Rarely are husband and wife so equally talented artists as Arthur Meltzer and Paulette Van Roekens, nor married for more than sixty years. They had a truly rich and productive life together. Meltzer’s early years put him in contact with Charles Harold Davis, who became a lifelong friend, but his real identity as an artist began in 1919 with his enrollment in the P.A.F.A. and studies with Daniel Garber, Hugh Brecken- ridge and Robert Vonnoh resulting in his becoming a fully recognized member of the now very popular New Hope School of artists. I first heard Meltzer’s name in 1982 when I discovered this supremely sensitive painting entitled The Blue Dress, at the Grand Central Gallery and saw the influence of Daniel Garber’s teachings. I don’t believe I was aware that Meltzer was still alive and working at age eighty-nine. In fact I later received a letter from Newman Saunders Gallery in Wayne, Pennsylvania, noting that they had spoken with Meltzer about this particular painting and he identified it as a P.A.F.A. painting he did in 1920 or 1921. It can accurately be said that Arthur Meltzer was the final generation of the Pennsylvania School of Impressionism. Meltzer’s skill enabled him to paint all subject matter, from the delicate surface of an egg in a still life to masterful figural work. But his true forte was the supremely ethereal winter landscape. The second Meltzer in this collection can be, in part, credited to the generosity of Robert Schwarz, a true gentleman and dealer in the best sense of the word, who sat directly behind me at a Sotheby’s auction in 2000. This quintessential example of Meltzer at his best, Milkweed and Winter spoke to me: I was deeply moved by it but was pretty sure it was out of reach. I was the last bidder, and it was my last bid; and when the dust settled, Robbie tapped me on the shoulder and said, “I backed off, I just wanted to let you know.” That’s a man of character.