety

Mrs. Charles F. Smithers

Jeffrey Stein

Steve Thompson

Emily Victor-Smith

Philip L. Yang, Jr.

Honorary Members

Mrs. Roland W. Donnem

Christine Janis

Executive Director

Daniel Diaz

Associate Executive Director

Natalie Lozada

Director of Development

Diana Rodriguez

Development Team

Christina Bello

Jessica Maldonado

*Past President

East Side House Settlement

337 Alexander Avenue

Bronx, New York 10454

Telephone: (718) 665-5250

Fax: (718) 585-1433

www.eastsidehouse.org

East Side House Settlement Programs

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THE HERITAGE SOCIETY

Established by East Side House Settlement, the Heritage Society confers membership on qualified donors based on their cumulative gifts through fully tax-deductible giving. Our intention is to recognize and honor generous donors whose contributions are vital to the fulfillment of our mission and the continued legacy of philanthropy, which has benefited East Side House for nearly 130 years.

To learn more about membership, please contact Diana Rodriguez, Director of Development at East Side House Settlement, by telephone at (718) 665-5250, email at drodriguez@eastsidehouse.org, or fax at (718) 585-1433.

Philanthropist ($250,000 and over)

ANONYMOUS ROBERT ALTMAN ESTATE OF LOUIS W. BOWEN

ESTATE OF JOYCE GOLDEN ESTATE OF WILLIAM & ANN ZELL

Patron ($100,000 to $249,999)

W. GRAHAM ARADER III NAUMAN BARAKAT MR. & MRS. MARVIN H. DAVIDSON

ESTATE OF C. WARREN FORCE ESTATE OF BERENICE B. HETKIN ESTATE OF JULIE KAMMERER

RANDALL McCALLUM THOMAS REMIEN & MARY ANNE HUNTING MRS. EDMOND J. SAFRA

FRANCESCO SCATTONE MRS. CHARLES F. SMITHERS JEAN L. & ROBERT A. STERN ENDOWMENT

ERIC C. WENBERG PHILIP L. YANG JR.

Sponsor

($50,000 to $99,999)

Michael Bank

Cam Capital

Debra & Claudio Del Vecchio

William Elder

Mr. & Mrs. Carl S. Forsythe III

Michael Gleissner

Wendy Holmes & Kevin McAlister

Richard B. Hollaman

Barclay G. Jones

Ms. Ezra Kaplan

Stephen J. Ketchum

Arie L. Kopelman

The Martin Family

James F. McCollom Jr.

Ellen & Robert Meyer

Dolores O’Brien Miller

The Honorable Eugene Oliver Jr.

George D. O’Neill

Elizabeth Donnem Sigety

Jeffrey & Eliza Stein

William Zeckendorf

Supporter

($25,000 to $49,999)

Lorri Ahl

Dr. Darrick E. Antell

Mr. & Mrs. Robert F.R. Ballard

Mr. Alan S. & Mrs. Madeline D. Blinder

Mr. Frank Brunckhorst

William Callanan

Christopher J. Carrera

Courtney Booth Christensen

Kevin Cottrell

David L. Duffy & Marcelline

Thomson

Fay Gambee

Thaddeus Gray

Greater New York Automobile Dealers Association

Richard Green

Sven Hsia

Chandra Jesse

Mr. & Mrs. Richard E. Kolman

Leonard & Judy Lauder

David Long

Michael Lynch & Susan Baker

Jack C. McAlinden

William Mehleisen

Estate of Cleo Lawson Mitchell

John H. Reilly Jr.

Candida Romanelli

Estate of Joseph D. Ryle

Stephen R. Seiter

Jeffrey M. Siegal

Peter & Lenore Standish

Rodney Strickland

Eric & Coco Wittenberg

Joan P. Young

Friend

($10,000 to $24,999)

Mr. & Mrs. Anthony Ames

Caroline Beshara

Jonathan Brandt

Mr. & Mrs. Henry R. Breck

Mario Buatta

Mr. & Mrs. Richard L. Chilton

Margaret M. Clucas

Mr. Paul & Mrs. Marian Cones

Marina Rust Connor

Robert A. Constable

David Dempsey

Sarah Lund Donnem

John G. Duffy

Lindsay Gruber Dunham

Pamela Fiori

Jean Fleischhacker

David Geffen

Gen Next

Karen Kemp Glover

Frances Goodwin

Susan Gordon

Mimi & Peter Haas Fund

Teresa Heinz

William Helman

A.C. Israel Foundation, Inc.

Christine Janis

Paul Tudor Jones

Alice K. Jump

Mr. & Mrs. Mark Elliot Kingdon

Mr. & Mrs. Henry R. Kravis

Valerie Anne Kreiger

Anuj Malhotra

Timothy H. Martin

Stephen J. McCarthy

Mrs. John McNulty

Craig Miele

Joan B. Mirviss

Morgan Stanley

Peter Muller

Mr. & Mrs. Gerald P. Noonan

Mr. & Mrs. James N. Noonan

Liz & Jeff Peek

Sally Phipps

Emily Israel Pluhar

John Reilly

Alexander & Suzanne Rhea

Foundation

Mr. & Mrs. Rittereiser

Mark Schienberg

Debora H. Schnappauf

Andrew P. Siff

Harvey Silverman

Ruth Hall Smithers

Nancy F. Solomon

William W. Stahl

Nancy & Burton Staniar

Linda Sylling

Annie Taranto

Mr. Steve & Dr. Kathryn

Thompson

Raz Tirosh

Spence Tobias

Richard Uhrlass

Mr. & Mrs. Edgar Wachenheim

Susan S. & Kenneth L. Wallach

Foundation

Mr. & Mrs. Edward Kingman

Weld

Glenn E. Whitmore

Jane Win x Cara Cara

(As of 7/30/2025)

FOUNDATIONS, TRUSTS, AND CORPORATIONS

$200,000 or more

Bloomberg Philanthropies

The Carson Family Charitable Trust

The Clark Foundation

The Peter & Carmen Lucia Buck Foundation, Inc.

Thompson Family Foundation

Tiger Foundation

$100,000 to $199,999

The Macmillan Family Foundation, Inc.

Principal Financial Group

$50,000 to $99,999

Blanchette Hooker Rockefeller Fund

The Bronx Defenders

The Charles Hayden Foundation Con Edison Company of New York, Inc.

The Frances L. & Edwin L.

Cummings Memorial Fund

Gladys & Roland Harriman Foundation

Insurance Industry Charitable Foundation (IICF)

Mae & Mitchell Marcus Charitable Foundation, Inc.

The Warburg Pincus Foundation

$20,000 to $49,999

Fordham Street Foundation

$10,000 to $19,999

Barclay & Jean Jones Family Fund

Cleve Gray Foundation

Henry & Lucy Moses Fund, Inc.

Nancy & Edwin Marks Family Foundation

Sue & Edgar Wachenheim Foundation

Taranto Family Foundation

The Theodore H. Barth Foundation

Vanguard Charitable

$5,000 to $9,999

EA Foundation

Martin Family Foundation

The H.W. Wilson Foundation

$100 to $4,999

A.C. Israel Foundation, Inc.

C.L. Tandon Charitable Fund

CHPE LLC

Costco Wholesale

Heinz Family Foundation

Literacy Assistance Center

Lower Manhattan Cultural Council

MacKinnon Charitable Trust

Police Commissioners Sports League, Inc.

Tapestry Foundation of Mary Carmel & Thomas P. Borders

The Bronx Rotary Foundation

The Philip A. & Darlene S. Levien

Family Living Trust

UBS

As of (08/01/2025)

INDIVIDUAL AND GROUP GIFTS

East Side House Settlement thanks our generous donors who provide us with valuable support to fulfill our mission. Over the past year, these fully tax-deductible gifts have had a direct and measurable impact on the children and families East Side House serves.

President’s Circle

($5,000 or more)

Allan Katz Americana

Mr. Alan S. & Mrs. Madeline D. Blinder

Marvin H. Davidson

Ramona Dessouki

William S. Elder

Hagedorn Fund

Joseph Keiffer

Leonard A. Lauder

Timothy H. Martin

William Mehleisen

Craig Miele

Francesco Scattone

Jeffrey Scott Stein

Eric C. Wenberg

Sustainers

($2,500 to $4,999)

Laura Louise Breyer

Heinz Family Foundation

Wendy Holmes & Kevin McAlister

Lower Manhattan Cultural Council

Andrew Lynch

Laurence R. Milstein

Marc Remini

Jessica Schlafke

Social Register Association

The Cowles Charitable Trust

UBS

Marietta B. Ulacia

Supporters

($1,000 to $2,499)

A. C. Israel Foundation Inc.

American Chai Trust

Dr. Jane Arce-Bello & Deacon

James A. Bello

Elizabeth Belfer

Mr. William Blind, Jr. & Mrs. Meredith A. Townsend

C.L. Tandon Charitable Fund

Jane Win x Cara Cara

CHPE LLC

John R. Curtis

Jennie DeScherer

Sarah Lund Donnem

Federation of Protestant Welfare Agencies, Inc.

Emily Frelinghuysen Pluhar

Michael Gould

Jacelyn Hammill

Kevin Linares

Literacy Assistance Center

MacKinnon Charitable Trust

Metzger-Price Fund, Inc.

Matthew Mortara

Amanda Kathleen Nelson

Police Commissioners Sports League Inc.

Elizabeth Donnem Sigety

Thurmond Smithgall

Peter Standish

The Bronx Rotary Foundation

David Uhrlass

Neal Wadhwa

Donors

($500 to $999)

Alfred M. Abate

American Friends of Attingham

Helen Cahill

Jeff Cates

Katherine Collins

Costco Wholesale

Martin Dooley

Susan Dube

Don Dube

Jane Geever

Christine Janis

Alice K. Jump

Maureen Orsen

Susan Quiat

Jonathan Reiner

Stephen M. Strachan

Alexis Tobin

Sarah Wheeler

Associates

($100 to $499)

Amani Acosta

Amelia F. Adams

Katherine Adams

Joseph Angelina

Association of Fundraising Professionals

Tommy Atlee

Frances Bajdik-Bova

James Baker

Haley Bankey

CeCe Barfield Thompson

Michelle Barthel

Stephen Bebber

Matthew Berliner

William Bert

Frank Boal

Boccara Gallery

Linda Bodzin

Norbert Boukoro Ntsouka

Olivia Bowman

Rebekah Byrne

Michael Caliendo

Matthew Cestaro

Jessica Chestman

Quinn Colter

Nathalie Conklin

Michael Cook

Liz Correia

Sean Crockett

Jessica Curro

Laura Daley

Terrence & Charlotte Daley

Lyla T. Day

Michael Dearing

Julien Dernaucourt

Chris Desmond

Nicole Dickerson

Agnes Doherty

Stuart Duff

Ivelisse Duncan

Zachary Elfenbein

Gemma Federici

Christopher Ficano

Hilda Foley

Mike Friedman

Gaby Fuchs

Jacqueline M. Garrett

Brendan Garry

Vincent Gatto

Erin Getty

Michael Giannini

Glass Past

David Glazer

Lucy Golub

Andrew Grieco

Margaret Grise

Melissa Gunn

G. William Haas

Julie Henry

Matthew Heyd

Emily Hollender

Lauren Hollender

David Humphreys

Christopher Johnson

Robert Klinck

Nicole Klinck

Sandra Klinck

Sunil Kotagiri

Joanna C. Kozberg

Albert Kramer

Joanna Kreja

John Leonard

Alexandra Lesnik

The Philip A. & Darlene S. Levien

Family Living Trust

Oren Levine

Henry L. Levy

Chelsea Lewkow

Margaret LoBue

Vicente A. Madrigal

Jessica Yazmine Maldonado

Pedro Manzo

Christina McAdams

Holly McAdams

John McKenna

Ryan Miner

Michael Mitchell

Daniel Munkittrick

Joe Naber

Danielle Nestler

Olde Hope Antiques, Inc.

John O’Marra

David Osborne

Alison Overseth

Maria Luisa Palmese

Meghan Parrish

James Pastan

Philip Paulette

Barbara Peltz

Jonathan Powell

Meredith Prithviraj

Laurin Quiat

Bette Quiat

Thomas H. Remien

Nancy K. Rice

Noel Rideout

Conner Riley

Abbey Riley

Tremaine Romeo

Karen Schlenker

Debra Schneider

Nani Schroeder

Delaney Scott

Norman Selby

Tara Shah

Eileen Skuse

Helen Smith

Jill Smith

Laurence T. Sorkin

Arthur J. Stainman

Barry Stowe

Tapestry Foundation of Mary Carmel & Thomas P. Borders

Cathleen Tavares

Margaret Terry

Shirley Thai

Brian Tyluki

Nancy Walt

Roy Wedeles

Sue Ann Weinberg

Seth Wenig

Delma & Michael Wessner

Elizabeth Wilens

Jonathan Williams

Anne Marie Witchger

Michael Wozniak

Ben York

Michelle Young Zebregs&Röell

(as of 7/31/2025)

Goldman Sachs is proud to support

The East Side House Settlement

East Side House’s Impact

East Side House is Breaking New Ground in the Bronx!

Accessible and inspiring, the Haven Hub will be a place where the Bronx gathers to grow stronger together. It is more than a building — it is a promise: to build with, not for, the community.

East Side House Settlement isn’t just about support; it’s a sanctuary of growth and empowerment. As we mark the East Side House’s 135th year, we proudly share the stories of three extraordinary individuals — living proof of the transformative power within our programs. The profiles that follow continue this story of possibility — of Bronx youth building brighter futures with guidance, opportunity, and belief.

Breaking Ground in the Bronx

A New Era of Community Wellbeing

Haven Hub

rise in in the Bronx — the Haven Hub, a multi-use facility representing a new chapter

In 2026, a transformative landmark will rise in in the Bronx — the Haven Hub, a multiuse facility representing a new chapter in East Side House’s 135-year legacy of empowerment. Built to accompany the newly opened Haven Charter High School, the Hub will welcome more than 500 youth and community members annually for recreational use, as well as various programs and events. The centrally located gymnasium will host basketball tournaments, dance showcases, health workshops, and neighborhood celebrations, all with the goal of creating a vibrant space for movement, connection, and belonging.

the Hub will welcome more than 500 youth and community members annually for recreational use, as well as various programs and events. The centrally located gymnasium will host basketball tournaments, dance showcases, health workshops, and neighborhood celebrations, all with the goal of creating a vibrant space for movement,

The need is urgent — only one in three Bronx residents lives near an accessible fitness space, and nearly 40% of Bronx children face health challenges. Studies show that safe, accessible recreation improves health, reduces crime, and strengthens community ties. Addressing this demand, Haven Hub will promote active lifestyles and holistic wellbeing through inclusive, year-round programming. Moreover, the Hub’s promotion of wellness, creativity, and community engagement will complement the academic and career-focused training at Haven Charter High School, where each year 400 students are prepared to graduate with diplomas and healthcare certifications.

children face health challenges. Studies show that safe, accessible recreation improves health, reduces crime, and strengthens community ties. Addressing this demand, Haven Hub will promote active lifestyles and holistic wellbeing through inclusive, year-round programming. Moreover, the Hub’s promotion of wellness, creativity, and community engagement complement the academic and career-focused training at Haven Charter High School, where each year 400 students prepared to graduate with diplomas and healthcare certifications.

Accessible and inspiring, the Haven Hub will be a place where the Bronx gathers to grow stronger together. It is more than a building — it is a promise: to build with, not for, the community.

ACCESSIBLE AND INSPIRING, THE HAVEN HUB WILL BE A PLACE WHERE THE BRONX GATHERS TO GROW STRONGER TOGETHER.

EAST SIDE HOUSE SHOWED ME THAT IF THERE’S EVEN A DROP OF HOPE, ANYTHING IS POSSIBLE. —HARRY MONTAS

Harry Montas

After losing momentum in his first high school, Harry Montas transferred to Bronx Haven High School (an ESH partner school), where he was introduced to East Side House Settlement and — when he filled in for a missing camera technician in a school play — the visual language of photography. At the Bronx Documentary Center, he honed his storytelling, learning to understand the moment, emotion, and humanity within each frame. East Side House recognized his passion and continually created space for him to grow, experiment, and return, even when life pulled him away from the craft. “It wasn’t one moment,” he says. “It was a series of moments that made me realize East Side House believed in me. They always welcomed me back with open arms.”

Harry’s work now defines much of East Side House’s visual legacy, from graduation videos to documenting the Student Ambassadors’ international trips. He has captured some of the most emotionally powerful milestones in the organization’s history, including students returning home from overseas, who are often moved to tears by their experience. “I cry with them,” he admits. “For kids like us, opportunities like this are once in a lifetime.”

On top of photography, Harry is also working at a hospital and pursuing a career in law enforcement. He sees deep connections between his roles. “People want to be heard,” he says. “And in both photography and law enforcement, you step into someone’s life for a moment and witness their story.”

“East Side House showed me that if there’s even a drop of hope, anything is possible,” he says.

Images in this section were photographed by Harry Montas

“EAST SIDE HOUSE WAS. . . A VILLAGE THAT SHOWED ME NO ONE ACHIEVES GREATNESS ALONE.”

— FOLA ARULEBA

Fola Aruleba

Mercy Folaoluyinka Aruleba, known as “Fola,” grew up in the Bronx, the daughter of Nigerian immigrants who taught her that resilience, family, and community were the foundation of opportunity. Those values took shape when she became involved with East Side House.

In high school, her first job — as a student leader — came through East Side House. By guiding classmates through college and financial aid applications, she learned about responsibility and the benefits of helping others succeed. In her senior year, she was invited to join the Student Ambassador program, and in 2018, she proudly represented East Side House at The Winter Show’s Opening Night Party. Immersed in art from around the world and stepping into her first networking experience, she discovered how confidence grows when opportunity meets preparation. At 18 years old, she

traveled on her first international trip to the United Kingdom, France, and Italy through East Side House’s Ambassador Program. For Fola, experiencing new cultures enabled her to affirm her place in a global story. She often recalls a proverb that framed her journey: If you want to go fast, go alone. If you want to go far, go together For Fola, East Side House was that “together,” a village that showed her no one achieves greatness alone.

She is also the founder of FlyWithFola, a travel company inspired by her first trip abroad and dedicated to making international travel accessible, curated, and empowering for those eager to explore the world. From the Bronx to Europe, and anywhere else, her journey embodies resilience, leadership, and gratitude.

“EAST SIDE HOUSE GIVES YOU MORE THAN PROGRAMS — IT GIVES YOU PURPOSE.”

—JANZEL TOBAL

Janzel Tobal

For 14-year-old Janzel Tobal, creativity is more than a hobby — it is a guiding way of seeing the world. The Bronx native, son of Dominican-born parents and one of five siblings, had long demonstrated interest in drawing, animation, piano, and theater, pursuits which require effective programming to develop skills and enhance creativity.

Those programs were not always easy to find. Like many young people in the Bronx, Janzel’s opportunities were shaped by the resources around him. Through East Side House, he discovered not only opportunities that kindled his interest, but also a supportive community that nurtured his talents and gave him the confidence to grow.

Janzel first enrolled in the SONYC afterschool program at the Urban Institute for Mathematics. He entered the ESH afterschool program seeking a safe place. Instead, he found an anchor — a community of peers, mentors, and educators who inspired him to take on new challenges.

That foundation led to his selection as an East Side House Student Ambassador, bringing him to Washington, D.C., where he explored cultural institutions, historic landmarks, and his own aspirations. Now a freshman at Haven Charter High School, Janzel is inspired by his teachers and energized by the opportunities ahead. “East Side House gives you more than programs — it gives you purpose,” he reflects.

“Thank you for having Janzel represent Haven and East Side House,” his mother shares. “You are building our future doctors and professionals.”

A NEW TRADITION

April

23 – 26, 2026

VALLEY FORGE CASINO RESORT

Exhibitors as of December 15, 2025

A Bird in Hand Antiques

Antique French Fine Arts

Arader Galleries

Barbara Israel Garden Antiques

Betty Bell Antiques

Birdsall Hasse

Blue Mango Books and Manuscripts

Christopher and Bernadette Evans Antiques

Colette Donovan Antiques

David A. Schorsch-Eileen M. Smiles

David Brooker Fine Art

David M. Kurau

Diana H. Bittel Antiques

Dixon-Hall Fine Art

D. M. De Laurentis Fine Antique Prints

Douglas Stock Gallery

Earle D. Vandekar of Knightsbridge, Inc.

East Nottingham Antiques

Elle Shushan

Elliott and Grace Snyder Antiques

Francis J. Purcell, Inc.

G. Sergeant Antiques

Gemini Antiques

Gladwell & Patterson

Glen Leroux

Gratz Gallery

Greg K. Kramer

H. L. Chalfant American Fine Art and Antiques

Hanebergs Antiques

Hanes and Ruskin

Hilary and Paulette Nolan

James Kochan

James L. Price Antiques

James Robinson, Inc.

Janice Paull Antiques & Design

Jayne Thompson Antiques

Jeff R. Bridgman American Antiques

Jeffrey Tillou Antiques

Kelly Kinzle

Larry Thompson

Leighton Fine Art

Levy Galleries

Lillian Nassau, LLC

Lotus Gallery

Marcy Burns American Indian Arts

Martyn Edgell Antiques, Ltd.

Mead Americana

Nathan Liverant and Son, LLC

Olde Hope

Oliver Garland

Parker Gallery

R. M. Worth Antiques

Ralph M. Chait Galleries, Inc.

Randi Ona

Rehs Contemporary

Rehs Galleries

Rosior

Sandy Jacobs

Schwarz Gallery

Silver Art by D & R

Thurston Nichols

Ziebarth Antiques

ART & ANTIQUE DEALERS LEAGUE of AMERICA

The Art and Antique Dealers League of America (AADLA) has set the highest standard for expertise and integrity in the art and antiques trade. Its members—respected dealers, researchers, restorers, and storytellers—are deeply committed to transparency and accuracy in every transaction. If you’re looking for rare and remarkable antiques, the AADLA is the premier destination to find them.

The AADLA proudly celebrates its centennial anniversary in 2026—a major milestone that reflects not only its longevity, but its commitment to evolution and excellence in the art and antiques trade. Learn about our dealers on our website below:

PHILIP HOFFMAN THE FINE ART GROUP

Every Week in print and Every Day online, we bring you more news, more often on antiques, fine art and collectibles.

Since 1963, Antiques and the Arts Weekly has reported on the greatest things ever made. Our reports find these works at their most opportune times: as they fill the spotlight in a museum exhibition or when they change hands at auctions and through dealers around the world.

Our weekly newspaper, distributed both in print and as an E-Edition on our website at www.antiquesandthearts.com , contains essential information for buyers and sellers. Informa tion that helps our readers — collectors, auctioneers, promoters, appraisers and dealers — follow the market and increase their knowledge of who is who and what is what. Because in a market like this, knowledge is everything.

Subscribe Today For One Year/$96 or contact us for a FREE sample, or email: subscriptions@thebee.com or Subscribe online at: antiquesandthearts.com/subscribe

The Bee Publishing Co., 5 Church Hill Rd, Newtown, CT 06470

Discover Galerie magazine, filled with inspiring stories from the exciting worlds of design, art, and culture. With our unique point of view, we deliver a brilliant mix of sophisticated interiors, intriguing artists, and enchanting travel destinations.

SUBSCRIBE HERE

In nearly fifty years of innovation

Phoenix Lithographing has become one of the largest commercial printing companies in our marketplace serving art galleries, auction houses and art shows with sheetfed, web and digital printing.

THE WINTER SHOW

Venü Magazine, together with Venü Media Group is where modern luxury, culture, and design converge. We connect premium brands with an affluent, taste-making audience across print, digital, social, and experiential events—delivering high-impact storytelling and measurable results. From original content to integrated digital campaigns, we bring your brand into the conversations our readers care about most—art, design, travel, fashion, food/wine, film, philanthropy, and much more.

If you’re looking to reach discerning buyers with context that elevates your message, Venü has been your stage since 2010.

FRIENDS OF JOHN JAY HOMESTEAD

THANK THE WINTER SHOW FOR ITS 250 COMMEMORATION TH

John Jay, 1783, by an unidentified artist after Gilbert Stuart. New York State Office of Parks, Recreation and Historic Preservation. John Jay Homestead State Historic Site. Museum Purchase and Gift of Peter Jay DuBois, JJ.1999.2.a

AND WE THANK THE NEW YORK STATE OFFICE OF PARKS, RECREATION AND HISTORIC PRESERVATION FOR THEIR VISIONARY EFFORT TO RESTORE JAY'S BEDFORD HOUSE

CLINAMEN CÉLESTE

JUNE 10–AUGUST 2

“A 21-st century urban Giverny. Calm, elegant, [and] a respite from the stridency of the contemporary world.” —Observer

—

BALKAN EROTIC EPIC

MARINA ABRAMOVIC ´

DECEMBER 8–20

“The piece is so viscerally atmospheric and rapturous that it demands awe and defies description. Epic will have to do.”

The Financial Times (UK)

Shop the world’s finest art, antiques, jewelry and design by masters of the 18th through the 21st-century, commission free, from over 500 of the world’s finest dealers on incollect.com.

Interior Designers & Architects are invited to join IN THE TRADE . incollect.com/trade

䌀氀椀洀愀琀攀ⴀ挀漀渀琀爀漀氀氀攀搀 愀爀琀 愀渀搀

䘀甀氀氀礀 椀渀挀氀甀猀椀瘀攀 愀爀琀 昀愀椀爀 猀攀爀瘀椀挀攀猀

倀爀椀瘀愀琀攀 瘀椀攀眀椀渀最 爀漀漀洀猀

愀渀搀 椀渀猀琀愀氀氀愀琀椀漀渀

THE WINTER SHOW 2023 FLOOR PLAN

THE WINTER SHOW 2026 FLOOR PLAN

OLD

JANUARY 22 - JANUARY 31, 2027

PARK AVENUE ARMORY

NEW YORK CITY

SEE YOU NEXT YEAR!

The Winter Show would like to thank the following:

The Winter Show Would Like to Thank the Following:

ALEXANDRA ABUZA

ADVISORY COUNCIL

MARK AISTON Aiston Fine Art Services

AIR MAIL

ALICE ALLEN

MARK AISTON Aiston Fine Art Services

C. EDMONDS ALLEN

C. EDMONDS ALLEN

REBECCA ALVAREZ

MARY ANDRYC

ISABELLE ARBEITMAN

ASIA WEEK NEW YORK

ASIA WEEK NEW YORK

OLD

LUCINDA BALLARD

LUCINDA BALLARD

MICHAEL BARGO

BANK OF AMERICA

ANITA BASSIE Group M Design

CONSTANCE BARUT American Friends of the Louvre

CHRISTINA BELLO East Side House Settlement

ANITA BASSIE Group M Design

JOSEPH MAGLIOCCO Michter’s

MAUREEN KERR

KATHARINE MAGLIOCCO Michter’s

KENNETH J. KERRIGAN Exhibition Employees Union Local 829

MAX MALLOWS ARTSVP

LAURA KIM Monse

JESSICA MALDONADO East Side House Settlement

HELEN KIPPAX

TYLER MAHOWALD Third Eye

ALEXANDRA KIRTLEY The Philadelphia Museum of Art

JOE MANGI

MICHAEL KOENIGS Homeworthy

JOEL MORRISON

JEFFREY KWAN Canal Sound & Light

LARK MASON

MELISSA HELWIG LIUZZI Select Contracting

LUCINDA B. MAY

MICHAEL LYNCH

LISA MCCARTHY Everyday Elegance

RYAN MAERZ Canard Inc

KEVIN MCCORMACK Select Contracting Inc.

JESSICA MALDONADO East Side House Settlement

CHRISTINA BELLO East Side House Settlement

DANIELLA BERMAN The Drawing Foundation

ROB MCGINLEY Chubb

NISHA BERLIA

CHRISTOPHER BISHOP Master Drawings New York

JILL A. BOSSERT Advertising Director The Winter Show Catalogue

LIZ BICKLEY Park Avenue Armory

CHESIE BREEN NivenBreen

JILL A. BOSSERT Advertising Director The Winter Show Catalogue

MAUREEN BRAY American Art Dealers Association

SOPHIE BROLL

CHESIE BREEN NivenBreen

JOHN BRUNO Exhibition Employees Union Local 829

JOHN BRUNO Exhibition Employees Union Local 829

HILLARY BURCHFIELD Sotheby’s Institute of Art

HILLARY BURCHFIELD Sotheby’s Institute of Art

SARAH BURNINGHAM Little Bird Publicity

SARAH BURNINGHAM Little Bird Publicity

JEFFREY CALDWELL

JASON BUSCH American Folk Art Museum

SAAD CHADLI

ELINORE CARMODY

CARA CARA

GREGORY CERIO The Magazine Antiques

COURTNEY BOOTH CHRISTENSEN Winston Artory Group

TIANXIANG CHEN

CHUBB

COURTNEY BOOTH CHRISTENSEN Winston Art Group

LARRY COHEN Van Go, Inc.

LARRY COHEN Van Go, Inc.

DEALERS COMMITTEE

DEALERS COMMITTEE

DANIEL COPEMAN Bang & Olufsen

LAURA DALEY East Side House Settlement

BRITTANY COST Editor The Winter Show Catalogue

EMILY DAVIS Air Mail

NICKY DESSOURCES Sanford L. Smith & Associates

GUILLAUME COUTHEILLAS frenchCALIFORNIA

DADA GOLDBERG

DANIEL DIAZ East Side House Settlement

MICHAEL DIAZ-GRIFFITH Design Leadership Network

SAMANTHA DESSLER

ADRIAN DIAZ

KEVIN DICKSON Condé Nast

DANIEL DIAZ East Side House Settlement

JIA JING DING

DIAGEO

ILARIA DOARDO DEDAR

MICHAEL DIAZ-GRIFFITH

JIM DRUCKMAN New York Design Center

SU ERGENELI

KEVIN DICKSON Condé Nast

LINDA GARNETT Black River Caviar

JIM DRUCKMAN New York Design Center

WENDY GOODMAN New York Magazine

SIMONE ELHART Park Avenue Armory

JONI GROSSMAN

ELIZABETH FELD Hirschl & Adler Galleries

JOHN HAMILTON Select Contracting Inc.

FAIRE LA FÊTE

YIXUAN HAN

MATTHEW FIORELLO

KEITH HARRINGTON Phoenix Lithographing Corporation

DALIA FORMAN DESIGN

HINDMAN AUCTIONS

FREEMAN’S

KATIE HOBBS Cara Cara

PETER FUSCO

KIM HULL Stephen Sills Associates

FERNANDO GARCIA Monse

LAYNE HUBBLE

LINDA GARNETT Black River Caviar

MARY ANNE HUNTING

DARREN JETT Jett Projects

ELIZABETH GOLDFEDER Reflectel

WENDY GOODMAN New York magazine

STEVEN KAMINSKY Art Newspaper

JASON GREENBERG Somerselle Media

STEPHEN KENNARD Canard Inc.

JONI GROSSMAN

DELIA KENZA Delia Kenza Interiors

JOHN HAMILTON Select Contracting Inc.

KENNETH J. KERRIGAN Exhibition Employees Union Local 829

JORDAN KLEIN American Brands Group

SARAH HARRELSON

ARIE KOPELMAN

KEITH HARRINGTON Phoenix Lithographing Corporation

VICTORIA LABOZ Third Eye

ALEXANDRA HOYLE The Social Register Association

ELIZABETH LAWRENCE Bunny Williams Interior Design

HUNTER PR

ALIX LERMAN New York Design Center

MARY ANNE HUNTING

SANDRA LIOTUS LIGHTING DESIGN

INSTITUTE OF CLASSICAL ARCHITECTURE & ART

MELISSA HELWIG LIUZZI Select Contracting Inc.

CHRISTINE DONAHUE KAVANAGH Sotheby’s

STEFANO LOCCI DEDAR

TENA KAVANAGH

MICHAEL LYNCH

CAROLINE KENNEDY

JAMIE MACFARLANE Vox Media

RYAN MAERZ Canard Inc

ALISON KENWORTHY Homeworthy

JOE MANGI

DANIEL MEEKER Daniel Meeker Lighting and Set Design

JULIE MANNION

BILL MIKULIK Sea Group Graphics

THE MARK HOTEL

MUSEUM OF CHINESE IN AMERICA

OLIVE OBEROI

MARLI NEW YORK

TROY O’BRIEN The New York Times

ELLEN WASHBURN MARTIN

OLÉ & OBRIGADO

LARK MASON

BOBBY PANARELLA

LUCINDA MAY

ALEX PAPACHRISTIDIS Alex Papachristidis Interiors

KEVIN MCCORMACK Select Contracting

HÉLÈNE PAPADOPOULOS ArtSolution

ELLEN MCGAULEY Veranda

ANTONINA PAPIS Alex Papachristidis Interiors

ROB MCGINLEY Chubb

ALEX PATERSON Sea Group Graphics

DANIEL MEEKER Daniel Meeker Lighting & Set Design

ALISON PEKNAY Third Eye

MERCEDES COSTAL

LILLIE PIERSON Michter’s

BILL MIKULIK Sea Group Graphics

KATHARINA PLATH-NOURRY Head & Hand PR

PATRICK MONAHAN Vanity Fair & Country Life

SUZY RECHTERMANN, The Gallery at 200 Lex

MY NGUYEN

THOMAS H. REMIEN

BOBBY PANARELLA

STEVEN RIGGLE Canard Inc.

HÉLÈNE PAPADOPOULOS MasterArt

REBECCA ROBERTSON Park Avenue Armory

ALEX PATERSON Sea Group Graphics

AMY SCHWEITZER Hearst Media

ELIZABETH D. SIGETY, ESQ. Fox Rothschild LLP

BEN PENTREATH

ADDISON, ALSTON & SILAS SMITH

KATHARINA PLATH-NOURRY Head & Hand PR

STEPHEN SILLS Stephen Sills Associates

NOZ NOZAWA

TOMAS SOKOL Group M Design

THOMAS H. REMIEN

JOHN SMIROLDO Incollect

REBECCA ROBERTSON Park Avenue Armory

SANDY SMITH Sanford L. Smith & Associates

DIANA RODRIGUEZ East Side House Settlement

OLIVIA SONG Olivia Song Design

ADDISON, ALSTON & SILAS SMITH

SOTHEBY’s INSTITUTE OF ART

JOHN SMIROLDO Incollect

PATRICIA SPADO Alex Papachristidis Interiors

TOMAS SOKOL Group M Design

DON SPARACIN The Magazine Antiques

ANDERSON SOMERSELLE Somerselle Media

DAVID SPROULS New York School of Interior Design

OKTAY SÖNMEZ

JENNIFER STARK Sandford L. Smith & Associates

DON SPARACIN The Magazine Antiques

ZUHEILLY TALAVERA East Side House Settlement

SPECIAL EVENTS COMMITTEE

MARGARET TAO Asia Week New York

JENNIFER STARK Sanford L. Smith & Associates

DAN TANZILLI Third Eye

JD STARON

JOHN TAYLOR Art Logistics

COURTNEY STERN

LINDSAY TAYLOR Editor The Winter Show Catalogue

JACQUELINE TERREBONNE Galerie Magazine

GEMMA SUDLOW Cadogan Tate

THE NATIONAL ARTS CLUB

JOHN TAYLOR Art Logistics

THE DECORATIVE ARTS TRUST

JACQUELINE TERREBONNE Galerie

THE SOCIAL REGISTER

THE DECORATIVE ARTS TRUST

TRACEY THOMAS Venü Magazine

SOCIAL REGISTER ASSOCIATION

SONA VARDANYAN ArtSolution

TIFFANY & CO.

JOHN VERNAZZA Local 829

TRACEY THOMAS Venü

VIP LUNCHEON COMMITTEE

JOHN VERNAZZA Exhibition Employees Union Local 829

VETTING CO-CHAIRS

VETTING CO-CHAIRS

VETTING COMMITTEES

VETTING COMMITTEES

BUNNY WILLIAMS Bunny Williams Interior Design

ALLISON WUCHER

YOUNG COLLECTORS NIGHT COMMITTEE

YOUNG COLLECTORS NIGHT CO-CHAIRS

BONNIE ZHANG

YOUNG COLLECTORS NIGHT STEERING COMMITTEE

MICHAEL ZHANG

XIAODI ZHOU

ADRIJAN ZUZA 4over4

ADRIJAN ZUZA 4over4

Index to Advertisers

EXHIBITORS

Gallery 19C ...................................................118

A La Vieille Russie, Inc. .................................119

Alexandre Gallery ........................................120

Aronson of Amsterdam ...............................121

Avery Galleries .............................................122

Michele Beiny ...............................................123

Blumka ...........................................................124

Boccara Gallery ............................................125

Jonathan Boos ..............................................126

Bowman Sculpture .......................................127

Galerie Cahn .................................................128

Ralph M. Chait Galleries, Inc. ......................129

Thomas Colville Fine Art .............................130

Jonathan Cooper .........................................131

Cove Landing ...............................................132

Daniel Crouch Rare Books ..........................133

Didier Ltd ......................................................134

Geoffrey Diner Gallery ................................135

Dolan/Maxwell .............................................136

Eguiguren Arte de Hispanoamérica .....138, 139

European Decorative Arts Company .........137

Peter Finer .............................................140, 141

Debra Force Fine Art ...................................142

French & Company ......................................143

Glass Past New York .....................................144

Galerie Gmurzynska ....................................145

Michael Goedhuis ........................................146

Bernard Goldberg Fine Arts, LLC ...............147

Graf, Kaplan & Zemaitis .......................194, 195

Richard Green ............................................. 148

Peter Harrington ...................................150, 151

Thomas Heneage Art Books .......................149

Hill-Stone .......................................................152

Hirschl & Adler Galleries .............................153

Hixenbaugh Ancient Art ..............................154

Clinton Howell Antiques .............................155

Barbara Israel Garden Antiques .................156

Kentshire .......................................................157

Kunsthandel Nikolaus Kolhammer ............158

Koopman Rare Art ........................................159

Galerie Léage ...............................................188

Les Enluminures ...........................................160

Levy Galleries ...............................................161

Lowell Libson & Jonny Yarker Ltd ..............162

MacConnal-Mason Gallery .........................163

Macklowe Gallery, Ltd. ................................166

Maison Gerard ......................................164, 165

Milord Antiquités .........................................167

Joan B Mirviss LTD .......................................168

Lillian Nassau LLC ................................170, 171

Ambrose Naumann Fine Art .......................169

Jill Newhouse Gallery ..................................172

The Old Print Shop, Inc. ...............................173

Peter Pap Rugs ..............................................174

Michael Pashby Antiques ............................175

Greg Pepin Silver .................................176, 177

Ronald Phillips Ltd .......................................178

Red Fox Fine Art ...........................................179

Ricco/Maresca ..............................................180

James Robinson, Inc. ...................................181

S. J. Shrubsole ..............................................182

Robert Simon Fine Art .................................183

Lawrence Steigrad Fine Arts .......................184

Symbolic & Chase ................................186, 187

Hollis Taggart ................................................185

Carolle Thibaut-Pomerantz .........................188

Thomsen Gallery ..........................................189

EXHIBITORS (continued)

Jeffrey Tillou Antiques .................................190

Rose Uniacke ................................................191

Wartski ...........................................................192

Robert Young Antiques ...............................193

ANTIQUES & FINE ART DEALERS

Didier Aaron .................................................197

Art Blackburn ..................................................77

Philip Colleck, Ltd. .........................................98

Finch & Co ......................................................93

The Gallery at 200 Lex ...................................53

Gill & Lagodich Antique Frames & Mirrors .....81

Incollect .................................................262, 263

Galerie Lerebours ........................................100

Jane Lombard Gallery .................................198

Loveday Antiques ..........................................97

David Neligan Antiques ................................95

Schoelkopf Gallery ........................................99

Stair ............................................................56, 57

Wolfs Gallery ..................................................94

ARCHITECTS, INTERIOR & LANDSCAPE DESIGNERS

Design Leadership Network .........................29

Eleish Van Breems Home ..............................10

Fairfax & Sammons Architecture .....................2

Ferguson & Shamamian Architects ..............21

frenchCALIFORNIA ......................................223

Gachot ............................................................55

Michael G. Imber Architects .........................63

Lichten Architects .........................................101

Lindley Martens Design ..............................200

Moran Hook Architecture .............................25

John B. Murray Architect .........................26, 27

Noz Design .....................................................38

Peter Pennoyer Architects .............................23

Ben Pentreath Ltd ...........................................39

Thomas Pheasant ...........................................64

Schafer & Company .......................................11

Steven W. Spandle Architect ........................54

Studio Valle de Valle ......................................40

Williams Lawrence ............................................4

Fernando Wong Outdoor Living Design ....24

Yellow House Architects ................................41

CULTURAL & INSTITUTIONAL PARTNERS

AADLA (Art & Antique Dealers League of America) ...............................................249

Antiques Council New York ........................216

Park Avenue Armory ....................................259

Social Register Association .........................246

INSURANCE & FINANCIAL

Bank of America .............................................16

Chubb ...............................................Back cover

Goldman Sachs ............................................236

DÉCOR

BELT Metal Art+Design Studio .....................87

Charabati Bizzarri ...........................................78

Dalia Forman Design for Mercedes Costal 211

Mark Nelson Designs ..................................213

Reflectel .........................................................229

JD Staron .........................................................52

Warp & Weft ...................................................43

LUXURY RETAIL

Bang & Olufsen ..............................................86

Black River Caviar ...........................................47

Bulgari ...............................Inside front cover, 1

Cara Cara ...........................................................3

Chanel .............................................................14

Elizabeth Locke Jewels .....................................5

Marli New York ...............................................31

MUSEUMS

Boscobel House & Gardens .........................88

Drayton Hall ..............................................70, 71

Florence Griswold Museum .........................91

Historic New England ....................................89

John Jay Homestead ...................................256

Winterthur Museum, Garden & Library .......92

PUBLICATIONS/MEDIA

Air Mail ..........................................................225

Galerie ...........................................................253

Homeworthy .................................................227

The Magazine Antiques .......................217,

Study of a Young Collector

Curated by Patrick Monahan & Helen Allen

Walker

EXHIBITORS: