The Clarion (Spring 1992)

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AMERICA'S FOLK ART MAGAZINE Museum of American Folk Art New York City SPRING 1•92

VOLUME 17/NUMEER 1

$5.00

FRANK J. MIELE — representing —

gallery

Sylvia Alberts Sandra Berry Sally Cook Richard Gachot Josephine Graham George (Tom) Grant Stephen Huneck Jean Lipman Joe Little Creek Howard Parkhill Susan Powers Ed Rath Sophy P. Regensburg (estate) Mary Shelley Brad Stephens David Stuart Maurice Sullins Valerie Young David Zeldis Malcah Zeldis Larry Zingale — also works by — Jay Adams J. R. Adkins Sandra Anderson Jacob W. Cabnet William "Ned" Cartledge Lon Chanukoff John William "Uncle Jack" Dey Charles Dieter William Fellini Dan Gayder Alonzo Jimenez Harry Lieberman Justin McCarthy Barbara Moment Jack Moment Charles Munro Janet L. Munro Mattie Lou O'Kelley Joseph Pickett Mark Sabin Jack Savitsky Jes Snyder Daniel P. Stercula Clarence Stringfield Kristin Nelson Tinker Inez Nathaniel Walker Philo Levi "Chief" Willey Don M. Yoder, Jr. — and original works in a 19th century style by — Hope Angier Gene Conley William R. Davis Karl Trotter Robert L. Trotter 1262 Madison Avenue New York, N.Y. 10128 (212) 876.5775

STEVE MILLER • AMERICAN FOLK ART •

"Exceptionally Rare Dog Weathervane" J.Howard;W.Bridgewater, Mass.;Third quarter ofthe 19th century; 40"in length;repousse copper and cast zinc.

Subject to prior sale.

17 East 96th Street, New York, New York 10128 (212) 348-5219 Hours: 2:00 P.M. to 6:00 P.M. Tues. through Sat. & By Appointment

WALTERS • BENISEK ART Ed. ANTIQUES ONE AMBER LANE • NORTHAMPTON • MASSACHUSETTS • 01060 4 1 3 ) 5 8 6 • 3 90 9 2 1 9 1 5 3 3 • 9 4 1 6 DON WALTERS • MARY BENISEK

Soldier Whirligig, Probably Pennsylvania, Early 19th Century.

Polychromed wood.

Height: 16 inches.

Exhibiting at: Wilton Historical Society Show A 7crch 14th dna L5tt, 1002 Wilton Connecticut.

The Philadelphia Antiques Show April Th through 8111 Philadelahfa, Pennsylvania.

ATE AND JOEL KOPP

MERICA*HURRAH 766 MADISON AVENUE 窶｢ NEW YORK, N.Y. 10021 窶｢ 212-535-1930

SCENES OF CHILDHOOD, APPLIQUE CRIB QUILT 37" x 35" Circa 1875 Illustrated: WRAPPED IN GLORY窶認IGURATIVE QUILTS & BED COVERS 1700-1900 by S. Fox Exhibited: LOS ANGELES COUNTY MUSEUM OF ART October 1990-January 1991

PICTORIAL TEXTILES WANTED 18th, 19th and Early 20th Century QUILTS, HOOKED OR SEWN RUGS, NAVAJO WEAVINGS Please call or write, photographs promptly returned

THE

AMES GALLERY OF AMERICAN

FOLK ART

2661 Cedar Street Berkeley, California 94708 510/845-4949 Bonnie Grossman Director • We specialize in exceptional 19th-20th Century handmade objects.

Our extensive selection of quilts, carved canes, tramp art, folk paintings and sculpture are available for viewing.

Phone for exhibit information, hours or information.

Tramp art jewel box with drawer and doll's dresser

Photo: Ben Blackwell

American Folk Art Sidney Gecker 226 West 21st Street New York, N. Y 10011

(212)929-8769 Appointment suggested

A Pair ofRare Paint Decorated Side Chairs.

Philadelphia Area. Circa 1820.

In fine, original condition. Illustrated in American Furniture - The Federal Period.

by Charles F. Montgomery, page 456.

(Subject to Prior Sale)

4 SPRING 1992 THE CLARION

KATE AND JOEL KOPP

H

ERICA*

URRAH

766 MADISON AVENUE • NEW YORK. N.Y. 10021 • 212-535-1930

PICTORIAL NAVAJO RUG 1915-1925 711/2"x 4472" Illustrated in Navajo Pictorial Weaving 1880-1950 by Campbell & Kopp

Baltimore Album Quilt. Maryland. Dated 1846.

Inscribed "James W. Oldham, Augusta, Georgia. Jeanette Primrose, Mary Ann Patterson, Mary Jane Morse, J. Andrews". 106 x 106 inches.

BLANCHE GREENSTEIN THOMAS K. WOODARD 799 Madison Avenue New York, N.Y. 10021 •(212) 988-2906•

We are always interested in purchasing exceptional quilts Photographs returned promptly. Telephone responses welcome

THE CLARION Erg. AMERICAS FOLK ART MAGAZINE Museum of Aelenan Folk An Chy New

FEATURES

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"UNCLE JACK": JOHN WILLIAM DEY

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R. Lewis Wright, Jeffrey T. Camp, Chris Gregson

NEW YORK BEAUTIES . . . ALL: THE NEW YORK QUILT PROJECT

41

COVER DETAIL Original Design;

Carl Klenicke; Corning, Steuben County, NY; c. 1900; Pieced silk, 2x 60".

1 faille, taffeta, and satin; 72/ Collection of Bessie P. Holmes.

Phyllis A. Tepper

THE LOST SKETCHBOOK OF JURGEN FREDERICK HUGE

46

David A. Schorsch

The Clarion is published four times a year by the Museum of American Folk Art, 61 West 62nd Street, NY, NY 10023, 212/977-7170. Telecopier 212/977-8134.

Annual subscription rate for members is included in membership dues. Copies are mailed to all members. Single copy $5.00. Published and copyright C 1992 by the Museum of American Folk Art, 61 West 62nd Street, NY, NY 10023.

The cover and contents of The Clarion are fully protected by copyright and may not be reproduced in any manner without written consent. Opinions expressed by contributors are not necessarily those of the Museum of American Folk Art. Unsolicited manuscripts or photographs should be accompanied by return postage.

The Clarion assumes no responsibility for the loss or damage of such materials.

Change of Address: please send both old and new addresses and allow five weeks for change. Advertising: The Clarion accepts advertisements only from advertisers whose reputation is recognized in the trade, but despite the care with which the advertising department screens photographs and texts submitted by its advertisers, it cannot guarantee the unquestionable authenticity of objects or quality of services advertised in its pages or offered for sale by its advertisers, nor can it accept responsibility for misunderstandings that may arise from the purchase or sale of objects or services advertised in its pages. The Museum is dedicated to the exhibition and interpretation of folk art and feels it is a violation of its principles to be involved in or to appear to be involved in the sale of works of art. For this reason, the Museum will not knowingly accept advertisements for The Clarion which illustrate or describe objects that have been exhibited at the Museum within one year of the placing of the advertisement.

WILL THE REAL JAMES ALEXANDER COVERLETS PLEASE STAND UP

52

Rabbit Goody

DEPARTMENTS

EDITOR'S COLUMN

10

MINIATURES

12

DIRECTOR'S LETTER

21

LIBRARY NOTES

24

BOOK REVIEWS

30

TRUSTEES/ADVISORS/DONORS

59

MUSEUM NEWS

62

MEMBERSHIP

74

INDEX TO ADVERTISERS

80

SPRING 1992 THE CLARION 7

FOLK ART MAY 15 - JUNE 6 William Massey Carl McKenzie Earnest Patton T. A. Hay Linvel Barker Ed Lambdin Charlie Kinney Noah Kinney Kentucky canemakers

—

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FOR THE FINEST v, SELECTION OF SOUTHERN FOLK. & OUTSIDER ART aI

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Clementine Hunter, "Baptism" acrylic on board 17 1/2" x23

LEON LOARD GALLERY 2781 Zelda Road • Montgomery, AL 36106 (205) 270-9010 • 1 (800) 345-0538 in Alabama 1 (800) 235-6273 in USA B.F. PERKINS • BAMMA QUATES • DACA RA a SARAH RAKES • JUANITA ROGERS • BERNICE SIMS • MARY T. SMITH • JIMMIE LEE SUDDUTH • ANNIE TOLLIVER

8 SPRING 1992 THE CLARION

' 1

I • JOHNNY TOLLIVER • MOSE TOLLIVER • INEZ NATHANIEL WALKER • FRED WEBSTER • AND OTHERS

BUNDRICK • A.E. BARNES • LEO BRYANT • MINNIE EVANS • REV. HOWARD FINSTER • LONNIE HOLLEY • CLEMENTINE HUNTER • JAMES HAROLD JENNINGS • M.C."50" JONES

I .

CALVIN "RED DOG" LIVINGSTON tWOODIE LONG • ANNIE LUCAS • CHARLIE LUCAS •CHRIS HUNGER

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Anton Gallery 2108 R Street, NW Washington, DC 20008 202.328.0828

Ike's Choice or HexagonalLog Cabin Quilt. Alabama,91 x 78 inches, 1987-1988, hand pieced and hand quilted. A jewel-like brilliance is created by the 6425 individual pieces of the quilt, while the black centers of the hexagons and the black binding unify the composition. Matched pair available.

Robert Cargo

FOLK ART GALLERY Southern, Folk, and African-American Quilts Antiques•Folk Art Open weekends only and by appointment

2314 Sixth Street, downtown Tuscaloosa, Alabama 35401 Saturday 10:00-5:00, Sunday 2:00-5:00

205/758-8884 Home phone

EDITOR'S

COLUMN

ROSEMARY GABRIEL

uilts have come out of closets and trunks to be claimed by New York's history; a lost sketchbook of a nineteenth-century painter has been found; we have been invited, perhaps even provoked into taking another look at some very intriguing coverlets which may have been wrongly identified; the work of an enigmatic contemporary folk painter is suddenly made clearer; the Museum has named a new director, and The Clarion has put on a new face. Spring is, after all, the time for renewal, rediscovery and reclaimation. Our Spring issue reflects the Museum's new vigor and we hope our enthusiasm is contagious!

Our cover quilt, which is a beauty, was made by Carl Klenicke, a professional tailor in Corning, New York around 1900 as a wedding gift for his daughter. It is only one of over 6,000 quilts that have been documented and archived by The New York State Quilt Project. "New York Beauties. . .

All: The New York Quilt Project" written by Phyllis Tepper tells us how the Project developed and gives us a preview of some of the wonderful quilts that will be on view in the Museum's upcoming exhibition, "New York Beauties: Quilts from the Empire State."

We are delighted to be the first to publish six of twelve pencil drawings from the sketchbook of Jurgen Frederick Huge. The sketchbook, thought to have been lost, was rediscovered in August 1991. In his concise essay, "The Lost Sketchbook of Jurgan Frederick Huge," David A. Schorsch gives us a brief background of the artist and compares some of the landscape sketches to the work of other nineteenth-century folk painters.

Rabbit Goody, Director of the Cooperstown Textile School, questions the attribution of the "agricultural quote" coverlets to James Alexander. In her essay, "Will The Real James Alexander Coverlets Please Stand Up," she documents her research and gives us a helpful "check list" to better distinguish between Alexander's coverlets and the agricultural coverlets.

A collaborative effort by Dr. R. Lewis Wright, Jeffrey T. Camp and Chris Gregson brings us an in-depth look at the life and work of "Uncle Jack" Dey. Insights into the man and his work have been brought to light in this piece. In addition to new biographical information, the authors offer interpretations of Uncle Jack's images which cover a myriad of emotions often expressed by the absurd. The text is also delightfully peppered with the painter's annotations of his own work.

As excited as I am about this issue, you might well wonder why, after such lavish use of color in the Fall and Winter Clarions, our feature essays are relegated to black and white. It is not, I assure you, because they are less important to us, but because the editorial feature section is not budgeted for color in any issue, unless we have a specific grant to fund it. It costs about $1,200 per story or roughly $4,000 per issue to add color. The obvious benefit of color would be appreciated by us all and we would gratefully acknowledge any friend who would agree to underwrite these pages.

I hope you enjoy this issue as much as I did putting it together and I look forward to joining you again in June.

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/-eeaA7v-'Aze/ 10 SPRING 1992 THE CLARION

THE CLARION

Rosemary Gabriel, Editor and Publisher Johnson & Simpson, Graphic Designers Mell Cohen, Publications Associate Marilyn Brechner, Advertising Manager Hildegard 0. Vetter, Production Manager Craftsmen Litho, Printers Cosmos Communications, Inc., Typesetters MUSEUM OF AMERICAN FOLK ART

Dr. Robert Bishop, Director 1977-1991 Administration

Gerard C. Wertkin, Director Karen S. Schuster, Director of Museum Operations Luanne Cantor, Controller Maryann Warakomski, Assistant Controller Beverly McCarthy, Administrative Assistant Mary Ziegler, Administrative Assistant Sylvia Sinckler, Shop Accountant Brent Erdy, Reception Luis Fernandez, Manager, Mailroom and Maintenance Robert C. Callazo, Mailroom and Maintenance Collections & Exhibitions

Stacy C. Hollander, Curator of Collections/Lore Kann Research Fellow Alice J. Hoffman, Director of Exhibitions Ann-Marie Reilly, Registrar Catherine Fukushima, Director of the Eva and Morris Feld Gallery/Director ofPublic Programs Lucille Stiger, Assistant Registrar Regina A. Weichert, Assistant Gallery Diredon Education Coordinator Elizabeth V. Warren, Consulting Curator Mary Black, Consulting Curator Howard Lamer, Consulting Exhibition Designer Departments

Beth Bergin, Membership Director Marie S. DiManno, Director of Museum Shops Susan Flamm, Public Relations Director Edith C. Wise, Director of Library Services Janey Fire, Photographic Services Chris Cappiello, Membership Associate Catherine Dunworth, Senior Development Associate Programs Barbara W. Cate, Director, Folk Art Institute

Lee Kogan, Assistant Director, Folk Art institute/Senior Research Fellow Phyllis A. Tepper, Registrar, Folk Art institute/Director, New York State Quilt Project Dr. Marilyn Karp, Director, New York University Master's and Ph.D. Program in Folk Art Studies Dr. Judith Reiter Weissman, Coordinator, New York University Program Cathy Rasmussen, Director ofSpecial Projects Eugene P. Sheehy, Museum Bibliographer Katie Cochran Sobel, Coordinator, Docent Programs Howard P. Fertig, Chairman, Friends Committee Museum Shop Staff Managers: Dorothy Gargiulo, Caroline Hohenrath, Rita Pollitt; Mail Order: Vivian Adams, Coordinator: Diana Robertson; Volunteers: Marie Anderson, Laura Aswad, Judy Baker, Olive Bates, Jennifer Bigelow, Frances Burton, Evelyn Chugerman, Rick Conant, Sarah Cooper, Ann Coppinger, Sheila Coppinger, Lisa DeRensis, Sally Elfant, Annette Ellis, Tricia Ertman, Robert Fuller, Millie Gladstone, Elli Gordon, Inge Graff, Cyndi Gruber, Edith Gusoff, Carol Hauser, Lynne Hellman, Elizabeth Howe, Bonnie Hunt, Eileen Jear, Nan Keenan, Annette Levande, Arleen Luden, Priscilla Machold, Katie McAuliffe, Laura McCormick, Kathleen McNamara, Nancy Mayer, Theresa Naglack, Pat Pancer, Marie Peluso, Mary Rix, Julie Robinson, Frances Rojack, Phyllis Selnick, Lorraine Seubert, Myra Shaskan, Denise Siracusa, Lola Silvergleid, Susan Singer, Joan Sorich, Blair Sorrel, Maxine Spiegel, Doris Stack-Green, Sonya Stem, Mary Wamsley, Marian Whitley, Doris Wolfson.

Museum of American Folk Art Book and Gift Shops 62 West 50th Street, New York, NY 10012 212/247-5611 Two Lincoln Square (Columbus Avenue between 65th and 66th) New York, NY 10023 212/496-2966

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William Hawkins (1895-1990). Wrigley Building, 1982. Enamel onfound board, 48/ 1 2"H X 631/21V

American Self-Taught and Outsider Art William Hawkins Bill Traylor

Thornton Dial, Sr. David Butler

William Edmondson Sam Doyle

Gallery hours are Tuesday-Saturday, 11 am -6 pm 105 HUDSON STREET/NEW YORK, N.Y 10013/212.219.2756

Eddie Arning Purvis Young

MINIATURES

THE ITINERANT ARTIST; Charles Bird King; Ca. 1850; Oil on canvas. Courtesy New York State Historical Association, Cooperstown, NY.

Meet Your Neighbors Portraits from the collection of Old Sturbridge Village will be brought together with portraits on loan for the exhibit, Meet Your Neighbors: New England Portraits, Painters, and Society, 1790-1850. Opening at Old Sturbridge Village in Sturbridge, Massachusetts on May 2, 1992, the exhibition will run through January 3, 1993. As the title suggests, the exhibit will introduce visitors to their historic neighbors; specifically, the people who would have lived in a rural nineteenth-century community.

The exhibition will be organized into the following three thematic sections: "The Age of Mass Portraiture" which tells the story of the portrait painters, some of whom were itinerant artists. "Taking a Likeness" will show what it was like to have one's portrait painted, and "A Portrait of Rural Society" looks

12 SPRING 1992 THE CLARION

specifically at several aspiring rural families who commissioned portraits and hung them in their parlors.

Artists represented include: William Fisk Ainsworth, Francis Alexander, Ruth Henshaw Bascom, Zedekiah Belknap, David Bowdoin, Horace Bundy, Erastus Salisbury Field, Aaron Dean Fletcher, Augustus Fuller, Caroline Negus, Robert Peckham, William Matthew Prior, Royall Brewster Smith, Joseph Whiting Stock, Ezra Woolson.

In conjunction with "Meet Your Neighbors" there will be a scholarly symposium, "Art, Popular Culture, and Society in Rural New England, 1790-1850,"held on June 6, 1992. Registration is required for the symposium, for which there is a fee. For additional information call 508/347-3362.

VSAG Folk Art Exhibit Five hundred entusiastic guests attended the opening of Georgia Folk: Very Special Arts Georgia in Atlanta on November 7, 1991. This exhibition brought together 15 richly gifted artists whose work bears the qualitites of originality of vision and freshness of expression. Since 1977, Very Special Arts Georgia has provided opportunities for children and adults with disabilities to showcase their achievements in the arts. Our Museum Director, Gerard C. Werkin, curated this very special show. Atlanta public relations professional, Randy Siegel, chaired the event and Novus, Inc. hosted the exhibition. The generosity of the guests, and the high quality of the work displayed generated more than $3000 for Very Special Arts Georgia.

T. Marshall Hahn, Jr., Chairman and Chief Executive Officer of Georgia Pacific Corporation, Atlanta, with curator Gerard C. Wertkin, Director of the Museum of American Folk Art, enjoying "Very Special Arts Georgia."

Call For Southern Folk Art

UNTITLED; S.L. Jones; Wood, paint and glass; 16 x 20 x 6. Coutesy Haggerty Museum of Art.

Pennsylvania Folk Artist Rev. Richard Cooper Featured The Best from the Balsley Collection The first public showing of approximately 90 works by contemporary American folk artists selected from the John and Diane Balsley Collection will open at the Haggerty Museum of Art, Marquette University, Milwaukee, Wisconsin, April 15, 1992.

Roger Manley, author and filmmaker on folk art will give the opening lecture at 6 p.m., April 15, 1992, in the Helfaer Theater on the East Mall at Marquette University.

Gravestone Studies Conference The Association for Gravestone Studies will hold its fifteenth annual conference at Union College in Schenectady, New York, on June 25 through 28, 1992. The conference program is designed to bring together those interested in historic gravestones. Scholarly lectures, guided cemetery tours, workshops and exhibits will be offered.

Newcomers to the Association are encouraged to participate in a special introductory session, held to orient those new to gravestone studies and AGS. For more information Tel. 508/831-7753.

Pre-registration is required.

Manley is author of Signs and Wonders, a book on "outsider" art. A public reception will follow the lecture in the Haggerty Museum galleries.

The exhibit will be accompanied by an illustrated catalogue with an introduction

by Curtis Carter, director of the Haggerty Museum and exhibition curator, and essays

by Manley and Didi Barrett, former editor of The Clarion.

For more information call 414/288-7290.

Book of Revelations; Sister Gertrude Morgan; Ca. 1965-75; Acrylic, pencil and ink on vinyl plastic.

Courtesy the New Orleans Museum of Art.

The Southern Alleghenies Museum of Art in Loretto, Pennsylvania gave a preview reception and dinner, December 6, 1991 for three of its featured folk artists'. Jory Christian Albright, Rev. Richard Cooper, and Norman "Butch" Quinn in the exhibition Three Western Pennsylvania Folk Artists. The exhibit which consists of 109 paintings and 10 pieces of sculpture, remains on display through March 15, 1992.

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The New Orleans Museum of Art(NOMA)is organizing an exhibition entitled Passionate Visons of the American South: Self Taught Artistsfrom 1940 to the Present, scheduled to open in spring 1994. The highest quality works of contemporary self-taught artists raised or working in the South will be selected on aesthetic merit. NOMA is seeking: Slides of exceptional works for possible inclusion in the exhibition, Videotapes of Southern artists for production of a videotape in conjunction with the exhibition, and Black and white or color photographs of artists represented in the exhibition, for publication in the upcoming catalog.

Slides, photographs and video materials should be mailed to or discussed with the project director: Alice Rae Yelen, New Orleans Museum of Art, P.O. Box 19123, New Orleans, LA, 70179-0123. Tel. 504/488-2631.

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SPRING 1992 THE CLARION 13

MINIATURES

Art From The Heart.

Expanded Center Reopens at Colonial Williamsburg The expanded and refurbished Abby Aldrich Rockefeller Folk Art Center, in Williamsburg Virgina, reopens to the public May 1, 1992. The museum has been closed for renovation since 1989. The $8 million project includes a new building, designed by architect Kevin Roche, which triples the available exhibition space for the center's 3,000 folk art objects. The center is also

home to one of America's most treasured folk art portraits, Baby In Red Chair. The collection offers works by many well-known folk artists, including several of Edward Hicks' Peaceable Kingdoms, 15 protraits spanning the career of Ammi Phillips, and multiple works by Erastus Salisbury Field, Joseph Hidley, Lewis Miller, Charles Peale Polk and Wilhelm Schimmel.

The Abby Aldrich Rockefeller Folk Art Center with a 19,000 square foot addition.

Courtesy Abby Aldrich Rockefeller Folk Art Center Williamsburg, VA.

Sam Doyle Historian We have an excellent collection of Sam Doyle's work including "Unk Sam", a self-portrait which appears as the frontispiece in the Art Random book on Doyle.

Correction

Call for more information.

(803) 785-2318 Two Locations: 220 Cordillo Parkway Hilton Head, SC 29928 Highway 21 St. Helena's Island, SC

TARETRIDA!IAN The South's Premier Folk Art Gallery

14 SPRING 1992 THE CLARION

Louanne LaRoche, Director

BABY IN RED CHAIR; Unidentified artist; Possibly Pennsylvania; Ca. 1810-1830; Oil on canvas. Courtesy Abby Aldrich Rockefeller Folk Art Center Williamsburg, VA.

Because of an oversight in the Winter 1991-1992 (Vol. 16, No. 4) issue of The Clarion, we failed to mention that Frank J. Miele of the Frank J. Miele Gallery was instrumental in the negotiations which led to the acquistion of the painting, "Homage To Hank Greenberg"

by Malcah Zeldis, for the New York State Historical Association. We apologize for this omission.

John Landry

(1912 - 1987)

Works by Wood Turners from Five Continents Los Angeles—The Craft and Folk Art Museum is pleased to present International LatheTurned Objects: Challenge IV a juried exhibition of 80 objects by 64 artists from seven countries on view through May 31, 1992. The display represents the diversity that exists in the turning field today; functional, decorative, and sculptural objects have been turned from wood, alabaster, metal and acrylic using traditional and contemporary techniques and treatments.

The Craft & Folk Art Museum is located on the fourth floor in the May Company on the corner of Wilshire and Fairfax. For more information, the public may call 213/937-5544.

NEST GOBLET; Tom Rauschke; Oak, hickory wood. Courtesy the Craft and Folk Art Museum.

Mennonite immigrant Furniture The Kauffman Museum in North Newton, Kansas, presents through October 18, 1992, the exhibition Mennonite Furniture: A Migrant Tradition, 17661910. When 18,000 Mennonites immigrated from Polish Volhynia, South Russia, and from West Prussia to the North American plains in the 1870s, they brought little more than their large dowry chests, serving as travel trunks. Their skilled craftsmen then built a distinct body of functional furniture forms for their new homes: beds, benches, cradles,

cabinets, wardrobes and tables with both plain and fancy painted finishes. Mennonite Furniture: A Migrant Tradition is the first exhibition to explore and identify this distinct body of furniture crafted by Mennonites who immigrated to the prairies of North America.

For information call Tel. 316283-1612.

Mardi Gras Bead Floats Mixed Media 0.1970 16" x 13"x 10"

CONTEMPORARY AMERICAN OUTSIDER/FOLK ART Representing: David Butler Rev. Howard Finster Clementine Hunter O.W."Poppy" Kitchens Rev. McKendree Long Sr. Gertrude Morgan Jimmie Lee Sudduth Willie White and many other important Outsider artists

GASPER! GALLERY 320 JULIA STREET • NEW ORLEANS,LA 70130 (504)524-9373

SPRING 1992 THE CLARION 15

MINIATURES

LYNNE INGRAM SOUTHERN FOLK ART

John "Jack" Savitsky 1910-1991

Sultan Rogers, Carvings, 12", 12 112" and 18 112" tall

We specialize in contemporary art by the self-taught southern hand.

Call for an appointment, photos or information.

174 Rick Road • Milford, NJ 08848 908-996-4786

16 SPRING 1992 THE CLARION

John "Jack" Savitsky, 81, of Lansford, Pennsylvania, died on December 4, 1991, in the Coaldale Hospital after suffering a massive heart attack following surgery He was one of America's foremost twentiethcentury self-taught painters.

A former coal miner who suffered from black lung disease, Savitsky painted the world he knew in a cartoon-like, highly stylized personal manner. His use of bright colors was often in sharp contrast to the drab coal miner's life he experienced.

Savitsky was also inspired by religious themes such as Adam and Eve and the peaceable kingdom. His work closely resembles European naive painting.

Sterling Strauser, artist and collector from East Stroudsberg, Pennsylvania, discovered and encouraged Savitsky. Strauser states, "Savitsky's work is the purest example of folk art that I have encountered. Despite the hard knocks he experienced throughout his life, Savitsky was able to continue his compulsion to create."

Paintings and drawings by Savitsky are in the collections of the Museum of American Folk Art and the National Museum of American Art. The artist is

represented in many publications, including The Museum of American Folk Art Encyclopedia of Twentieth-Century American Folk Art and Artists by Chuck and Jan Rosenak, TwentiethCentury American Folk Art and Artists by Herbert W. Hemphill, Jr. and Julia Weissman and American Folk Art of the Twentieth Century by Jay Johnson and William C. Ketchum, Jr. Survivors include his widow, Mae "Mamie"(Spack) Savitsky, a son, Jack Savitt and two brothers, Joseph and Edward.

Jankiel ("Jack") Zwirz 1903-1991 Jankiel ("Jack") Zwirz, selftaught painter, died on October 16, 1991, in the B'nai Brith Nursing Home in Memphis, Tennessee.

The artist was best known for his divergent subjects of futuristic space paintings, pictures of Jewish life in prewar Europe and Nazi concentration camp scenes. He personally experienced the Nazi horror during World War II. Zwirz's heroic activities in the Resistance were recognized by the King of Belgium and he was awarded the Order of Leopold IL

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In 1950, Zwirz came to America and settled in Memphis, where he owned and operated the Parkview Shoe Repair Shop.

He began to paint when he was in his sixties. He stopped painting in 1975 after the death of his wife, Rosa.

His work was exhibited in "Enisled Vision: The Southern Non-Traditional Folk Artist," at the Fine Arts Museum of the South in Mobile, Alabama. He is included in the Museum of American Folk Art Encyclopedia of Twentieth-Centwy American Folk Art and Artists by Chuck and Jan Rosenak. He is survived by a son, Georges.

WILLIAM ARNETT

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property, to fashion his compelling figures and animals.

He assembled the wood with nails and often spray painted the works using traditional Kongo colors: red, black and white.

His work was exhibited in "Outside the Main Stream: Folk Art in Our Time," at the High Museum of Art, Atlanta, Georgia, in 1988 and "Another Face of the Diamond," at the INTAR Latin American Gallery, New York, in 1989. Griffin is included in the Museum of American Folk Art Encyclopedia of Twentieth-Century American Folk Art and Artists by Chuck and Jan Rosenalc.

He is survived by his wife, Loretta, five daughters and one son.

Ben Mildwoff 1907-1991

Ralph Griffin 1925-1992 Ralph Griffin, noted root/branch sculptor, died of cancer on January 1, 1992, at home in Girard, Georgia.

The artist began making sculpture assemblages in 1980.

After he retired in 1989 from the Murray Biscuit Company, where he was employed as a janitor for twenty-three years, he devoted himself full time to his art.

Griffin used driftwood, both logs and roots, that he found along Poplar Creek, a small stream which crossed his

Ben Mildwoff, well-known art collector of Manhattan and South Cushing, Maine, died December 13, 1991, after suffering a stroke last July.

Mildwoff had a wide range of collecting interests in contemporary art, decorative arts and folk art. A friend of the Museum of American Folk Art, Mildwoff encouraged his sister-in-law, the sculptor Louise Nevelson, to donate stitched samplers from her collection to the Museum. To promote the public's knowledge of folk art, he generously lent many objects from his collection to numerous Museum exhibitions.

Survivors include a son, Steven, a daughter, Susan Lieve, two granddaughters, a great granddaughter, two brothers and a sister.

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rare double-figure Carving retaining its original painted surface. This hauntingly appealing sculpture is inscribed on the front"Eva an Phillip Vogelvaid/ 1876" and on the back "C.W. Huber/Maker."

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Pennsylvania, 1876. 11:103 SUBJECT TO PRIOR SALE.

COLWILL•McGEHEE ANTIQUE DECORATIVE AND FINE ARTS INTERIORS • CONSULTING • APPRAISALS

1106 N. Charles Street • Baltimore, Maryland 21201 Telephone (410)547-8607, Fax (410)752-8418

Obituaries by Lee Kogan

SPRING 1992 THE CLARION 17

MAIN STREET ANTIQUES and ART Colleen and Louis Picek Folk Art and Country Americana

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18 SPRING 1992 THE CLARION

A folk carved and animated elephant pull toy.

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ARTIST CHUCKIE CHUCK CROSBY

BILL TRAYLOR, Black Panther, 1939-1940. Tempra on cardboard, 14 1 /

CLEMENTINE HUNTER JAMES HAROLD JENNINGS M. C. "SC" JONES CALVIN LIVINGSTON WOODIE LONG ANNIE LUCAS CHARLIE LUCAS REV. B. F. PERKINS SARAH RAKES JUANITA ROGERS BERNICE SIMS JIMMIE LEE SUDDUTH ANNIE TOLLIVER CHARLES TOLLIVER MOSE TOLLIVER BILL TRAYLOR

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Tramp Art Crucifix 22" h, circa 1900 Carved bust of Afro-American man,dated 1937 All original doll house, circa 1920 Princess Feather quilt, circa 1860

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SPRING 1992 THE CLARION IS

Catalogues Devoted To Uniquely American Artistry Sumptuously illustrated and scholarly researched by David A. Schorsch, Incorporated.

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Toprow,fromleft: American Baskets: A Folk Art Tradition($24.); Winthrop Chandler and His Contemporaries(sold out);The Barry Cohen Collection ($32. softcover, $100. limited edition hardcover); The Photographs of William F. Winter, Jr.($39.50).

Bottom row,from left: SHAKER: Notable Examples from the Collection of the late Edward Deming Andrews and Faith Andrews($15.); Living with Antiques, A Collection of American Folk Art in the Midwest by David A.Schorsch [reprinted from The Magazine Antiques, October, 1990]($5.); The Edwards Ledger Drawings: Folk Art by Arapaho Warriors ($45. softcover, $100. limited edition hardcover); Excellence in American Design,Current Offeringsfrom the Collection ofDavid A.Schorsch,Inc.($45.); Windsor Chairs, 1760-1830($25).

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GERARD C. WERTKIN

eriods of major transition often have a bittersweet character to them. On the one hand a quality of adventure seems to attend change. Renewal is in the air and the happy anticipation of beginning again, a rekindled, springlike spirit suggests that all things are possible. On the other hand, a sense of loss pervades everything; the troubling certainty that our good-byes are final and that a time we valued is at an end. It was with sentiments as mixed as these, that I followed Trustee and former Board President Barbara Johnson through the long corridors from my office to the Museum's principal conference room one morning last December.

Moments before, Barbara had come to summon me to a meeting of the Museum's Board of Trustees. To my delight, I would soon learn that I had been appointed to serve the Museum as Director, to carry on the traditions of such distinguished predecessors as Mary Childs Black, Bruce Johnson and my respected colleague and dear friend, Robert Bishop.

Having been the Museum's Assistant Director for eleven years before serving briefly as Associate and then as Acting Director, I have had the privilege of coming to know many of you very well.

For your loyalty and support during this time of change, you have my heartfelt gratitude. Your generous letters of congratulations and good wishes have been warmly encouraging and deeply appreciated.

I hope to welcome you often to the Museum this year and invite you to write to me with your comments and suggestions as we plan for the future.

In January, the Museum's Trustees and professional staff began a six-month period of introspective reflection and self-study, which is to result in a master plan for the institution, following a Board/staff retreat next June. The programming preferences and critical observations of the Museum's membership will be vital to the successful completion of this important process. I intend to keep you informed of our progress through the pages of The Clarion and to use this column as a means of regular communication with members and friends of the Museum. As I observed during a recent interview with Laura Beach for Antiques and The Arts Weekly, "[W]e have some exciting things to say . . . [and] we're striking out in new directions." For now, however, I want to recall some of the events of the past few months, as I promised I would do in my last "Letter from the Director." It was a time of remembering and coming together.

The morning of October 17, 1991 was appropriately quiet and gray; even a light drizzle fell from the skies above Manhattan. By nine o'clock, more than seven hundred of Robert Bishop's friends and associates had taken seats in Alice Tully Hall at the Lincoln Center for the Performing Arts for a program in his memory. Alice Tully Hall is located almost directly across the way from the Museum's Eva and Morris Feld Galleries, the exhibition space in

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which Bob took so much pride. It was a fitting place to celebrate his life's achievements. The setting was fitting, as well: the stage was unadorned except for a lovely linsey-woolsey quilt (c.1815), with its striking, almost symbolic, central star, that had been given to the Museum in 1986 by Trustee Cyril I. Nelson in Bob's honor.

It was my privilege to act as master of ceremonies of the event. Ralph Esmerian, President of the Museum's Board of Trustees, and Cy Nelson joined me on stage.

Cy Nelson, who in addition to being a Museum Trustee was Bob's editor at Dutton for many years, spoke briefly but affectingly of his pride in having been helpful to Bob in several important projects and his gratitude for the "joy, beauty and meaning" that Bob brought to his life and the lives of many others. He was followed

by Ralph Esmerian who characterized Bob as a man of action, recalling his pioneering work in bringing the world of quilt makers into the Museum family through the Great American Quilt Festival and the Quilt Connection membership. He observed that "what made Bob Bishop very different from most people was his ability to translate dreams into action. He did this with the Museum's Graduate Program in Folk Art Studies at New York University, The Clarion, the Fall Antiques Show and on and on. . . . When Bob spoke to us it was as if we were the Metropolitan Museum of Art. . . . He had the gift of audacity . . . and this is something the Museum must retain, every day, into its future."

Six friends and associates of the Museum and of Robert Bishop presented their reminiscenses: Nancy Druckman of Sotheby's; Trustee Judith A. Jedlicka, President of the Business Committee for the Arts; Trustee and former Museum President Barbara Johnson; Paul Martinson, a Trustee of the Joseph Martinson Memorial Trust; Sanford L. Smith, President of Sanford L. Smith and Associates, Ltd., producers of the Fall Antiques Show at the Pier; and Dr. Judith Reiter Weissman, Associate Professor of Art at New York University and coordinator of the Museum's Graduate Folk Art Studies at that institution. Each speaker brought individual perspectives and moving recollections of Bob Bishop which helped underscore the scope of his interests and the many aspects of his personality. The effect was moving, but there were moments of laughter, too. I should like to express my gratitude to each participant in the Memorial Program. For all his accomplishments, Bob remained a modest man. He would have been overwhelmed by the outpouring of affection.

The Memorial Program was enhanced by the presence of a choir of eighteen gifted muscians and their accompanist. Music by Bach, Mozart and Brahms was presented gloriously. I should like to express my gratitude and the thanks of the entire Museum family to these accomplished artists: Susan Altabet, Russell Ashley, Betty Baisch, Jennifer Brown, Robert Carpenter, Richard Christopher, Donald Collup, Mary Gayle Dowson, Brenda Fairaday, Jay Hilborn,

SPRING 1992 THE CLARION 21

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Renee Jarvis, Fay Kittelson, Mukund Marathe, Dan Radtke, Gene Rickard, Nancy Stitt, Trudy Wallace, and David Graf, conductor and piano accompanist.

Fay Eng and Tony Yee designed the lovely program that was distributed at the memorial service as a gift to the Museum in Bob's memory and Howard Drubner of Craftsmen Litho generously arranged for its printing. I am deeply grateful to these loyal friends of the Museum.

This is an appropriate place to record with deep appreciation the generosity of Dr. Henry Niemann, Bob's longtime friend and executor. As a result of Dr. Niemann's commitment to the Museum, Bob's collection of American folk art was placed fully at its disposal. The Museum's Accessions Committee met with Henry in December 1991 and made arrangements for the acceptance of the collection. The whole Museum family owes Henry Niemann a heartfelt debt of gratitude. Other significant additions to the permanent collection in Bob Bishop's memory also were accepted before year end, including a highly important pair of portraits by Ammi Phillips, the gift of Joan and Victor Johnson, and a significant group of paintings and sculpture, the gift of Elias Getz. A detailed report on these and other accessions is to be included in a future issue of The Clarion.

In memory of Robert Bishop and in an effort to support the programs at the Museum about which he cared most, the Museum announced the establishment of the Robert Bishop Memorial Fund last October. The Fund intended to provide an underpinning to the Museum's programming in exhibitions, education and the Museum Library. I am delighted to record that since the announcement of the Fund was made, a total of $135,000 has been received including an especially generous leadership gift of $20,000 from Eva Feld. In this connection, the South Gallery of the Museum has been named in Bob's honor. A plaque will be permanently displayed there recording the names of all donors of $500 and more. The names of donors of any amount will be recorded in a book of honor to be kept permanently at the Gallery. I should like to thank warmly all members and friends who have rallied so generously to the Museum's cause. Following is a list of donors to the Robert Bishop Memorial Fund through December 1991. Additions to the list will be included in the Summer 1992 issue of The Clarion.

Robert Bishop Memorial Fund Donors

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22 SPRING 1992 THE CLARION

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$5,000 and above David L. Davies Ralph 0. Esmerian Mrs. Morris Feld Jacqueline Fowler Evelyn Frank in honor of Myra and George E Shaskan, Jr. Jean and Howard Lipman Joseph B. Martinson Memorial Fund Howard M. Graff Mr. and Mrs. Paul Martinson

Mr. and Mrs. Leo Rabkin Mr. and Mrs. Herbert M. Singer Mrs. Armand R. Simone Jack Weeden 01,000-4,999 Mr. and Mrs. Edwin Braman Mr. and Mrs. Milton Brechner

0••••••ATAY•vAlv••••••••4 A A AAA A A•••••A•1 AAA 14 illiilkli•AAA•AAAk Mr. and Mrs. Tracy R. Cate Country Home Magazine Mr. and Mrs. Daniel Cowin Mr. and Mrs. Frederick M. Danziger Jessie Lie Farber Mr. and Mrs. Burton M. Fendelman Friends Committee of the Museum of American Folk Art The Howard Gilman Foundation Howard M. Graff Richard H. Haas Taiji Harada Mr. and Mrs. Theodore L. Kesselman Ralph Lauren Mrs. Myron L. Mayer Cyril I. Nelson Philip Morris Companies, Inc. Polo Ralph Lauren Corporation Quilt House YAMA Roger L. Schlaifer Samuel Schwartz Mr. and Mrs. George E Shaskan, Jr. Takashimaya Co., Ltd. Mr. and Mrs. Irwin H. Warren Gerard C. Wertkin $500-999 Alconda-Owsley Foundation Mama Anderson Antiques and the Arts Weekly Asahi Shimbun America, Inc. Lois S. Avigad Dr. and Mrs. George K. Baer Tetsuya Chikushi Country Living Magazine Gary Davenport Mr. and Mrs. Alvin Deutsch Charlotte Dinger The Echo Design Group, Inc. Mr. and Mrs. Theodore E. Eisenstat The Gallerie St. Etienne, Inc. Deborah Harding Mr. and Mrs. George Henry Historical Society of Early American Decoration, Inc. Mr. and Mrs. John C. Hood Roberta Mashuta Horton Mr. and Mrs. Theodore J. Israel, Jr. A. Everette James, Jr. Judith A. Jedlicka Mr. and Mrs. John Kalymnios Wendy Lavitt Nadine Netter Levy Mimi S. Livingston Hermine L. Mariaux Hermine Mariaux, Inc.

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Steve Miller PaineWebber, Incorporated Mary N. Shands Francisco E Sierra Schlumberger Foundation, Inc. Kay Sloman Mr. and Mrs. Scudder Smith Kathryn Steinberg Mr. and Mrs. Robert C. Stempel Mr. and Mrs. Richard T. Taylor Nancy Thoman Anne D. Utescher G. Marc Whitehead

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Under $500 James Abbe, Jr. Abbeville Press, Inc. Mr. and Mrs. Bernard Altshuler Marie E. Anderson Darlene Ross Anger Darwin M. Bahm, Inc. Judith A. Baker Barbara W Barber Margaret Walsh Barton R. Sylvia Barton Mr. and Mrs. David L. Bauer Ben & Jerry's Homemade Dr. and Mrs. Irwin R. Berman Julie M. Bernson Mr. and Mrs. Robert S. Bernson Mrs. George P. Bissell, Jr. Mary C. Black Jane A. Bolster Mr. and Mrs. Robert E. Booth, Jr. Hilda Borcherding Kathleen Brady Lois P. Broder Sheila Brog Mr. and Mrs. Donald P. Brown Meredith M. Brown Edna Cadillac Mr. and Mrs. David B. Carmel Katherine S. Carneal W. Bliss Carnochan Reverand and Mrs. Richard P. Cooper Mr. and Mrs. Ronald E. Cooper Country Heritage, Inc. Jane D. Crary D'Agostino Supermarkets, Inc. Didi Deglin Antiques Mr. and Mrs. Donald DeWitt Mr. and Mrs. Albert E Dock Dover Publications, Inc. Mr. and Mrs. James A. Edmonds, Jr. Lorraine Engelhardt

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Giant Judas figure. Painted papier mache. Mexico

ANNUAL SALE Thursday, March 5 — Saturday March 21

THE DIVINE IMAGE Religious Folk Art in Latin America and

RECUERDOS Photographs of Popular Cemetary Art

by Pamela Scheinman Thursday, March 26 — Saturday, May 2 NEW LOCATION: 560 BROADWAY • NEW YORK, NY 10012 •(212)431-0144 ..

SPRING 1992 THE CLARION 23

LETTER

FROM

THE

DIRECTOR

LIBRARY

NOTES

WILLIAM C. KETCHUM, JR.

Ellen F. Ente Meryle Evans Marjorie E. Eyrick Mr. and Mrs. J. G. Fenimore Jack W. Field Minnie Finkelstein Nancy Schaffer Fischer Forager House Collection Judith Fosshage Interiors, Inc. Mr. and Mrs. Herbert B. Fried Estelle E. Friedman Dr. Alvin E. Friedman-Kien Dolores C. Furnari Gallery Passport, Ltd. Ivan S. Gilbert Bernard Gimelson Bruce Gimelson Mr. aud Mrs. William L. Gladstone Merle H. Glick Mr. and Mrs. Tennyson W. Grebenar Mr. and Mrs. David S. Greenberg Mr. and Mrs. Walker Groetzinger Carole M. Guyton Jean R. Harris Anne J. Hayden Carol Jean Hazeltine Mr. and Mrs. Dennis L. Henkel Dr. and Mrs. Leonard Hochman Mr. and Mrs. Joseph C. Hoopes Carter G. Houck Hudson Hills Press, Inc. Mr. and Mrs. Earl M. Hughes, Jr. International Folk Art Foundation Mr. and Mrs. Roger David Isaacs Mr. and Mrs. Willard T. Jackson Mr. and Mrs. Robert M. Jacobs Verdenal H. Johnson Louise R. Kaminow Ruth B. Kapnek Irene Kapner Allan Martin Kaufman Mr. and Mrs. Mervyn D. Kaufman Mr. and Mrs. Robert Keegan Dr. and Mrs. Arthur B. Kern Jacqueline E. King Dr. and Mrs. Roland J. Kohen Dr. and Mrs. Robert S. Kreisler Mr. and Mrs. Kearney Y. Kuhlthau Mr. and Mrs. Julius Laffal Mr. and Mrs. William I. Leffler Mrs. James L. Lennox

24 SPRING 1992 THE CLARION

Barbara Lewis Liberty Ladies Donna Albert Judy B. Dales Helen M. Friend Beth J. Ide Yvonne M. Khin Anita Murphy Julia K. Swan Mr. and Mrs. Bertram K. Little James C. Litz Mr. and Mrs. Chris A. Machmer Margart M. Maley Mr. and Mrs. Paul B. Manchester The Manhattan Quitters' Guild Christian F. Martin IV Mr. and Mrs. Jeffrey M. Martin Mr. and Mrs. Julian D. Mason, Jr. Karl V. Mendel Mr. and Mrs. Michael Mendelsohn Carmen Mercadal Amy L. Mesnier Persis B. Messer Frank J. Miele Gallery Florence Milano Mr. and Mrs. Allan Z. Miller Wendy Lyon Moonan Mr. and Mrs. Harry Murphy Mrs. Jeremy N. Murphy Hiroko Nakamura Janet S. Nelson Mr. and Mrs. W. Peterson Nelson New England Antiques Journal Susan Nova Mr. and Mrs. Arthur F. O'Day Joan M. Oury Patricia O.B. Parsons Joan Pearlman Mr. and Mrs. Donald W. Pool Merrilee J. Possner Helen R. Puntillo Mr. and Mrs. Gordon E. Reed Edwin Rideout Dr. and Mrs. James W. Riggans Mr. and Mrs. Ronald E. Rigo Dorothy Roberts Ambassador and Mrs. Edward M. Rowell Helen M. Salzberg Mr. and Mrs. John A. Samsell Auriel Sandstead Robert H. Schaffer Dr. Bertram H. Schaffner Margaret Schroeder Marilyn G. Schwartz Robert Shallow Eugene P. Sheehy

Donald A. Shelley Helen F. Smagorinsky Jean Smith Mr. and Mrs. John H. Smither Mr. and Mrs. Jerry Soling Mr. and Mrs. Richard L. Solar Judy A. Speezak Dr. and Mrs. Norton Spritz Mr. and Mrs. Howard T. Sprow Mr. and Mrs. James R. Squire Gary J. Stass Marjorie Staufer Lynn Steuer Mr. and Mrs. David H. Stevens Mr. and Mrs. Mark A. Stewart Micki Beth Stiller Etsuko Sugita Leslie Sweedler Mr. and Mrs. Irving Tepper Katherine S. Thomas Mr. and Mrs. Steven L. Vagnino Mr. and Mrs. George P. Viener Mr. and Mrs. James Voytko Shirley Warren Ann M. Wasserman Judith S. Weinberg Patricia Weisberg Julia Weissman Ruth T. West Mr. and Mrs. Earl B. Whitcraft Dr. and Mrs. Gerald A. Williams Theodore R. Winuner Brian Windsor Ruth H. Wolfe Mr. and Mrs. Simeon W. Wrenn I. H. Von Zelowitz Elaine Zinn

One of the many things that the late Bob Bishop and our new Director, Gerry Wertkin, had in common was a love of scholarship and a hope that the Museum's library might become a preeminent source of reference materials in the field of American folk art.

Under the able guidance of Edith Wise, Director of Library Services, we have come a long way toward realizing that goal. The addition of Bob Bishop's library, one of the nation's largest private holdings in the folk art field, added depth and variety to the Museum's collection.

The recent acquisition of the complete reference library from the Historical Society of American Decoration provided the Museum with an unparalleled reference source in the field of decorative painting.

Henceforth, anyone conducting research in the fields of tinware or painted furniture must begin here.

However, preeminence has its price. It is not easy to maintain a first class library in these difficult financial times.

Accordingly, the Library Committee of the Museum's International Advisory Council has undertaken the task, in conjunction with the library staff, of both assisting the library financially and bringing its needs to the attention of the general membership.

New library developments will be regularly reported in this column. The Museum is grateful to the many members and friends who have generously supported the library in the past. Through this new initiative, we look forward to your continued support for an essential public service.

MARTHAJACKSON Specializing in 19th and Early 20th Century Quilts

Exhibiting: Greenwich Spring Antiques Show March 20-22, 1992

Formerly of Riverside, CT and Main Street Cellar, New Canaan,CT Vermont in-house showroom,By Appointment

P.O. Box 430 Middlebury, Vermont 05753 (802)462-3152

rirf Atlanta ESTABLISHED 1973

Specializing in Fine Quality 19th and 20th Century American Art Leroy Almon, Sr. Rev. B. F. Perkins Howard Finster "Ned" Cartledge James Harold Jennings Willie Massey Jimmie Lee Sudduth Ralph Griffin Wadsworth Jarrell Mose Tolliver Richard Burnside Mary T. Smith Herbert Walters

J. T McCord Mattie Lou O'Kelley Homer Green Daniel Pressley Willie Tarver Archie Byrons Rev. Russell Gillespie Bessie Harvey Clementine Hunter 0. L. Samuels St. EOM Raymond Coins Nellie Mae Rowe

5325 ROSWELL ROAD N.E. • ATLANTA, GEORGIA • 30342 (404) 252-0485 • FAX (404) 252-0359 Reverend Howard Finster, "The Great Spirit of Christ Lives Today" 1977, numbered 438

STEVEN L. BUCKLEY 315 WEST 102ND STREET #813• NEW YORK NY 10025

BY APPOINTMENT

212-222-2281

ROBERT JESSEL

26 SPRING 1992 THE CLARION

ON THE BEACH"

KENNY COLE

'MAGIC MAN'

Main Street gallery Contemporary Crafts and Folk Art

Introducing work by

TUBBY BROWN Devil on a Beast 26" x 27" x 5" Tin, Wood and Paint

Main Streetâ&#x20AC;˘P.O. Box 641 Clayton,.Georgia 30525 404-782-2440

EPSTEIN/POWELL 22 Wooster St., New York, N.Y. 10013

By Appointment(212)226-7316 Jesse Aaron Rex Clawson Mr. Eddy Antonio Esteves Howard Finster Victor Joseph Gatto(Estate) Reverend Hunter James Harold Jennings S.L. Jones Lawrence Lebduska Justin McCarthy Peter Minchell Emma Lee Moss Inez Nathaniel Old Ironsides Pry Max Romain Nellie Mae Rowe Jack Savitsky Isaac Smith Clarence Stringfield Mose Tolliver Floretta Warfel Chief Wiley George Williams Luster Willis and others

Rex Clawson B. 1930, Dallas

red acrylic on C/I3 14" x 15"

SPRING 1992 THE CLARION 27

Clementine Hunter (b.1887-1988) Collection includes: J.B. Murray, Howard Finster, David Butler, Bessie Harvey, Sam Doyle, Mary T. Smith, Jimmy Sudduth, James "Son" Thomas, Royal Robertson, James Harold Jennings, Mose Tolliver, Lonnie Holley, B.F. Perkins, Willie White, Raymond Coins, Charlie Lucas, Junior Lewis, William Dawson and others.

7520 Perkins Road Baton Rouge, La. 70808 504-767-0526

"Courtroom" 18"x24" c.1970

See little quilts in a bigger space...

Visit my newly expanded shop!

New York City's largest, most exciting selection of: antique quilts, coverlets, hooked rugs, paisley shawls, indian blankets,linens, vintage decorative objects and American folk art.

(212)838-2596 GALLERY 57

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Art &Antiques Center Amish Crib Quilt, unique pattern, wool,c. 1920.

28 SPRING 1992 THE CLARION

1050 Second Ave.at 56th St The Nation's largest New York, NY 10022 and Finest Antiques Center.

(212)355.4400 104 Galleries Featuring Oriental Open Daily 10:30-6,Sun.12-6.

Furniture Silver Jewelry Convenient Parking. and Other Objets d'Art. Open to th Public.

THE RATHBUN GALLERY SHAKER at Rose Hill Farm, 1101 Mooresfield Rd.(Rt. 138) Wakefield, RI(401)789-5380

Dried Sweet Corn Display Card Second Family, Mount Lebanon, NY Circa 1880 - 1890 Multi-color letterpress on card stock.

Image 10"w x 18"h

Exhibited: Hancock Shaker Village, Pittsfield, MA April 30 1988 - October 31, 1988,"Marketing Community Industries 1830-1930, A Century of Shaker Ephemera"

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14 A North Meramec St. Louis, MO 63105

Armadillo 12" x 44" Signed and Dated March 1st, 1982 FBA

Mon-Sat 10:00-5:00 or by appointment (314) 725-4334

SPRING 1992 THE CLARION 29

BOOK

REVIEWS

F1 4 144 1°11' Quilts of Indiana: Crossroads of Memories Indiana Quilt Registry Project, Inc. Marilyn Goldman and Marguerite Wiebusch, Book Committee Chairpersons 192 pages Indiana University Press Bloomington, IN 1991 $37.50 hardcover, $24.95 softcover The Kentucky Quilt Project was initiated in 1981 to preserve something of the state's quilt history before it was too late.

Even today, it continues to serve as a model for other regional and state organizations to emulate. By conducting quilt searches and presenting their findings in books and exhibitions, these groups have been recording American history in a new way. Women, whose names have become obliterated on weathered tombstones, are still remembered through their quilts as descendants display them during quilt documentation days. These women will be featured in new publications where their quilts and photographs will be shown and their life stories told.

The Indiana Quilt Registry Project's work is summarized in a book, Quilts ofIndiana: Crossroads of Memories, with Marilyn Goldman and Marguerite Wiebusch as Book Committee Chairpersons. Eighty-four quilts were selected for reproduction from the 6,400 recorded and photographed. Their makers have been saved from obscurity

30 SPRING 1992 THE CLARION

'41P by being placed in the history of Indiana quiltmaking.

Vignettes of their lives—family background, marriage, children, idiosyncracies, fortunes, and misfortunes—will endure as long as does the written record.

Margaret Bright was nine years old when she presented flowers to the Marquis de Lafayette during his last visit to America in 1824, at Louisville, Kentucky. This cherished memory was shared with her nine children who, in turn, told it to their children. When Margaret was sixteen she made a red and green pieced Peony quilt to go in her hope chest.

Her well preserved quilt is one of the oldest included in the selection and represents hundreds of similar quilts made in Indiana in the pre-Civil War days.

Quilts made from 1800 to the 1980s having historical significance, exceptional beauty, and unusual themes are included in the book. Rebecca Latta and her daughter, Mary, made a Log Cabin quilt using the black mourning crepe that draped the State House the day President Lincoln's funeral train reached Indianapolis. Adrian Main designed a quilt in honor of the Muncie High School's state basketball championship in 1932 and his wife, Treva, pieced and quilted it. Ruth Ann Raven Watson's "The 500 Mile Race Quilt" recognizes her husband's twenty-five-year service as staff photographer for the Indianapolis Speedway Race.

Perhaps the most significant part of the book is the section, "Marie Webster: Indiana's Gift to American Quilts" by Cuesta Benberry.

The author first published an article on Marie Webster in Nimble Needle Treasures Magazine in 1975 and has continued to champion Mrs. Webster as one of the most significant contributors to the development of American quiltmaking. Mrs. Webster, of Marion, was a gifted designer whose work was published in Ladies Home Journal from 1911 through the 1920s.

Marie Webster wrote the first history of quilts, Quilts, Their Story and How to Make Them, in 1915, using what research methods were available to her at the time. The Practical Patchwork Company founded by Marie Webster offered patterns, kits, basted quilt tops, and finishing of quilts. Her graceful floral quilt patterns worked in pastel colors of the 1920s and 1930s typify the style of the colonial revival period.

While Mrs. Webster was recognized for her achievements, the Wilkinson sisters, who founded the Wilkinson Quilt Company, and Susan McCord, whose work is in the Henry Ford Museum, were given much briefer consideration. Two quilts at the book's end seem almost an afterthought in acknowledging the accomplishments of the state's Amish-Mennonite quiltmakers and no mention is made of women living in the heavily populated area of northwestern Indiana where

middle European immigrants were drawn to the steel mills.

Quilts ofIndiana: Crossroads of Memories provides eloquent testimony to the individuals who made outstanding quilts to enrich and beautify their homes. However, broad generalization and certain inaccuracies in quilt history weaken the introduction and sometimes-awkward chapter texts. While the book's artistic design is not exceptional, it is pleasing and well-ordered and abundant in fine color reproductions. Quilts of Indiana, added to the growing number of studies of quiltmaking in the various regions of our country, contributes a worthy element to the history of women and domestic life.

Bets Ramsey, the Director of the Southern Quilt Symposium since 1974, co-authored The Quilts of Tennessee and Southern Quilts: A New View and has curated numerous quilt exhibitions. Ramsey writes a weekly quilt column in the Chattanooga Times and is an active, exhibiting fiber artist.

A Modest Mennonite Home: The Story of the 1719 Hans Herr House, an early colonial landmark

By Steve Friesen with an introduction by Andrew Wyeth Photography by John P. Herr 128 pages Good Books Intercourse, PA 1990 $9.95 softcover A Modest Mennonite Home is the story of the Hans Herr house, the oldest surviving structure in Lancaster County,

The Kentucky Quilt Project, Inc. Presents

QUILTS FROM COVER TO COVER! Abstract Design in American Quilts:A Biography OfAn Exhibition by Jonathan Holstein In this complete history of the landmark exhibition, Jonathan Holstein tells a remarkable story of discovery which begins with the quilts he started collecting in 1968 and continues through the reinstallati f the Whitney Museum exhibition in Louisville in 1991. For the first time, each of the carefully chosen exhibition quilts is illustrated lor. The book traces the exhibition as it progressed around the world, and describes its effects here and abroad.($39.95 plus $4.95 s/h)

Order Now To Reserve Your Copy Of The Deluxe Limited Edition!

This extraordinary Limited Edition is artfully embossed and elegantly presented in hardbound fine cloth. It is slip-cased for its protection and only 1000 of these handsome offerings will be numbered and signed by the author.

Order now to insure delivery when it becomes available January 15,1992.($100.00 plus $4.95 s/h) For additional information, please write to The Kentucky Quilt Project at the address below. To order,send checks including retail price plus s/h.(Kentucky residents include 6% sales tax.)

Name Address City,State,Zip Mail to: The Kentucky Quilt Project, Inc. P.O. Box 6251,Dept.C, Louisville, KY 40206-0251

BOOK

REVIEWS

Pennsylvania. When I first heard about this book, I expected a book on vernacular architecture detailing the history of this stone house and its relationship to other houses in the area and in Europe. Instead, I found an eminently readable social history of the people and community who built the house.

The book's nine chapters take us on a 400 year journey from pre-Reformation Europe to the Hans Herr House Museum of the present.

The story begins at the opening of the sixteenth century

when Martin Luther, Ulrich Zwingli, and Conrad Grebe], among others, were splitting off from the Roman Catholic church. The rise of the Mennonites is outlined, as is the persecutions and movements of Mennonites in Europe. The background of the Herr family is explored, and the idea that the Herr family stems from the noble family, the Hens of Bilried, is laid to rest.

The author explores the

family's more likely beginnings in Switzerland and their movement into the Palatine region of Germany.

In chapter four "Christian [Herr] Builds a House," we learn that although the house had become associated with Christian's father at least as early as the 1740s when a hymnal was donated "to the meeting at Hans Hens," it was actually Christian who built the house.

Christian's initials are found on the lintel over the front door

and on the chimney in the attic.

This chapter describes the building and the materials of the house. The function of each room is discussed and the house is placed in the context of Mennonite aesthetics and other houses built around the same time.

Starting with chapter four, the focus is on the house itself, how it was used, by whom, and when. The history of ownership is traced down through the Herr family to the time it was bought by the Lancaster Mennonite Historical Society and turned into a museum. Along the way, we learn more about the

SPRING 1992 THE CLARION 31

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REVIEWS

Bill TRAYLOR community, its religious life, its use of space, and its customs of treating elders and heirs.

The final chapter outlines the house's conversion from a deserted house to an expanding interpretive museum complex.

Steve Friesen, the author, has been the director of the Hans Herr House since 1985 and has a master's degree in American Folk Culture from the Cooperstown Graduate Program of the State University of New York. John P. Herr, the photographer, is a descendant of Hans Herr. His color photographs of the house and its surroundings add visual impact to Friesen's text. In addition to Herr's color photographs, this book is well illustrated with vintage photographs, paintings, engravings, and other illustrations. Andrew Wyeth, another Herr descendent, has made numerous sketches and paintings of the Herr House over the years. Unfortunately, only one of his sketches and none of his paintings are illustrated in the book. Wyeth's brief introduction discusses his involvement with the house.

A Modest Mennonite Home is successful on several levels. For a popular audience, this book is a decent introduction to the early history of the Mennonites and to the founding of the early Mennonite community in Lancaster County, Pennsylvania. For those interested in the Herr family genealogy, the origins of the Herrs in Europe is discussed as are the relationships among several of the people through the generations in Pennsylvania.

One of the appendices

addresses the question of exactly who Hans Herr was, if he, the father of Christian, came to Pennsylvania, and if he did, when? The daily lives and social interactions between people will interest the historian. Ways in which parents were treated in wills and the ways in which land and property was distributed at death is of interest to both the genealogist and the historian.

Students of material culture will find the discussion of the social role of the house and its parts of interest. Problems with sources, or the lack of them, are mentioned where appropriate. Between the endnotes and the bibliography, the book is well documented.

Someone whose interest has been sparked will find plenty of sources to turn to for more indepth information.

For me, the weakest part of the book lay in the lack of architectural information. I believe that all readers would have found a floor plan useful in visualizing the house and Friesen's discussion of the uses of the rooms. Beyond that lack, I would have liked to have seen more comparisons with other houses of the same period, more information on the European prototypes, and more on the buildings the Mennonites actually lived in while in the Palatinate and in Switzerland.

More on the archeological discoveries and the restoration of the house would have been interesting. Some information concerning these areas is given, but, in my opinion, not enough.

Other than the lack of a floor plan, however, this lack

of architectural detail does not detract from the book as a whole. Steve Friesen has written a book I can heartily recommend to anyone interested in the Pennsylvania Germans, the Mennonites, colonial history, social history, or material culture.

Thomas E. Graves has a doctorate in folklore andfolklife from the University ofPennsylvania. He is the co-author with Don Yoder and the principal photographer of Hex Signs: Pennsylvania Dutch Barn Symbols and Their Meaning. DE Graves has taught at Ursinus College and teaches at The Pennsylvania State University.

Bill Traylor: His Art-His Life

By Frank Maresca and Roger Ricco 148 paintings Published by Alfred A. Knopf New York, NY 1991 $50 hardcover Just as Bill Traylor has a sure position in the history of American self-taught art, Bill Traylor: His Art-His Life, by Frank Maresca and Roger Ricco, establishes a claim as the reference for the history of Bill Traylor and his art. Knopf has meticulously published a thoughtfully designed book which reflects the simplicity and paradoxical sophistication of Bill Traylor's work. This book will not collect dust on your bookshelf or coffee table.

The 208-page volume affords us the opportunity to evaluate this artist's oeuvre as a coherent whole. The publication includes the most extensive interview with Bill Traylor's friend and Alabama artist, Charles Shannon, the single

living individual who knew Bill Traylor well. Through his testimonial, his resolve in preserving Traylor's works, and his attempts over decades to have these drawings and paintings exhibited and recognized, Charles Shannon has preserved the legacy of Bill Traylor. Without these efforts, Traylor would have lived and died, like many self-taught artists, leaving only traces of his existence.

Traylor produced the body of works existing today from 1939 to 1942, some 1,500 vivid pictorials of men, women, animals, and other worldly figures. Traylor drew what he knew and experienced from his life, as well as fanciful and imaginary abstractions. Figures scurry across a pageâ&#x20AC;&#x201D;chasing, hunting, plowing, drinking, preaching and testifying. Others stand or lead boldly with bodies in profile and eyes in full frontal view. Self-expression may be the sole reason that Traylor attempted to draw. He explained a painting to Shannon of a man behind a plow: "I want more than anything to be plowing so I drew one instead." Shannon relates Traylor's comments about particular paintings and drawings, some which remain penciled on the backs of works.

The interview also serves to dispel the myth that Traylor spoke with the writer of the (continued on page 78)

SPRING 1992 THE CLARION 33

ncle Jack

)DEY

WILj 1. ° 1AH(U M N

"When I've finished with a painting, Iput a bright light on it, and go over the whole thing with a magnifying glass to see if anything's wrong. Sometimes a picture just doesn't look like it's level, and then I have to put something on to anchor it—something like a cow or a rabbit" —UNCLE JACK R. LEWIS WRIGHT, JEFFREY T. CAMP AND CHRIS GREGSON

ohn William (Uncle Jack) Dey (pronounced dye) was born on November 11, 1912 to John J. Dey of Norfolk, Virginia and Bettie Siegel Dey, of Shepherdstown, West Virginia. His only sibling was a sister, Lyda. He grew up in Phoebus, a small town next to the military and industrial harbor of Hampton, Virginia. Phoebus was situated on the western shore of the great harbor at Hampton Roads and adjoined Fortress Monroe. In the 1600s, the community, known by several other names, was begun by English colonists who settled outside the fort. It was incorporated as Phoebus in 1900 and in 1952 became part of the larger neighboring city of Hampton.

In 1915 John William's father, John J. Dey, enlisted in the U.S. Army and was stationed at nearby Fortress Monroe. In 1919 he worked as a printer after leaving the army, where he had attained the rank of sergeant.'

Around 1923 the Deys separated after which city directories list Bettie Dey as the head of the household. She continued to live in Phoebus(Hampton) until her death in 1953.3,4 She worked at a variety of jobs to support her family, including pool attendant, clerk, and finally cashier at the swimming pool of the Hotel Chamberlain, still a well-known landmark in the area.

During his school years, John William Dey held various part-time jobs to supplement his mother's income. According to his own statements, he had an evening paper route from the time he was ten until he was seventeen. He then worked as a janitorial assistant at his school. A poor student, John William quit school at age eighteen and two years later, in the fall of 1932, moved with a friend, Raymond Davis, to Maine. He worked as a trapper and lumberjack. His memories of this time appear

J

34 SPRING 1992 THE CLARION

in a note attached to the painting, The Moose Who Came To Dinner and Stayed: [sic] in the Fall of 1932, Uncle Jack and Raymond Davis decided to trip in maine, we had a nice snug cabin, and a store of wood layed up, plenty of can tomatoes, and dried beans, flour, salt, and fish, can peaches but hadn't got a deer. it was a hard cold winter snow and more snow we had a supply of old magazines and papers. well we wanted meat but none available we were spending so much time indoors, we had a good case of cabin fever, and had some pretty good fights, well at supper one evening Ray spotted a bull moose a short distance from our front door in fact it was front and back door that moose didn't have a chance. moose steak's taste mighty good to a couple of healthy youngs fellow's.'

Uncle Jack in uniform as a policeman.

Original photograph owned by Jeffrey Camp.

FLAMINGO; Testor model paint on glass; 10 x T. Private collection.

SPRING 1992 THE CLARION 35

Elinor L. Horwitz recorded his comments on the inspiration of Maine in her book, Contemporary American Folk Artists.

That was back in 1933 . . . I was crazy about it up there . . . We used to see moose and there was a garbage bearâ&#x20AC;&#x201D;that's an old bear whose teeth are all wore down, and he eats garbage. I painted lots of bearsâ&#x20AC;&#x201D;garbage bears, honey bears, and others.6 After leaving Maine, John Dey worked for a construction company traveling up and down the Eastern shore. In 1934 he moved to Richmond, Virginia, and while studying barbering, met Margaret Pearl Cleveland, a saleslady at Kaufman's department store. They were married on February 5, 1935. He worked as a barber for several years and around 1942 became a policeman for the City of Richmond.'

During the more than four decades in Richmond, the Deys lived in several apartments in the turn-of-thecentury neighborhood near downtown known as "The Fan." Although they had no children of their own, John was said to have been readily available for repairing broken toys and bicycles, and to the neighborhood children, he was known as "Uncle Jack."

Dey began to have psychological problems and was referred to the bureau's police physician, Dr. Harold I. Nemuth (1910-1985). Dr. Nemuth determined that Dey was unfit for police service in 1955. Dey retired from the Richmond Bureau of Police at the age of forty-three, but continued to maintain a relationship with Dr. Nemuth.

At this point in his life he began painting. As far as can be ascertained, he had not drawn or painted previously, and had had no instruction. He chose to sign his paintings Uncle Jack, the nickname given to him by the neighborhood children. He usually painted on wood or plywood, but some of his earliest works were painted on the flat side of corrugated cardboard. He scoured alleys, yard sales, and secondhand shops to purchase old frames, and then chose his subject to fill the size and design of the frame. Dey used brightly colored Testor model paints, which have a high-gloss enamel-like quality. Attached to the back of many of the paintings was a handwritten note placed in an envelope with a narrative account of the painting's content.

During one visit, Dey told Dr. Nemuth that he was painting. Dr. Nemuth thought he meant house painting and was surprised when Uncle Jack led him to his car and opened the trunk, revealing a stack of paintings. Many of his paintings went to friends and apparently he gave away 300 to 400 of them before he gained any recognition as a folk artist.8,900 Dr. Nemuth, a patron of the American Folk Art Company in Richmond, introduced Jeffrey Camp to the work of Uncle Jack. In 1973 the first public exhibition of his paintings was held in Richmond at the American Folk Company." Shortly thereafter his paintings were exhibited at the Eric Schindler Gallery in Richmond. In 1974 Herbert W. Hemphill, Jr. published a picture of the painting, Adam and Eve Leave Eden, in his landmark book of contemporary folk art, Twentieth-Century American Folk Art and Artists which he authored with Julia Weissman. Uncle Jack's work was soon represented in

34 SPRING 1992 THE CLARION

the Museum of American Folk Art in New York, the Museum of International Folk Art in Santa Fe, and numerous private collections. In 1975 examples of his work were shown at a Folk Art Exhibition at the University of Richmond, 12' ' 1 and in New York by George E. Schoellkopf. In 1976 his paintings were exhibited at the Walter C. Rawls Museum in Courtland, Virginia, 14 and at Gallery 7 in the Fisher Building, Detroit. In 1978 he was shown at the Janet Fleisher Gallery, Philadelphia, and America's Folk Heritage Gallery, New York. In 1979 paintings by Dey were on view at the Contemporary Gallery, Houston. Again in 1985-86 he was represented in an exhibition called "A Time To Reap: Late Blooming Folk Artists," sponsored by Seton Hall University and the Museum of American Folk Art." In 1986, twenty-six of his works were exhibited at the Meadow Farm Museum, Richmond, Virginia.'6 Dey was interested in making decorative objects as early as 1935. According to his wife, Dey painted preserve jars, doorstops, and even a fiddle." Approximately twenty years later, after his retirement, picture painting (which he previously thought too expensive to pursue) became his preoccupation. The enthusiasm and labor he devoted to painting were indicated in a letter: [sic] I spent over three weeks on these works, frame, canvas picture cost was no object in constructing it paint hardware glue paper the best.

These days are not eight hour days, but twelve, fourteen or eighteen."

A landscape with cabin appeared in the painting, Portrait of Miles B. Carpenter. Although Carpenter never lived in a cabin, Dey depicts him as living among a flurry of woodland activity; in reality, he lived in a

SERENITY; Testor model paint on board; 21Y2 x 273/8".

Collection of Mr. and Mrs. Gene Duke; photo courtesy of Meadow Farm Museum Archives.

WHITE CROW; Testor model paint on board; 151/2 x 195/8.

Collection of Baron and Ellin Gordon; photo courtesy of Meadow Farm Museum Archives.

SPRING 1992 THE CLARION 37

Victorian home near the center of rural Waverly, Virginia. Uncle Jack describes this painting: [sic] this is a snow scene . . . picture of Miles Carpenter some of his watermelon's and snakes of wood . . . in the woods crow's spot an owl they start squawking and they flock around by the dozen's to pester the old owl . . . Rabbits as a rule a pair will occupy a acre and a half of ground and have their tunnel's and all dug out and ready to jump out in case the coast is clear. . . the wooden watermelon to see if its really wood . . .19 In this painting, he synthesizes his fond memories of his lumberjack years incorporating the images of woodland animals and snow covered fences and trees.

Another revealing source for the use of the cabin image appears in a note attached to the back of this painting. Here he indicates he used the cabin ". . . out of respect for the magnificent work of Russel Gillespie."20 Russel Gillespie was a folk artist who made doll-house size sculptures of cabins out of twigs and branches. Uncle Jack met Gillespie at the American Folk Art Company, in Richmond, Virginia where their work was being shown together.

The sources for his figures often look familiar. The figure of God in Serenity is one such image frequently found in popular Christian literature. The owl in White Crow is similar to the 1960s' Wise Potato Chip logo.

Another source for the content in his work also comes from printed material. The figure in the painting,Portrait of Dick Cossitt, bears a close resemblance to the image accompanying the writer's news column in the Richmond-Times Dispatch, c. 1975.

In his paintings that incorporate language, he turns to television for inspiration. In the painting, Cannonball Express, the train station displays the sign "Petticoat Junction" and is reminiscent of the station in the popular television show of the 1960s. Another television reference appears in the painting, Garden of Eden, where he reiterates the phrase from the Alka Seltzer commercial, "I can't believe I ate the whole thing."

Uncle Jack's work is a personal vision. Most of the subjects come from his own experiences, such as childhood adventures, hunting in Maine, visiting friends in West Virginia, attending gospel revivals and numerous events around his home in Richmond. Primitive and exotic subjects may have been inspired by a neighborhood gallery called Galerie Caribe which opened on West Grace Street in Richmond in 1969 and specialized in Haitian paintings. References to Voodoo appear on the kettle marked "Voodoo Juices" in the painting [sic] Accupuncture Nail Style and Voodoo Zombies.

His memory paintings, an observation of life mixed with his complex inner emotions are emblematic.

Uncle Jack's repeated image of black crows hovering over the landscape presents us with the feeling of entrapment. The image of the crow takes on an opposite interpretation in the painting, Serenity, where the lightcolored birds hover about Christ standing on a cloud appearing as the symbol of transcendence. Fear appears in the form of frightened animals crisscrossing the landscape of The Great Rail Splitter. A world of disease and

38 SPRING 1992 THE CLARION

pain is cured by acupuncture found in the paintings, [sic] Accupuncture Jackass Style and [sic] Accupuncture Nail Style. Man's devastation of man is found in the painting, Hiroshima, Atom Bomb.

But this fatalistic, tortured and diseased world is countered with a sense of the absurd. For instance, the image of Charlie Chaplin, the best-known comedian of his generation is juxtaposed in the image of Maple Syrup, VA. elevating this quintessential painting of rural life to the surreal. This sense of the absurd appears frequently in his more comic work. He commonly incorporates kangaroos, elephants, and other inappropriate animals into the American landscape.

In his painting, Maple Sugur, Harlan County, Menterio, Virginia (properly spelled Maple Sugar, Highland County, Monteray, Virginia), he mixes crows, jack rabbits, black and white swans, two golden horses, a moose, and a large mouse or rat (the size of a rabbit). He also transposes there a portion of Virginia's long deserted James River and Kanawha Canal, which at no time was planned to extend into the northern and more mountainous terrain of Highland County.

Uncle Jack estimated that he completed 650 paintings. In 1975, he wrote a brief autobiographical sketch.21 In this five page document are many details that may represent as much fantasy as do his paintings. He claims that during his childhood he lived at seven different locations, including Akron, Pittsburgh, San Francisco, Washington, and several locations in West Virginia. He claimed that his family mined both coal and salt in West Virginia and traded this valuable site for land in Washington. In a letter he wrote to accompany a depiction of a bulldog he had during his youth, he mentioned that his father had been a "colonel" in the army. The same fantasy may or may not have been involved in his account of various jobs he held as a young man. Before working much of his adult life as a barber and, subsequently, as a policeman, Dey claimed to have been a raiser of game chickens and fancy pigeons, a glass cutter for "some of them fancy windows" during the early years of the restoration of Colonial Williamsburg, a commercial fisherman, and a salvager of sunken ships.

Uncle Jack appears to have been oblivious to the wealth of natural scenery provided by his native state. In his area there were broad beaches with sand dunes, marshes, abundant wildlife on the Atlantic Ocean, and Chesapeake Bay, wide rivers, two major ranges of mountains, and many historical buildings. He depicted but a few of these.

Despite the fact that Uncle Jack has been dead slightly more than a decade, much of his life remains obscure. He left no descendants. After his death, his widow, Margaret (Peggy) moved to Florida. People who knew him in Richmond can be found, but he apparently had few adult friends. A nurse who participated in his health care during his later years says, "He was a large, brusque, unpredictable man . . . I was afraid of him."

In his final years, Uncle Jack suffered from heart trouble and diabetes and wore a pacemaker. For several months prior to his death, he was an invalid, confined to the Libby Convalescent Center, a nursing home in Rich-

MAPLE SUGUR HARLAN COUNTY MONTERIO VIRGINIA â&#x20AC;&#x201D; CANAL BOAT SYSTEM VIRGINIA; Testor model paint on masonite; 19 x 29. Private collection.

MAPLE SYRUP HIGHLAND COUNTY, MONTEREY V.A.; Testor model paint on masonite; 16 x 20.

Private collection; photo courtesy of Meadow Farm Museum Archives.

SPRING 1992 THE CLARION 39

mond. According to his death certificate, he died at Johnston-Willis Hospital, in Richmond, on October 10, 1978, of "cardiopulmonary arrest due to atherosclerotic heart disease." Uncle Jack was a non-practicing Roman Catholic. Two days after his death a rosary service was held for him at the Joseph W. Bliley Funeral Home in Richmond. The following day he was buried with grave side rites at Oakwood Cemetery in Hampton, Virginia in the same plot where his parents are buried. A large headstone marks the grave of his mother and reads, "Mother, Bettie B. Dey, Feb. 13, 1893, May 5, 1953."

A small footstone to the left of this, almost covered with vegetation, reads, John J. Dey, SGT - U.S. Army, World War I, Jan. 1, 1889-Sept. 9, 1968. The bronze plaque marking Uncle Jack's grave simply reads "John W. Dey, 1912-1978."

Uncle Jack was a complex, restless man, and his paintings depict this. Some are tranquil; others abound in intensely moving and troubled detail.

Uncle Jack Dey holds a special place in twentieth century folk art. Like many of the last wave of twentiethcentury folk artists, he emerged with an originality which incorporates the familiar. Unlike [Martin] Ramirez, whose emblematic images reflect his Hispanic heritage or Henry J. Darger, whose appropriated drawings identify one dark journey, Dey's work is an autobiographical confession of a simple and modest working class life, enhanced by a complex inner spirit, which manifested itself in the refreshingly unexpected.* Dr R. Lewis Wright is a Richmond neurosurgeon with a wide interest in the arts of Virginia. He has written several papers on this subject including, Artists in Virginia Bebre 1900, published in 1983 by The University Press of Virginia. He has also written for The Clarion.

Jeffrey T. Camp presently manages the estate of Miles B. Carpenter He has done extensive research on twentieth-century self-taught artists of the Southeast. As director of the former American Folk Art Company in Richmond, he gave Uncle Jack Dey hisfirst public exhibition in 1973.

Chris Gregson is a painter and curator based in Fredericksburg, Virginia. He is on the board of the Folk Art Society ofAmerica and is afounding member Gregson is currently developing a folk art collection at Meadow Farm Museum, Richmond, Virginia.

NOTES: 1. Jay Johnson and William C. Ketchum, Jr., "John William ("Uncle Jack") Dey," American Folk Art of the Twentieth Century (New York: Rizzoli, 1983), pp. 72-73.

2. Archives of National Personnel Records Center, St. Louis, MO. 3. Hampton City Directories, 1912-1953.

4. Daily Press (Newport News, Va.), May 6, 1953.

5. Note accompanying the Uncle Jack Dey painting, The Moose Who Came to Dinner and Stayed. The Jeffrey and C. Jane Camp Papers, Archives of American Art, Smithsonian Institution, Washington, D.C. The Archives of American Art put the correspondence of Uncle Jack on microfiche in 1989.

It is available to researchers on rolls 4067-4080.

6. Elinor L. Horwitz, Contemporary American Folk Artists (Philadelphia: J.B. Lippincott Co., 1975), pp. 31-32.

7. Richmond City Directories, 1935-1978.

8. Telephone conversation between Doreen Graham Nemuth and Chris Gregson, December 17, 1985. Personal conversations between Dr. Harold I. Nemuth and R. Lewis Wright, 1978-1984, and between Katherine Wyatt, Dr. Nemuth's office nurse, and R. Lewis Wright, 1978-1986.

9. Charlotte M. Emans, "Uncle Jack Dey. An Analysis of his Life and Paintings," term paper for a course, Twentieth Century Folk Art, New York University, 1982.

10. Barry Newman, "Folk-Art Finders, Uncovering the Works of Untrained Artists Takes a Lot of Looking," Wall Street Journal, July 30, 1974, p. 1.

11. Sheilah Kast, "Folk Artist Forgets Why He Paints a Scene," Richmond News-Leader, October 18, 1973.

12. Roy Proctor, "Adults with a Child's Fresh Vision," Richmond News-Leader, April 5, 1975.

13. ED. Cossitt, "Fine Folk Art, Painting Shows," Richmond Times-Dispatch, April 6, 1975.

14. ED. Cossitt, "Focus on Folk Art," Richmond TimesDispatch, May 2, 1976.

15. "A Time to Reap: Late Blooming Folk Artists."

Exhibition co-sponsored by Seton Hall University, South Orange, New Jersey, and the Museum of American Folk Art, New York. Exhibition co-curated by Barbara Wahl Kaufman and Didi Barrett, 1985-1986.

16. Chris Gregson, "Life and Legend: Folk Paintings of Uncle Jack Dey" Exhibition at the Meadow Farm Museum/ Crump Park, Richmond, Virginia, 1986.

17. Telephone Conversation between Margaret Dey, widow of Uncle Jack, and Chris Gregson, March 18, 1986.

18. Note accompanying the Uncle Jack Dey painting, Sea Island Light House; dated 1974. Location of the painting is unknown. The Jeffrey and C. Jane Camp Papers, Archives of American Art, Smithsonian Institution.

19. Note describing the Uncle Jack Dey painting, Portrait of Miles B. Carpenter; dated 1973. The Jeffrey and C. Jane Camp Papers, The Archives of American Art, Smithsonian Institution.

20. Ibid.

21. John W. Dey, "A Brief History of Uncle Jack, or John William Dey" Unpublished manuscript, 5 pp., 1975.

Collection of Jeffrey T. Camp. The Jeffrey and C. Jane Camp Papers, The Archives of American Art, Smithsonian Institution.

ADAMS CAMERA

ACCUPUNCTURE JACKASS STYLE; Testor model paint on plywood; 20 x 25% Private collection.

40 SPRING 1992 THE CLARION

ORIGINAL DESIGN; Carl Klenicke; Corning, Steuben County; c.

1900; Pieced silk, faille, taffeta, and satin; 72% x 60".

Collection of Bessie P. Holmes.

NEW YORK BEAUTIES...ALL

The NewYork Quilt Project PHYLLIS A. TEPPER

he New York Quilt Project is dedicated to a group of remarkable people who created a significant body of folk art through the use of traditional tools: needle, thread and fabric.

They are the known and unknown quiltmakers (mostly women) of New York State who, working within the confines of their homes, have bequeathed to succeeding generations of New Yorkers quilts of rare beauty as well as utility. However, among all the folk artists, quiltmakers have been the most anonymous. Since America's bicentennial, quilts have come out of the closets, trunks, and attics and quilt historians have attempted to redress this situation.

I attended a symposium on southern folk art held in New York during the summer of 1985. The New York Quilt Project is a direct result of a lecture given at that symposium by Shelly 7Pgart on the Kentucky Quilt Project. After hearing her talk, I determined that New York State had to document, preserve and archive its quilt heritage before the quilts and their histories disappeared.

I have always been interested in the history and culture of New York State and wanted to know how and why its women made quilts. I wanted to know how they devel-

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SPRING 1992 THE CLARION 41

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oped their patterns and how they formed their aesthetic judgments. . . who they made quilts with and for, where they learned, who they taught. Documentation of quilts of my native state would enable me to find answers to some of my questions.

Louis C. Jones, of the New York State Historical Association, stated the case for social history when he wrote, "The past should have as many personal ties for each of us as possible, for none should feel that he is floating in time, rootless and unrelated to all that has happened to our fathers and to those who lived in our place before us. . . . In the framework of the home let there be hand-me-downs from yesterday — pictures and furniture or a piece of lace. . . . things that have been in a family a long time have a magic of their own, asserting the values of life and its survival." (Louis C. Jones.

Three Eyes on the Past: Exploring New York Folk Life.

Syracuse, NY: Syracuse University Press, 1982, pp. 1112.)Robert Bishop and Gerard C. Wertkin enthusiastically encouraged, guided and supported my efforts to organize this project as a program of the Museum of American Folk Art. The newly formed New York Quilt Project selected a distinguished panel of consultants to help in the development of its objectives. The panel consisted of experts in quilt history, folklore, folk art history, women's history, textile conservation, publishing, and quilt dealership. With their guidance and a review of other state projects, a plan for active field work was devised.

The 1940 cut-off date was selected because it was a historical turning point. America had just come through a bruising depression and was gearing up for the world war to come; women were beginning to venture forth from domesticity into the labor market, and new inventions, many of which were featured at the World's Fair of 1939, promised a brave new world and a new society.

In constructing a documentation form for individual quilts, it was necessary to consider the facts of the quiltmaker's life; her physical surroundings, family situation, cultural heritage, and motivations for making the quilt, as well as information about the technical and physical characteristics of the specific quilt. The documentation form had to serve the dual purpose of eliciting enough information during the oral interview without posing a hardship on the documentors or interviewees, and of creating a data base that would eventually be computerized for archival storage. Compressing all the questions we needed to ask resulted in a four-page questionnaire.

Guidelines were prepared for Quilt Days that were planned throughout the state so that quilt owners could bring in their quilts for photography and documentation.

In addition, quilt owners were encouraged to bring in supporting data such as letters, diaries, period publications, photographs of the quiltmaker, and any written material which could shed light on the circumstances of the quiltmaker and the quilt. Forty-five such public quilt days were held throughout the state over a period of twenty-one months. Determination of where to hold Quilt Days depended partially on availability of space and volunteers to do the intake. We never knew how many

STAR DESIGN; Emily Webb Fosdick; Monroe, Orange County; c. 1854; Pieced cotton; 92 x 76". Collection of Phyllis Klein.

PINEAPPLE; Nancy Margaret Helmer Folts; Kastbridge, Herkimer County; Before 1900; Appliqued cotton; 85 x 82". Collection of Madeline Helmer

Fagan.

TURKEY IN THE TREE; Maker and date unknown; Rockland County; Cotton; 107 x 92". Collection of Judith and Patrick Lawlor.

TEACHING QUILT; Elizabeth Hamilton; New York State; 1934; Pieced and appliqued cotton; 85 x 80".

Collection of Ruth G. Strong.

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quilts would be brought in and we did not want to disappoint people who might have driven many miles to get to a Quilt Day site. Thus, although times were publicized as being from 10:00 A.M. to 5:00 P.M., many days started at 9:00 A.M. and continued until 8:00 P.M. Some days we documented as few as fifty-four quilts and on other days as many as 269. Although it was not possible for every one of the sixty-two counties of New York State to be visited, all the geographical regions of the state were well represented in the course of these Quilt Days. New York State's extensive quilt guild network

proved invaluable in providing enthusiastic volunteers who found space in local churches, private and public university sites, school gyms and libraries, community organization meeting rooms, historical societies, and even a public television station. The guilds arranged for volunteer training days, local publicity and all the other tasks enabling the Project to carry out its mission to locate and document New York State made quilts in the possession of private owners.

The earliest signed and dated quilt in the archives to this time is that of "Mildred Cos Cob Rhy 1753."

SPRING 1992 THE CLARION 43

Realizing that many quilt owners would not be able to appear personally with their quilts at a public Quilt Day, outreach attempts were made through publications catering to quilt owners, quilt and antique collectors, and persons interested in collateral textile fields.

Thus, quilts have been documented and registered by mail, many from other states to which New York State quilts have migrated. Museums and historical societies, both within New York State, and outside, have also sent documentations of quilts in their collections to the archive maintained at the Museum of American Folk Art.

To date, about 6,000 quilts have been documented and archived. The archives have already proven to be useful to students and scholars. Knowledge that an archive exists has brought daily inquiries for information.

One paper has already been written by Barbara Phillippi, based on data culled from the New York Quilt Project archives and appears in the American Quilt Study Group's 1990 Uncoverings.

The logo of the Project is the pattern known as "New York Beauty" for obvious reasons. We thought that we would be able to research the pattern and discover

ORIGINAL GEOMETRIC; Anthony J. Klem; Owego, Tioga County; 1914-1919; Pieced wool; 78 x 70.

Collection of Jeannette C. Lee.

44 SPRING 1992 THE CLARION

ALBUM QUILT; Mrs. Eldad Miller; Cross River; 1861; Appliqued and embroidered cotton and silk; 90 x 75. Courtesy Museum of American Folk Art; 1980.8.1.

CHERRY BASKET; Dora Stevens Rush; Camden, Oneida County; 1868; Pieced cotton; 79 x 69.

Collection of Constance M. Kelley.

SUNBURST; Sarah Emily Wells Tuthill; Eastern Long Island; c.

1860; Pieced cotton; 82 x 70. Collection of Thomas C. and Mary K. Ryan.

more of its elusive history However, as we continued with our Quilt Days, New York Beauty quilts failed to appear with any frequency. In fact, very few were seen!

One,that had been a donation to the Oysterponds Historical Society (Orient Point, NY)came only with the name of the donor, pointing out the necessity for documentation by accessioning agencies at the time of donation.

Another "New York Beauty" surfaced through the Tennessee Quilt Project. Obviously, the pattern is an old one, although the name may be of more recent vintage. Thus, inadvertently, the choosing of the Project's logo, demonstrates the need for documentation projects.

Many conclusions about quilts made in New York State can be drawn from information gathered by this documentation project. The most obvious are that plain sewing skills were an absolute necessity in years past, cutting across all social and economic class lines, and that deep artistic yearnings existed and were displayed by the makers of many of the quilts. It was not sufficient to create an item of utility in a technically fine manner; the quiltmaker's aesthetic values as an individual were her most important statement.

As director of the New York Quilt Project, it was always one of my objectives to share the art of these quilts and the stories of their makers in a book. Jacqueline M. Atkins, my co-author, and I, believed that by writing a social and cultural history as seen through quilts made by citizens of New York State, we would be providing those personal ties to the past of which Dr. Jones so eloquently wrote. We wanted to pierce the shroud of anonymity surrounding many of the quiltmakers and bring an extra dimension to the understanding of the social history and cultural lore of one of the nation's first colonies to be settled, by placing their art within the context of the reality of New York State history.

New York Beauties: Quilts from the Empire State to be published by Dutton Studio Books is scheduled to appear in May 1992. It will contain approximately 160 pages, 150 quilts in color, and many photos of quiltmakers and pertinent material. On May 14, 1992, an exhibition of about 25 examples of quilts made in New York State will open at the Museum of American Folk Art Eva and Morris Feld Gallery at 2 Lincoln Square in New York City and run until September 6, 1992. The exhibition will then be on view from October 5, 1992 to November 29, 1992 at the Geneva Historical Society, 543 South Main Street, Geneva, NY. It is enthusiastically anticipated that this exhibit will appear in other venues throughout the state. *

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Phyllis A. Tepper is a native New Yorker; born in Huntington, Long Island. She was educated in the public schools of New York City and received a BA.from Queens College and an M.A. from New York University. Tepper is also a Fellow of the Museum of American Folk Art, having completed its Folk Art Institute's certificate program. In addition to directing the New York Quilt Project, she is the Registrar of the Folk Art Institute.

Despite her heavy schedule, Tepper has enjoyed making quiltsfor herfamily since 1976.

SPRING 1992 THE CLARION 45

THE LOST SKETCH BOOK OF JURGAN FREDERICK HUGE DAVID A. SCHORSCH Jurgan Frederick Huge (1808-1878); circa 1863. Private collection.

he rediscovery of Jurgan Frederick Huge's pencil sketchbook in August, 1991 represents a significant find in the study of American folk painting, as few examples of preparatory or pencil sketches by notable American folk painters have survived.'

For nearly half a century the life and work of Jurgan Frederick Huge (1809-1878) has been the subject of research conducted by Jean Lipman, one of the pioneers in the field. In 1973, Lipman wrote that "About forty years ago a large marine watercolor, Bunkerhill, came to my attention. Although it was fully signed and dated, the artist's name, J. F. Huge, meant nothing to me â&#x20AC;&#x201D; or anyone else. Nevertheless, the picture

T

Steam packet flying the French flag in rough sea; graphite on paper; 71 / 2 x 10/ 1 2.

Private collection

Dogs chasing a bird with covered wagon and human figure in the background; graphite on paper; 71/2 x 101/2 . Private collection

impressed me then, as now, as the single most exciting American ship painting I had seen." Stimulated by the great quality of Bunkerhill, Lipman's efforts resulted in the "rediscovery" of a body of at least fifty watercolor and oil paintings, and two lithographs. She acted as curator for an exhibition of Huge's work held at the South Street Seaport Museum in New York in 1973, and published a catalogue that included a checklist of known works.' Her conclusions were published in the catalogue which accompanied the landmark exhibition "American Folk Painters of Three Centuries," held at the Whitney Museum of American Art in 1980.3 Together with a comprehensive biographical summary of the artist's career, Lipman offered some tantalizing

facts. Huge was born in Hamburg Germany in 1809 and may have come to America prior to the age of 21.

Family tradition holds that as young men in Germany, J. Frederick and his brother, Peter Henry, worked their way over as seamen, and found new vocations in America. This probably accounts for Frederick's early interest in and technical knowledge of ships, and for his career as a ship painter.

Anne Richardson, Huge's granddaughter, had kept a number of his paintings in her house in Ridgefield, Connecticut. After her death, the estate was sold at auction.4 Along with half a dozen odd paintings was her grandfather's pencil sketchbook and a photograph depicting him in his middle fifties. The photograph was labeled "H. C. Tuttle, Corner State

& Main Streets, Bridgeport, Connecticut," c. 1863. The sketchbook, photograph, and a group of paintings were acquired by the late Rockwell Gardiner, a noted antiquarian from Stamford, Connecticut. However, by 1973 the sketchbook was listed in Lipman's catalogue as "lost:' With the publication of this article, it will be the first time that Huge's photograph and selected images from the sketchbook have been published.

Although best known as a painter of ships, the range of the drawings in the sketchbook correlates to the parameters of the artist's mature work and includes a number of architectural views rendered in the most meticulous detail. The sketchbook measures 7/ 1 2 by 101 / 2 inches, and consists of a red and gold floral

PHOTOGRAPHS,COURTESY DAVID A. SCHORSCH,INC.

SPRING 1992 THE CLARION 47

printed paper-covered pasteboard jacket with sewn binding. It holds twelve carefully executed finished pencil drawings, demonstrating true technical proficiency, and utilizes a horizontal format. The most immediately recognizable and typical of these sketches is the accomplished rendering of a French steam packet, which most closely resembles a classic Huge: a steam ship executed in profile sailing in choppy waters. It serves as a clue to the numerous ship portraits that the artist depicted in his later years. It is quite similar in its basic composition to a number of his watercolor ship portraits executed between 1838 and 1859, although Huge's earliest recorded work is The Residence ofElijah Burritt in Bridgeport, Connecticut, dated 1836.5

By 1830, Huge was already married to Mary Shelton, the daughter of Silas Shelton, and living in Bridgeport, Connecticut. He may have completed his sketchbook in Germany prior to his arrival in the United States or drawn his European views from memory If he executed the sketches while still in Germany he would have accomplished these drawings at an early age, possibly as a teenager, making this sketchbook his earliest known work.

The sketchbook is abundant with decipherable raw material that is meaningful and quite illuminating on a number of levels. The rediscovery and survival of the sketchbook reveals a great many details about its author, and will serve to shed light on the working methods of folk painters

in general. The sketches confirm that certain folk painters developed formulas for composition. It further demonstrates that specific artists, as exemplified by Huge, were technically proficient and skillful, and rendered details accurately in well drafted finished pencil sketches.6 Eleven of the drawings in the sketchbook depict landscape views, all probably of local German derivation or copied from print sources available in Europe. One sketch is clearly of the Rhine, others show ruined castles, mountain and lake views and local people at work.

Many of the elements in these landscape sketches can be found in Huge's full-blown Bridgeport house portraits. These "signature" details include the rather distinctive manner

Shepherdess and ewe; graphite on paper; 7% x 10%. Private collection

Ruined castle with human figure in the foreground raking; graphite on paper; 7Y2x 101/2 . Private collection

in which trees and foliage are delicately drawn, the inclusion of reclining cows, and running dogs, and the manner in which windows are rendered. The "German" scenes in the sketches, which represent the artist's youth, are reiterated in one of his latest pictures, the 1873 crayon and pastel View of the Rhine.' This work includes a rather nostalgic and romantic depiction of a castle in the background. Huge's landscapes with castles and mountains may be compared to the work of Thomas Chambers (1815-1866),8 William Matthew Prior (1806-1873),째 and Edwin Weyburn Goodwin (1800-1845).'째 Two of the sketches feature cows and relate to oil paintings of this subject matter

by John S. Blunt (1798-1835)," and Edward Hicks (1780-1849).12 The

sketch of the Shepherdess with a lamb shares a great deal in common with the oil paintings of this subject matter

by Susan C. Waters (1823-1900).13 The story of the life and artistic career of Jurgan Frederick Huge faithfully realizes the American dream: a non-English speaking immigrant with few contacts comes to these shores with talent and great expectations, and makes good. Huge's works have been widely published and exhibited and are represented in the permanent collections of a number of significant art museums and historical societies throughout the country.'4 Thanks to the efforts of Jean Lipman and the cumulative education and awareness of several generations of scholars, Jurgan Frederick Huge has rightfully taken his place as

one of America's great folk painters of the nineteenth century. The rediscovery of Huge's sketchbook will hopefully stimulate further research into his art and life.* David A. Schorsch is a dealer specializing in American antiques.

Hefrequently writes on various aspects of American folk art and is an instructor at the Folk Art Institute of the Museum ofAmerican Folk Art. NOTES: 1. Sketches and studies by notable folk painters include: A. A pencil sketch of a lion and ox linked through details in animals and background to a specific Peaceable Kingdom by Edward Hicks (1780-1849), c. 1837, mentioned in Eleanor Price Mather and Dorothy Canning Miller,

Edward Hicks His Peaceable Kingdoms and Other Paintings,(Newark: University of Delaware Press, 1983) p.

136. This sketch was examined by the author.

B. A drawing of the steamboat 'Shady Side' by James Bard (1815-1897), 1873, illustrated in Howard S. Sniffen, James and John Bard, in Jean Lipman and Tom Armstrong, editors, American Folk Painters of Three Centuries,(New York: Hudson Hills Press in association with the Whitney Museum of American Art, 1980), P. 57.

C. A sketchbook by Justus Dalee (active 1826-1848) owned by the Walters Art Gallery, Baltimore, Maryland, is entitled "Emblematic Figures, Representations, & To Please the Eye." It is a homemade hand-sewn volume containing watercolor and ink compositions executed between May 19, 1826, and February 12, 1827.

2. Jean Lipman, Rediscovery: Jurgan Frederick Huge,(New York: The Archives of American Art, 1973).

3. Jean Lipman, "Jurgan Frederick Huge (1800-1878)," in American Folk Painters of Three Centuries,(New York: Hudson Hills Press, Inc. in association with the Whitney Museum of American Art, 1980), pp. 110-115.

4. Quoted from Lipman, Rediscovery: Jurgan Frederick Huge,(New York: Archives of American Art, 1973), p. 4.

In accordance with Miss Richardson's strange order the house was destroyed.

5. The work is oil on canvas, 23/ 3 4x 34/ 1 4, signed "Painted by J. Frederick Huge, Bridgeport, 1836fr illustrated in Jean Lipman, Rediscovery: Jurgan Frederick Huge,(New York: Archives of

American Art, 1973), P. 28.

6. The author believes that other folk painters probably utilized sketches during their careers. These may include Erastus Salisbury Field and the so-called Almshouse painters: John Rasmussen, Charles Hofmann, and Louis Mader.

7. Illustrated in Jean Lipman, Rediscovery: Jurgan Frederick Huge, (New York, Archives of American Art, 1973), p. 21.

8. Richard B. Woodward, American Folk Painting, Selectionsfrom the Collection of Mr and Mrs. William E. Wiltshire III, (Richmond: The Virginia Museum, 1977), fig. 37, pp. 78-79, Two Hunters in a Hudson River Landscape, ca. 1840, New York, Oil on canvas, 181 / 4 x 241 / 2 inches. A Catskill Mountain

Partially ruined castle view with cows; graphite on paper; 71/2 x 10%. Private collection

House with castle like spire is included.

9. Prior is noted to have executed a number of "fancy pieces" which included imaginary, topographical, and foreign landscapes during the 1850s. His foreign landscapes often included Castles.

10. Hirschl and Adler Folk, Young Faces, an exhibition catalogue, pp. 1415, which illustrates a group portrait of the artist's children before a landscape with a European style castle on a hill.

11. Robert Bishop, The Borden Limner And His Contemporaries,(The University of Michigan Museum of Art, 1976), fig. 30, p. 53, Portrait of Symmetry, Signed on the rock in the lower left, "J. S. Blunt, 1823, Oil on / 2". Collection of wood panel, 11 x 171 Reclining cow and a calf; graphite on / 2". paper; 71/2 x 101 Private collection

Mr. and Mrs. Bertram K. Little.

Bishop writes of this work "This painting of a prize Jersey cow represents a rarity in American art. The convention of recording fine specimens of cattle was much more popular in England. The small farmhouse and stand in the background are nearly identical to those in the Winter Scene (cat 33)."

was initially an itinerant portrait painter.

In 1866 she returned to Bordentown, New Jersey, where she remained active as an artist until her death in 1900. She became noted for her paintings of sheep, and exhibited her work in the Centennial exposition in Philadelphia. See Colleen C. Heslip, "Susan C. Waters," Antiques, April, 1979.

12. Eleanor Price Mather, Edward Hicks (1780-1849), in American Folk Painters of Three Centuries,(Hudson Hills Press, Inc., New York in association with the Whitney Museum of American Art, 1980), pp. 94-96, "Noah's Ark," "The Residence of David Twining, 1787," and "The Cornell Farm," in which livestock are rendered in painstaking detail.

14. Works by Huge are represented in the permanent collections of: Mariners Museum, Newport News, Virginia; The New York Historical Society, Barnum Museum, Bridgeport, Connecticut; Maryland Historical Society, Museum of Art, Industry & Science, Bridgeport; Bridgeport Public Library:The Whaling Museum, New Bedford, Massachusetts; Society for the Preservation of New England Antiquities, Boston; and Marine Historical Association.

13. Beginning in 1843 Susan C. Waters

Will the Real James Alexander Coverlets Please Stand Up RABBIT GOODY

lowered carpet coverlets, the advertised description of those bed coverings we have come to call "jacquards," have attracted the attention of collectors and historians since they became popular in the first quarter of the nineteenth century.

Their popularity may be due to their beauty, their complex woven constructions, or the names and dates woven into the corners or borders which connect us to a tangible past of real people. Regardless of why they have remained popular, their manufacture is often misunderstood and attributions to particular weavers is often erroneous. James Alexander's name,for instance, has been associated with many early flowered carpet coverlets, including what have become known as "agricultural quote" coverlets. But, the following research and explanations may help dissolve some of the myths about Alexander, his colleagues and other coverlet weavers.

The earliest surviving examples of flowered carpet coverlets were often woven of blue wool and natural colored cotton or linen. These early examples were constructed by weaving two layers of cloth simultaneously and exchanging the layers to create figured designs, a construction known as double cloth. Coverlet construction has been a subject of study for textile historians because very little of the complex weaving equip-

52 SPRING 1992 THE CLARION

ment used to create the earliest examples has survived and the weavers who created them left scattered and incomplete records. That is why, when the account book of James Alexander, a Scotch-Irish immigrant weaver of these flowered carpet coverlets, was discoverd and explored by Virginia Parslow in the April 1956 issue of Antiques magazine, the interest in Alexander as an outstanding early coverlet weaver was rekindled.

Many reading this early information mistakenly attributed similar coverlets to Alexander. Closer exploration of his surviving account book and other documents reveal that these comparable coverlets are definitely not Alexander's. Additional research also raises questions about Alexander's weaving business and about other immigrant weavers working with or in close proximity to Alexander. Who else was weaving flowered coverlets in Orange County, NY in the 1820s? What equipment did Alexander have? Where did he receive his training? . . . And, which coverlets did Alexander weave?

James Alexander was born in 1770 in Ireland of Scottish parents.

No records of his apprenticeship have been found, but he is said to have been apprenticed to the weaving trade. He immigrated to Connecticut in 1798 at the age of 28. By 1800 he had married and moved to Little Britain, Orange County, New York to begin a weaving business and work

on a rented farm. His weaving career grew slowly and bloomed between the years of 1817 and 1828 after which he retired at the age of 50. He continued farming and died just short of his 100th birthday. He is buried in Newburgh, New York.

James Alexander became wellknown as one of the earliest documented coverlet weavers in America, because of the survival of his account book, which lists all of his coverlet clientele,' twelve positively identified surviving coverlets dating from 1820 to 1828, and articles written about his work. His dated coverlets are some of the earliest surviving identified examples of the double cloth flowered carpet coverlet. Although he and his workmen were prolific, weaving 251 coverlets in 9 years, only twelve have been positively attributed to his workshop. New research has given us some clearer guidelines for the identification of his contributions along with a greater understanding of early fancy coverlet weaving in America.

James Alexander was one of the earliest documented trade weavers

A PAGE FROM JAMES ALEXANDER'S ACCOUNT BOOK, showing weaving drafts for geometric designs. Courtesy of the New York State Historical Association Library, special collections, Cooperstown, NY.

Parslow never attributed the "agricultural quote" coverlets to Alexander... to arrive on the wave of Scotch-fish immigration (1790-1840), and we know that he employed other ScotchIrish weavers in his business.

Alexander's training in Ireland was probably in a specialized branch of weaving. The scrawled weavers' drafts and notes in his account book indicate that he could weave fancy block (geometric) diaper damask used for table linens (figure 1). Yet, his immigration to America initially demanded a more generalized weaving business, including weaving woolen cloth for clothing, sacking, and common goods. American families could purchase imported textiles, but a trained fancy weaver could make use of yarns spun in the home to help offset the expense. His specialty would have prepared him to weave denser or more complex textiles than

ADVERTISEMENT from the Newburg Political Index; 1818; shows Eikin's advertisement above James Alexander and John Gibbs advertisement.

Alexander's first advertisement was designed in 1817.

Eikin copies Alexander's advertisement almost word for word.

FIGURE 2 IV EAVINO. THE tolweribier wiwbes to inform hit tricot mil Hie po.,11c tblt he tau, for Jiitt cause, to the houte of Juni." Alcurnicr, 110 hu moot ed to the home 01 Thomas Shaw, of Litit &Ulu, tellers he hat cninmenced the

ICE.ITINO BUSINESS, la Its ralout iwsneliee, to wit i end Damask Diepi7, Vat, nonnt pal , Gtriptr km/roe. Ito 2 1.4 or fade, Carpet

) ,

Covertids, forga work or &aurae, (ifrequired, thefarmar'i coal gr arms, or etty otkir UM say 44 reirkod)Counterpassa of any pattern or tire. Una* or Anal's, Li.lot,

Any pence •tthing to lease their work shall hare k atteuded to •Ith punctuality asel id lit wortesaa-litt• Eta/tart by applying at JAMES till N. tlua Ours plaza. " ' It Iday IL ISIS.

FANCY WEAVLNO. THE saberribers respeetkily Worts their Meads and the public la poenl that they or, ry on the 11-BIVING BUSINESS. Is ks rartous brasebes, to wit—

Diaper and Damask Diaper,ofthe completes! European pOUCI70,from Ito 1.4de.wide, Flowered Carpets, Car. pet Coverlids,full breadth or ItaT. as said ihs OYClittli, Counterpanes, of any pattern or sae, touther with all kinds or nary Wearing.

Likewise—All kiwis ot Float Coserlittr, Car, son. glasle and doable. and all klnds plain work sash u liaea sad vnteiret.

N. B. The above busload Is carried on by a nernplele•ortstaa.lately tram Faro..aad a ma who prams. loathing but what lie porton*.

Amy pervoe wishing to tears their work gall hare It attetodrd to with patnetoality aad does la a wortrasaltko umuner. by apply* to the seberibers, sear the Little Britala meet*.

JAMES ALF-WIDE:It. louse.

JOHN 0113B.

if Niar-Wialsar, Juno 1,1118.

GOOD& COTTON DOMESTIC

families could produce with their limited equipment and knowledge.

While Alexander was trying to establish his weaving business, his early records (1799-1819) show a great diversity in the types of cloth he produced. He combined custom weaving with some farm labor in order to provide for his family. Early entries in his account book, which record his

weaving clientele, indicate that he wove tablecloths using yarns spun by the families purchasing his services, besides linen and wool for clothing.

His account book also lists records of his farm labor, plus some of his pattern designs for geometric block coverlets.

Although his weaving business had been underway since 1800, his first recorded newspaper advertisement does not appear until 1817. In that advertisement he listed a wide range of fabric types in a "Weaving Business, in all its various branches, Viz:- Diaper, Damask Diaper . . . float work, flowered double and sin-

SPRING 1992 THE CLARION 53

gle coverlids . . ."2 But according to his account book, his early production was limited to simpler cloths and those with only geometric, not floral, designs. All of the early entries required the same type of weaving loom which would not have been capable of producing flowered work.

There is no evidence that Alexander did any figured or flowered work before 1820, although he advertised from 1817 his capacity to do so. Curiously, there are no weavers' drafts, "scrawls," recipes, or indications in his book which suggest that James Alexander himself understood or knew how to design and draw patterns for figured or flowered work.

The later entries in his account book, 1819-1828, reflect a change in what Alexander actually wove and include entries for 251 of the dated "double flowered carpet coverlets," with "names to be put in the corners."' Twelve, at least, survive as documentation. His account book indicates that he employed his oldest son and other weavers in his workshop by 1818, but there were other immigrant weavers advertising in Orange County as well. Over time Alexander became more specialized and limited the weaving work in his shop to tablecloths and coverlets with some minor exceptions.

Alexander's change from generalized weaving to specialized weaving and from geometric to figured work is an important occurance. The reasons for this are complex. They involve the changes which were happening all over America in textile technology, in patterns of immigration, and in the economic and political conditions in the newly formed republic.

The beginning of the nineteenth century in America created an expanding atmosphere for invention, expecially in textile manufacturing.

The change from hand to water power was being successfully developed for carding, spinning, and weaving.

Those changes allowed the manufacture of certain cloths, expecially sheeting, shirting, and flannels, to become less costly. There was fierce competition between domestic and foreign imports. The generalized work with which Alexander had supported his family earlier was in part being taken over by companies with new machinery and imported cheap English goods. The War of 1812 was fought in part to assure America a place in the world of international trade. The war gave rise to shifting economic pressures between the newly formed republic and its European trading partners. The immigration of

skilled textile workers like Alexander and the development of manufacturing gave America the ability to choose between becoming a manufacturing nation or remaining agrarian.4 Economic conditions in the British Isles led many trained weavers to New York State to reside near Alexander in Orange County.

There is no evidence that Alexander did any figured or flowered work

before 1820, although he advertised from 1817 his capacity to do so.

Others settled in Dutchess, Ulster, Putnam, and other communities along the Hudson. It is not uncommon to scan a newspaper for the years between 1817 and 1830 to find several weavers advertising in a single area.

Alexander hired other immigrant weavers to work with him. In 1818 James Eikin (spelled Aiken variously) worked for Alexander and left ". . . for just cause . . ." shortly after John

FIGURE 3 THE AUTOMATIC

-gi'ketEL

ciciâ&#x20AC;˘jbei2 LooM

Fl7. 6.

AUTOMATIC CAII mi. intAlt" LOOM. Estroded by Sim,Dmrean.

CARPET LOOM from John Duncan's Practical and Descriptive Essays on the Art of Weaving; 1830; Glasgow. This is the only picture of a barrel or cylinder loom from the period. No barrel loom has survived.

54 SPRING 1992 THE CLARION

AGRICULTURAL QUOTE COVERLET; Dover, New York; 1827. Courtesy Museum of American Textile History, North Andover, MA. 62-78.

FIGURE 4

p One of the LnO$t ingenious and rungsi I meus of manufak:ture was a counterpLne. we. yen by Mr. Graham, of 'Sew-Jersey, and 4 posited by Mr. l'irakeinan of this cit.y. Ou. , the border 1i'llt; WOVeD.in capituls—AGRICCI, • TURE AD ILANUF ACTORES ARE THE Countay. f‘yo TION OF OUR INDEAENDENCE. ' some bed quilts were deposited—one by Rutgers, and the other by 151essrs. of thiscity. Articlesoltinenanci cotton,cens:st.'l An article from The Statesman, reprinted In The Ploughboy; mentions the recent New York agricultural fair in which Graham from New Jersey introduced his new coverlet with "Agriculture and Manufactures ..." woven into the border.

Gibb, ". . . lately of Europe, and a man who professes nothing but what he performs . . ."5 began to advertise with Alexander under a new heading of "Fancy Weaving" (figure 2). In 1819, James Eiken, then working on his own, was joined by Robert Young. And by 1825, in Orange County, John Alexander, James' son, and John Caughey were each advertising separately. Morris T. Whitney in 1828, Henry Mead in 1829, and Thomas Smith in 1834, all advertised their weaving services in the local paper.

Ingrain carpet, or kidderminster, a flat, double woven carpeting originally produced in Scotland, had become very popular. In its early mid-eighteenth century form, the designs were geometric. By the early nineteenth century the motifs were floral or figured. Improvements in the complex loom used to make ingrain carpeting were being developed by the time Alexander left Ireland in the 1790s. Even greater strides had been made before Scottish immigrants like

John Eilcin, Robert Young, and John Gibb, came to Orange County, New York between 1814 and 1820.

Descriptions of the patented "carpet looms" vary, but the mechanics often included a barrel shaped attachment next to the loom frame. The attachment was similar to a mechanical music box barrel, coated with wax on which pins that activated the pattern were placed.

Figures of different sizes and scale could be woven by changing the placement of the pins on the barrel, allowing for pictorial or figured weaving to take place mechanically (figure 3). The now familiar improvement of Joseph Marie Jacquard in 1801, often referred to as the Jacquard Head, was originally designed to weave figured silks and incorporated some of the carpet loom improvements. It also used some of the advances of the Crosses' Counterpoise Drawloom.6 The Jacquard Head, however, was not then known and was not used by Alexander and his compatriots. The size and scale of

the center repeat which Alexander and the other early coverlet weavers used is too large to have been accomplished by the early Jacquard loom, which had a limited number of lifting hooks to make a pattern. There is strong reason to believe that the other mechanical ingrain carpet looms were known, built, and operated by the immigrant weavers between 1820 and 1830.

An article by Joseph Alexander, the youngest son, writing when in his nineties about his father James, said: We moved to Little Britain on a farm of about 60 acres where we carried on farming and weaving in all its branches, such as plain linen and woolen table linen, and fancy coverlids. The first ingrain carpet ever woven in this country was woven in our shop for Gabriel N. Phillips. It was woven on a loom of Brother John's invention. The carpet took first premium at the Agricultural fair

SPRING 1992 THE CLARION 56

of Orange County in 1819.'

It is somewhat doubtful that this was the first ingrain carpet woven in America, and it is quite possible that Brother John Alexander had a great deal of help in designing the loom from Eikin or Gibb who had recently arrived from Scotland. The account book corroborates the purchase of timbers for a new loom during this time.

The Ploughboy, published in Albany as an advocacy paper for the New York Agricultural Society, cites Messrs. J. and N. Haight for the best yard wide "ingrained" carpeting in 1822.8 One would suspect that there were other manufacturers of ingrain capeting in New York State. The style of coverlet which we associate with James Alexander is, in construction, identical to figured double woven ingrain carpet. Alexander did not begin to weave ingrain carpet until 1819. His account book shows the first flowered carpet coverlids with "Names to be put in the corner" in 1820, but the earliest surviving coverlet is dated 1821. The 1817 advertisements preceded the actual production of coverlets by at least two years, and occurred only after the arrival of John Gibb.

In 1822 the published report of The Committee on Agriculture and Domestic Manufactures of Orange County 13 awarded premiums for the best piece of flannel, best piece of linen, second best piece of linen, best piece of diaper, second best piece of diaper, best and second best coverlet, and best carpet. The owners of these items, presenting them at the fair, received the awards. However, an asterisk preceded each of these items and it was noted that the items ". . . were woven by James Alexander and Sons, Little Britain."9 No further description of the items was included, but the first and second prize coverlets were exhibited by William Wilkin. Two flowered carpet coverlets are extant with "Susan Wilkin" in the corner of one, and "Eliza Wilkin" in the corner of the other. Both are dated 1821 and both names appear in James Alexander's account book on page 82.10 Although there is no doubt about the Wilkins' coverlets, there have been errors in the attribution of

56 SPRING 1992 THE CLARION

other coverlets in the same double woven flowered carpet coverlet style with very similar center motifs, and some of the same border elements.

These often include a corner block with the quote 'Agriculture and Manufactures are the Foundation of our Independence." Sometimes the name "Gnrl Lafayette," and sometimes "July 4th" are included in the corners below the quotation.

Mistakes in the attribution of coverlets to Alexander and his workmen occurred sometime after the publication of the 1956 article by Virginia Parslow in Antiques magazine." Parslow never attributed the "agricultural quote" coverlets to Alexander, but because his name became synonymous with early New York coverlets, and the center motifs were very similar, subsequent articles on early coverlets began to assume the similarity in center and border designs to be sufficient grounds for attribution.

The earliest mention of the agricutural quote being used on a coverlet or counterpane appeared in the New York Statesman, Nov. 13, 1822, and was reprinted in The Ploughboy, Dec. 3rd of the same year. ". . . One of the most ingenious and finest specimens of manufacture was a counterpane woven by Mr. Graham, of New Jersey, and deposited by Mr. Wakeman of this city.

On the border was woven in capitals -AGRICULTURE AND MANUFACTURES ARE THE FOUNDATION OF OUR INDEPENDENCE-. . .

12

(figure 4).

The coverlets which survive with the agricultural quote were certainly not woven by Alexander and there is no proof that those surviving were woven by Mr. Graham of New Jersey. The client's names which are woven across the end borders on these coverlets are primarily from Dutchess and Putnam counties in New York. The names do not appear in the Orange County records, or in Alexander's account book. Some of the coverlets include the town name of Dover (figure 5). These coverlets are dated 1823 through '34 and there are many variations of the border motifs. More research needs to be undertaken to positively identify the weavers of these, but they positively are not James Alexander's, and they

do not appear to have been woven in Orange County, New York.

In contrast, there are some very specific and curious identifiers for the coverlets woven in James Alexander's workshop by Alexander, his son, or John Gibb, which distinguish them from the agricultural quote variations. The most notable feature is that the coverlets did not change except between 1821 and 1822. The coverlets produced in 1828, the last year Alexander recorded weaving coverlets, are virtually identical to those woven in 1822. The extant 1828 example bears the name of Rhoda Bowers. Alexander retired from weaving in his fifties, and there

Alexander clients' names are always in a corner block. The names in agricultural quote coverlets are across the ends. is no reason to suspect another account book existed. No Alexander coverlets have been identified in which the names cannot be found in the book or post date the book.

The cartouche, the corner block with the client's name and date, never changes size or location in Alexander's coverlets. It always appears in the corner, not across the bottom or top border as it does in the agricultural quote coverlets. The corner block is always surrounded by a square, setting it off from the border and center motif.

The earliest extant coverlets dated 1821 have a particularly crude eagle on both the side and the end borders. The eagles are not of the design quality of the center of the coverlet (Susan Wilkin, Feb. 14 1821). By 1822, the side eagle and the entire side border had been changed to a more homogeneous continuation of the center motif. The eagle in the end borders remained crude by comparison. Regularly distributed dots, a technique employed to make the coverlet more durable, connecting the top and bottom layers of double

JACQUARD DOUBLE WEAVE COVERLET; Multiple Rose Medalions; James Alexander, Weaver; Emily Downing, Owner; New York State; Sept.

4, 1822; Wool and cotton 74x93".

Collection of Museum of American Folk Art, NY. Gift of Margot Paul Ernst. 1989.

16.23.

;Mit.0/0(i + .T(1:4?

SS81

cloth, appear throughout the entire coverlet in 1822 (Joseph Young, Sept. 4 1822); see figure 6, Emily Downing, Sept. 4 1822.

All of the drafts for patterns in Alexander's book are for geometric work. There is no evidence in James Alexander's account book that he knew how to draft figured designs.

The persistence of the crude eagle, even after the side borders were changed, may indicate that the center motif was designed originally outside of the Alexander workshop. The crude eagle on the other hand may have been designed by Alexander, his son, or Gibbs. We will never know whether skill and/or the type of equipment used prevented Alexander from making changes over the eight years he produced these coverlets.

The center design of the Alexander coverlets are not absolutely symmetrical. Upon close examination the patterns are not constructed using the mirror image tie-up or hook system usually associated with a Jacquard attachment. There is enough non-symmetry to indicate the possible use of a barrel type mechanical loom, but as none of Alexander's equipment survived, the actual weaving apparatus is unknown. Whatever the patterning device Alexander and Co. used, except for changing the name and date, no attempt was made to change, update, or improve on the design or quality of the coverlets between 1822 and 1828.

If the Alexander coverlets are so distinctive, why is there confusion over the attribution of the agricultural quote coverlets? The confusion over attribution seems to be linked to a few of the shared motifs used in many of the early flowered coverlets.

For example many of the surviving carpet coverlets used a similar eagle, masonic symbols, stars, and in the case of Alexander and the agricultural coverlets, a very similar center motif.

Certainly, the agricultural coverlets are similar, but because we have surviving early and late Alexander coverlets, identified by the acount book, it is possible to state positively what he did or did not weave.

With closer examination, a small checklist can be developed to distinguish between Alexander coverlets and the agricultural coverlets.

IS SPRING 1992 THE CLARION

• Location of the clients name: Alexander clients' names are always in a corner block. The names in agricultural quote coverlets are across the ends.

• Border motifs: Alexander used twin pine trees and masonic pillars on the end border but only the pine trees without the masonic pillars on the side border. Agricultural coverlets do not have pine trees and the masonic symbol appears on both the end and side borders.

• Another border motif: Alexander used a leaf sprig similar to the leaf sprig from the center motif in the side border. Agricultural coverlets feature shamrocks instead.

• Center seam or woven full width: All of the Alexander coverlets are seamed in the center. Even though he advertised wide loom capacity, none of his coverlets were woven in one piece. Agricultural coverlets were done both as a single piece, and seamed in the center, possibly indicating different weavers.

The examination of the agricultural coverlets and others similar to those listed in the Alexander account book allow us to see that there were many different variations of flowered carpet coverlets woven between 1822 and 1828.

It is possible to speculate that the increase of trained Scottish weavers immigrating to America after 1800 led to similarities in familiar designs. Certainly these men were capable of designing, building the necessary equipment, and weaving flowered carpet coverlets. Alexander advertised and wove block and geometric coverlets before 1820 that were undated and unnamed. The competition between weavers may have led to the addition of "gimmicks" such as including the client's name and date.

We will never be able to ascertain Alexander's personal knowledge of design and we have not yet been able to determine what type of equipment he built to weave the flowered carpet coverlets. However, we can be sure that the coverlets that were produced in his workshop are listed in his account book. His coverlets are distinct from the agricultural quote coverlets that have been loosely attributed to him over the past several

years. And, we do know that all of his coverlets bear the same characteristics, regardless of date, which make them easy to identify The quest now becomes to find out who was weaving the agricultural quote coverlets? Perhaps as we dig into this more deeply we will also discover more about the early weaving equipment and how this specialized technology spread to American immigrant weavers.* Rabbit Goody completed her BA. at Bennington College. She is presently the director of the Cooperstown Textile School and a museum consultant. She is also a partner in Thistle Hill Associates, a company that reproduces historic textiles for museums.

NOTES: 1. James Alexander, "Account Book, 1800-1828," unpublished. Special Collection NYSHA Library, Cooperstown, NY. 2. Newburgh Political Index, Vol. XII, No. 634, Newburgh, NY. 1817.

3. Alexander, Account Book.

4. H.G. Spafford, The Gazetteer of the State of New York, Albany, NY, published by B.D. Packard, 1813.

5. Newburgh Political Index, Vol. XIII, 1818.

6. John Duncan, Practical and Descriptive Essays on the Art of Weaving. 1827. Glasgow, Scotland, 1830 ed. Plate CXXX, figs. 4 and 6.

7. Margaret Wallace, "James Alexander: The Little Britain Weaver" The Orange County Post, Thursday, July 21, 1966, P. 7.

8. The Ploughboy, Vol. 4, No. 7, Albany, NY, 1822.

9. Newburgh Political Index, Vol. XVII, Sept. 24, 1822.

10. Alexander, Account Book.

11. Virginia Partridge, "James Alexander, weaver" Antiques magazine, April 1956.

12. 'Account of the Agricultural Society of the City and County of New York," The Ploughboy, Albany, Vol. 4, No. 26, December 3, 1822, reprinted from the New York Statesman, Nov. 13, 1822.

T R Ii STFTS

ADVI

0 RS

D 0 N 0 Ft S

MUSEUM

OF

AMERICAN

FOLK

ART

BOARD OF TRUSTEES

Executive Committee Ralph Esmerian President Frances Sirota Martinson, Esq. Executive Vice President and Chairman, Executive Committee Lucy C. Danziger Executive Vice President Bonnie Stauss Vice President Peter M. Ciccone Treasurer Mrs. Dixon Wecter Secretary Karen D. Cohen Judith A. Jedlicka Joan M. Johnson Theodore L. Kesselman Susan Klein Cynthia V.A. Schaffner George E Shaskan, Jr.

Members Florence Brody Daniel Cowin David L. Davies Barbara Johnson, Esq. George H. Meyer, Esq. Cyril I. Nelson Kathryn Steinberg Maureen Taylor Robert N. Wilson

Honorary Trustee Eva Feld

Lewis Alpaugh Hoechst Celanese Corporation Gordon Bowman Corporate Creative Programs Frank Brenner Hartmarx Corporation John Mack Carter Good Housekeeping Jerry Kaplan Better Homes and Gardens

Allan Kaufman Francine Lynch Rachel Newman Country Living Thomas Troland Country Home Barbara Wright 1VYNEX Worldwide Services

Ronald J. Gard Robert S. Gelbard Dr. Kurt A. Gitter Merle & Barbara Glick Baron & Ellin Gordon Howard M. Graff Bonnie Grossman Lewis I. Haber Michael & Julie Hall Elaine Heifetz Terry Heled Anne Sue Hirshorn Josef & Vera Jelinek Eloise Julius Isobel & Harvey Kahn Allen Katz Mark Kennedy Arthur & Sybil Kern William Ketchum Susan Kraus Wendy Lavitt Mimi Livingston Marilyn Lubetkin Robert & Betty Marcus Paul Martinson Michael & Marilyn Mennello

Steven Michaan Alan Moss Kathleen S. Nester Helen Neufeld Henry Niemann Donald T. Oakes Paul Oppenheimer Ann Frederick & William Oppenhimer Dr. Burton W Pearl Dorothy & Leo Rabkin Harriet Polier Robbins Charles & Jan Rosenak Joseph J. Rosenberg Le Rowell Randy Siegel Sibyl Simon Susan Simon Ann Marie Slaughter Sanford L. Smith R. Scudder Smith Richard Solar Hume Steyer Jane Supino Edward Tishelman Tony & Anne Vanderwarker Clune Walsh John Weeden G. Marc Whitehead

Trustees Emeriti Adele Earnest Cordelia Hamilton Herbert W. Hemphill, Jr. Margery G. Kahn Alice M. Kaplan Jean Lipman

DEVELOPMENT ADVISORY COMMITTEE

Judith A. Jedlicka Theodore L. Kesselman Co-Chairmen

INTERNATIONAL ADVISORY COUNCIL

Frances Sirota Martinson, Esq. Mrs. Dixon Wecter Co-Chairmen William Arnett Didi Barrett Frank & June Barsalona Mary Black Susan Blumstein Judi Boisson Gray Boone Robert & Katherine Booth Barbara & Edwin Braman Milton Brechner Raymond Brousseau Edward J. Brown Charles Burden Tracy Cate Margaret Cavigga Joyce Cowin Richard & Peggy Danziger Marian DeWitt Davida Deutsch Charlotte Dinger Raymond & Susan Egan Margot Paul Ernst Helaine & Burton Fendelman Howard & Florence Fertig Joanne Foullc Jacqueline Fowler Ken & Brenda Fritz

SPRING 1992 THE CLARION MI

CURRINT

MAJOR

DONORS

CURRENT MAJOR DONORS The Museum of American Folk Art greatly appreciates the generous support of the following friends: $20,000 and above Anheuser-Busch Companies, Inc. Asahi Shimbun Balair Ltd. Air Charter Company of Switzerland Ben & Jerry's Homemade, Inc. Better Homes & Gardens Judi Boisson Marilyn and Milton Brechner Bristol-Myers Squibb Company Chinon, Ltd. Estate of Thomas M. Conway Country Home The Joyce and Daniel Cowin Foundation Inc. Mr. and Mrs. Frederick M. Danziger Mrs. Eva Feld Estate of Morris Feld Ford Motor Company Foundation Krikor The Horace W. Goldsmith Foundation William Randolph Hearst Foundation James River Corporation/Northern Bathroom Tissue Kodansha, Ltd. Jean and Howard Lipman Joseph Martinson Memorial Fund Steven Michaan National Endowment for the Arts New York State Council on the Arts New York Telephone Paine Webber Group Inc. Philip Morris Companies Inc. Pro Helvetia, Arts Council of Switzerland Dorothy and Leo Rabkin Restaurant Associates Industries, Inc. Schlumberger Foundation Samuel Schwartz Two Lincoln Square Associates United States Information Agency Mrs. Dixon Wecter $10,000419,999 ABSOLUT Vodka Estate of Mary Allis Amicus Foundation Bear, Stearns & Co., Inc. Mr. and Mrs. Martin Brody Lily Cates Country Living Culbro Corporation David L. Davies Mr. and Mrs. Alvin Deutsch Adele Earnest Fairfield Processing Corporation/Poly-fil速 Daniel and Jessie Lie Farber Walter and Josephine Ford Fund Taiji Harada Barbara Johnson, Esq. Joan and Victor L. Johnson Shirley and Theodore L. Kesselman Masco Corporation

1110 SPRING 1992 THE CLARION

Kathleen S. Nester Mrs. Gertrude Schweitzer and Family Mr. and Mrs. George F. Shaskan, Jr. Peter and Linda Soloman Foundation Springs Industries Mr. and Mrs. Robert Steinberg Barbara and Thomas W. Strauss Fund Robert N. and Anne Wright Wilson Wood Magazine $4,000-$9,999 The Bernhill Fund The David and Dorothy Carpenter Foundation Tracy and Barbara Cate Mr. and Mrs. Edgar M. Cullman Mr. and Mrs. Richard Danziger Department of Cultural Affairs, City of New York Jacqueline Fowler Richard Goodyear Hoechst Celanese Corporation Margery and Harry Kahn Philanthropic Fund Mr. and Mrs. Robert Klein Wendy and Mel Lavitt George H. Meyer The New York Times Company Foundation, Inc. The Reader's Digest Association, Inc. Sallie Mae/Student Loan Marketing Association S.H. and Helen R. Scheuer Family Foundation The William P. and Gertrude Schweitzer Foundation, Inc. Herbert and Nell Singer Foundation, Inc. Sotheby's Mr. and Mrs. Stanley Tananbaum Tiffany & Co. Time Warner Inc. John Weeden The H.W. Wilson Foundation Norman and Rosita Winston Foundation The Xerox Foundation $2,000-113,999 American Folk Art Society Estate of Abraham P. Bersohn The Mary Duke Biddle Foundation Mr. and Mrs. Edwin M. Braman Mr. and Mrs. Edward J. Brown Capital Cities/ABC The Coach Dairy Goat Farm Mr. and Mrs. Peter Cohen Mr. and Mrs. Joseph E Cullman 3rd Mr. and Mrs. Donald DeWitt Mr. and Mrs. Alvin Einbender Margot and John Ernst Richard C. and Susan B. Ernst Foundation Colonel Alexander W. Gentleman Cordelia Hamilton Justus Heijmans Foundation IBM Corporation Johnson & Johnson Manufacturers Hanover Trust Marsh & McLennan Companies Christopher and Linda Mayer Morgan Stanley & Co., Incorporated Ortho Pharmaceutical Corporation Betsey Schaeffer Robert T. and Cynthia V.A. Schaffner Mr. and Mrs. Derek V. Schuster Mr. and Mrs. Ronald K. Shelp Randy Siegel

Joel and Susan Simon L.J. Skaggs and Mary C. Skaggs Foundation Mr. and Mrs. Austin Super William S. Taubman Mr. and Mrs. Richard T. Taylor Alice Yelen and Kurt A. Gitter $1,00031,999 American Savings Bank William Arnett The Bachmann Foundation Didi and David Barrett Michael Belknap Adele Bishop Edward Vermont Blanchard and M. Anne Hill Bloomingdale's Bozell Inc. Mabel H. Brandon Sandra Breakstone Ian G.M. and Marian M. Brownlie Morris B. and Edith S. Cartin Family Foundation Edward Lee Cave CBS Inc. Chase Manhattan Bank, N.A. Liz Claiborne Foundation Conde Nast Publications Inc. Consolidated Edison Company of New York Judy Angelo Cowen The Cowles Charitable Trust Crane Co. Susan Cullman Gerald and Marie DiManno The Marion and Ben Duffy Foundation Mr. and Mrs. Arnold Dunn Echo Foundation Ellin F. Ente Virginia S. Esmerian Mr & Mrs. Thomas Ferguson Evelyn W. Frank Janey Fire and John Kalymnios Louis R. and Nettie Fisher Foundation M. Anthony Fisher Susan and Eugene Flamm The Flower Service Emanuel Gerard The Howard Gilman Foundation Kurt A. Gitter Selma and Sam Goldwitz Mr. and Mrs. Baron Gordon Renee Graubart Doris Stack Greene Terry and Simca Heled Alice and Ronald Hoffman Mr. and Mrs. David S. Howe Inn on the Alameda Mr. and Mrs. Yee Roy Jear Judith A. Jedlicka Dr. and Mrs. J.E. Jelinek Isobel and Harvey Kahn Kallir, Philips, Ross, Inc. Lore Kann Foundation Mr. and Mrs. Leslie Kaplan Lee and Ed Kogan

Kyowa Hakko U.S.A. Inc. Mr. and Mrs. Ronald Lauder Estate of Mary B. Ledwith William and Susan Leffler Dorothy and John Levy James and Frances Lieu R.H. Macy & Co., Inc. Robert and Betty Marcus Foundation, Inc. Marstrand Foundation C.F. Martin IV Helen R. Mayer and Harold C. Mayer Foundation Marjorie W. McConnell Meryl and Robert Meltzer Brian and Pam McIver Michael and Marilyn Mennello The Mitsui USA Foundation Benson Motechin, C.P.A., P.C. National Westminister Bank USA New York Marriott Marquis Mattie Lou O'Kelley Paul Oppenheimer Dr. and Mrs. R.L. Polak Helen Popkin Random House, Inc. Cathy Rasmussen Ann-Marie Reilly Paige Rense Marguerite Riordan Dorothy H. Roberts Mrs. John D. Rockefeller III Daniel and Joanna S. Rose Willa and Joseph Rosenberg The Saloman Foundation Mr. and Mrs. Jon Rotenstreich Mr. and Mrs. William Schneck Mr. and Mrs. Richard Sears Rev. and Mrs. Alfred R. Shands III Mrs. Vera W. Simmons Philip and Mildred Simon Mrs. A. Simone Mr. and Mrs. Sanford L. Smith Mr and Mrs. Richard L. Solar Mr. and Mrs. Elie Soussa Robert C. and Patricia A. Stempel Sterling Drug Inc. Swiss National It:wrist Office SwissAir Phyllis and Irving Tepper H. van Ameringen Foundation Tony and Anne Vanderwarker Elizabeth and Irwin Warren Weil, Gotshal & Manges Foundation Wertheim Schroder & Co. Mr. and Mrs. John H. Winkler

$5004999 A&P Helen and Paul Anbinder Anthony Annese Louis Bachman Baileys Original Irish Cream Liqueur Arthur and Mary Barrett Mr. and Mrs. Frank Barsalona David C. Batten Robert Baum Roger S. Berlind Mrs. Anthony Berns Best Health Soda Peter and Helen Bing Robert and Katherine Booth Michael 0. Braun Iris Carmel Classic Coffee Systems Limited Edward and Nancy Coplon Edgar M. Cullman, Jr. D'Agostino's Allan L. Daniel The Dammann Fund, Inc. Days Inn窶年ew York City Andre and Sarah de Coizart Mr. and Mrs. James DeSilva, Jr. Ross N. and Glady A. Faires Helaine and Burton Fendelman Howard and Florence Fertig John Fletcher Timothy C. Forbes Estelle E. Friedman Daniel M. Gantt Ronald J. Gard General Foods Barbara & Edmond Genest Mrs. and Mrs. William L. Gladstone Irene and Bob Goodkind Great Performances Caterers Dr. and Mrs. Stanley Greenberg Grey Advertising, Inc. Connie Guglielmo The Charles U. Harris Living Trust Denison H. Hatch Hedderson Lumber Yard Stephen Hill Arlene Hochman Holiday Inn of Auburn Mr. and Mrs. Albert L. Hunecke, Jr. Mr. and Mrs. Thomas C. Israel Guy Johnson Cathy M. Kaplan Louise and George Kaminow Mary Kettaneh Barbara Klinger Janet Langlois Peter M. Lehrer Mr. & Mrs. Richard M. Livingston Adrian B. and Marcie Lopez Lynn M. Lorwin Hermine Mariaux Michael T. Martin Robin and William Mayer Mr. and Mrs. D. Eric McKechnie Gertrude Meister

Gael Mendelsohn Pierson K. Miller New York Hilton and lbwers at Rockefeller Plaza Mrs. and Mrs. Arthur O'Day Geraldine M. Parker Dr. Burton W. Pearl Mr. and Mrs. Stanley M. Riker Betty Ring Mr. and Mrs. David Ritter Trevor C. Roberts Richard & Carmen Rogers Toni Ross Richard Sabino Mary Frances Saunders Schlaifer Nance Foundation Sheraton Inn, Norwich Skidmore Owings & Merrill Smith Gallery Smithwick Dillon Karen Sobotka Amy Sommer Jerry I. Speyer David F. Stein Edward I. Tishelman Mr. & Mrs. Thomas Tuft Mrs. Anne Utescher David & Jane Walentas Clune J. Walsh Jr. Marco P. Walker Maryann & Ray Warakomski Washburn Gallery Frank and Barbara Wendt Anne G. Wesson G. Marc Whitehead Mr. & Mrs. John R. Young Marcia & John Zweig

The Museum is grateful to the CoChairwomen of its Special Events Committee for the significant support received through the Museum's major fund raising events chaired by them.

Karen D. Cohen Cynthia V.A. Schaffner

SPRING 1992 THE CLARION Si

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1

N I V,

COMPI LED BY MELL COHEN

Gerard C. Wertkin Named as New Director alph Esmerian, President of the Board of Trustees of the Museum of American Folk Art, announced the appointment of Gerard C. Wertkin as the new Director of the Museum of American Folk Art in New York City. In making public the Board's decision, Mr. Esmerian said, "We are fortunate to have Gerry Wertkin in place to succeed the late Robert Bishop.

It is a logical succession, supported by Gerry's skills as an administrator, scholar and executive. The Museum is assured an ongoing spirit of creativity and education under the leadership of Gerry Wertkin."

In accepting the appointment Wertkin noted, "I am gratified by the confidence and trust of the Museum's Board of Trustees and look forward to serving the Museum and its family of supporters.

My first priority as Director is

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U SPRING 1992 THE CLARION

to begin a six month process of evaluation and study that will lead to the adoption of a longrange plan for the Museum's future."

For the past eleven years, Wertkin has served as assistant director, associate director, and, since the death of Robert Bishop in September, as acting director of the Museum of American Folk Art. In this position he shared all aspects of programming and policy development and had direct responsibility for the management of the Museum on a day-to-day basis.

Gerard Wertkin came to the Museum in 1980 after a fifteen year career in law. A noted authority on the Shakers, Wertkin has also had a long-standing interest in the history and art of American religious and communal societies. His first relationship with the Museum of American Folk Art was in 1979 when he organized and moderated a three-day symposium on "Shaker Life in America" in

connection with the exhibition "The Shakers of New York State." At that time he also arranged an exhibition at the New York Public Library of "Shaker Manuscripts and Imprints from the Collections of the New York Public Library" In his capacity as associate professor of art and art education at New York University, he has developed pioneering courses in the study of the folk art and material culture of American religious and communal societies.

Co-curator of the traveling exhibition "The Jewish Heritage in American Folk Art," a joint project with The Jewish Museum and the Museum of American Folk Art in 1984, Wertkin was also the curator of the exhibition "City Folk: Ethnic Traditions in the Metropolitan Area," presented by the Museum of American Folk Art at the PaineWebber Art Gallery.

Wertkin's scholarly pursuits and his extensive professional experience in museum management made him the first choice of the Board.

His commitment to maintain continuity with the important legacy of his predecessor, Robert Bishop, as well as to build upon the existing strengths of the institution are central to his view of the future of the Museum. "I believe the Museum must develop the necessary resources to become truly a national center for the study of American folk art.

The key to the Museum's future lies in its ability to establish

and sustain a reputation for excellence at all levels. The Museum must be able to demonstrate the importance of its contributions to the field and 'quality' will be the hallmark of my directorship."

Gerard C. Wertkin received his A.B. from Syracuse University in 1962 and an LL.B. and LL.M. from New York University. Among his professional activities, he serves as a Trustee of the United Society of Shakers, Sabbathday Lake, Maine and was President of the Friends of the Shakers, Sabbathday Lake, Maine from 1979-82. He is also Vice-President of the Koreshan Unity Foundation which maintains a museum and educational center at a historic communal site in Estero, Florida. He is on the Advisory Committee for the Center for Research and Education at The Shaker Museum and Library, Old Chatham, NY and has been a member of the planning committee of The Pennsylvania German Society.

New Gallery Hours he Museum of American Folk Art announces a change of hours effective January 7, 1992 with the opening of the exhibitions, "Santos de Palo: the Household Saints of Puerto Rico" and "Patterns of Prestige: The Development and Influence of the Saltillo Sarape." The Museum will be open to the public Tuesdays through Sundays, from 11:30 am to 7:30 pm and will be closed on Mondays.

T

CHRIS CAPPIELLO

January Gallery Opening spirited Puerto Rican Jibaro band greeted throngs of Museum members and guests on Tuesday evening, January 7, 1992, at the Eva and Morris Feld Gallery at Lincoln Square, for the opening of the exhibitions, Santos de Palo: The Household Saints ofPuerto Rico and Patterns of Prestige: The Development and Influence of the Saltillo Sarape.

Host, Museum Director Gerard C. Wertkin, welcomed and introduced special guests: Manuel Alonso, Consul General of Mexico in New York and Chairman of the Board of the Mexican Cultural Institute of New York, who expressed his delight with the dazzling Saltillo sarapes and the successful collaboration of educational programs between the Museum and the Mexican Cultural Institute. Irvine Rafael MacManus, Jr., Director of Cultural Programs of the Department of Puerto Rican Community Affairs, spoke of the increasing influence of Puerto Rico's heritage and hailed the participation of the Puerto Rican community in this presitigious national tour.

Warm thanks were given to the manager of Corporate Relations for Anheuser-Busch Companies, Luis Gonzalez Esteves. Guest curator of the Santos exhibition, Dr. Yvonne Lange, and Mark Winter, project consultant for Saltillo sarapes were both presented.

The 175 santos â&#x20AC;&#x201D; carved and painted devotional objects from the distinguished collection of Alan Moss Reveron, will remain on view through May 10, 1992. The

Sharing Family Recipes: Call for Submissions

A

uring the holiday season our thoughts often center around visiting family and friends.

Frequently it is a time for the preparation of favorite foods handed down in recipes from past generations. The Museum of American Folk Art is embarking on an exciting program to preserve these "foodways" connections.

Please join with us in this new program by sharing your family menus and recipes.

Include the recipe and its history, which you may record on tape if you prefer.

After receiving and editing your responses, we will compile a Museum cookbook, which will be offered for sale for the benefit of the Museum's Education Program.

Send your letters and tapes to: Katie Cochran Sobel Museum of American Folk Art Two Lincoln Square New York, NY 10023 We look forward to hearing from you.

SOKOLOFF

D

Director Gerard C. Wertkin with Consul General of Mexico and Chairman of the Mexican Cultural Institute of New York, Manuel Alonso. exhibition and the accompanying educational programing have been made possible with the generous support of Anheuser-Busch Companies. Additional support for the exhibition has been provided with public funds from the New York State Council on the Arts and through a generous grant from The L.J. Skaggs and Mary C. Skaggs Foundation. Organized

Left to right; Manager of Corporate Relations Anheuser-Busch Companies, Luis Gonzalez Esteves; Curator, Dr. Yvonne Lange; Alan Moss Reveron.

as part of the 500th anniversary of Columbus' voyages to the New World, the show will travel to five cities in the United States and two cities in Puerto Rico.

Patterns of Prestige: The Development and Influence of the Saltillo Sarape â&#x20AC;&#x201D; the first major traveling exhibition of these exquisite and technically superb textiles, will remain on view in New York until March 1, 1992.

A generous sampling of wonderful Puerto Rican comestibles were served by Restaurant Associates. The Junior Colon Band appeared courtesy of Alan Reveron Moss.

Folk Art institute Trip oseph Butler, Director of the Historic Hudson J Valley Museum, greeting Folk Art Institute students when they visited the Van Cortlandt Manor in Croton-OnHudson, New York, in November, 1991.

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NFWS

Irene Reichert (center) discussing her quilt collection with members on the North Carolina tour.

North Carolina Tour n November of 1991, Beth Bergin and Chris Cappiello conducted a Folk Art Explorers' Club tour to North Carolina for 36 Museum members and their guests. The schedule included a full day of visiting some of the many folk potteries in Moore County, and the folk art environments of artists Vollis Simpson, Clyde Jones, and James Harold Jennings. The group also enjoyed receptions at galleries, museum tours, and visits to some outstanding private collections. Very special thanks to the following people for making our trip such a success: Leonidas Betts; Billy Ray Hussey; Roy M. Thompson, Jr. and Thomas M. Stanton, Jr., of the Southern Folk Pottery Collectors Society; Roger Manley; Vollis Simpson; Irene Reichert & Nathan Druet; Clyde Jones; Michael & Lisa Eller Smith; James Harold Jennings; George Jacobs of Urban Artware; Courtland & Carrie Davis and their family; Albert Hodge; John Cram of Blue Spiral 1; Andrew & Alesia Glasgow; and extra thanks to Barry & Allen Huffman for graciously hosting a barbeque dinner in their beautiful home.

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Excerpts from a letter from one of our hosts: Dear Beth and Chris, We're still basking in the warm afterglow of excitement created by your visit. You simply can't imagine the kind of motivation generated when Chris called us with the great news of our inclusion in the Folk Art Explorers' Club North Carolina itinerary. It galvanized us — there was enough adrenaline

14 SPRING 1992 THE CLARION

flowing to propel us right into the 21st century!

After months or years of storing the quilts in dark closets, it was a wonderful experience for us to put together our little exhibit. We were thrilled and honored to have this opportunity — a rare chance to show the quilts to a perceptive appreciative audience. The quilts seemed to come alive. It must have been

the sharing — the interaction between people and objects that lends vibrancy to any exhibit. . . . For Nathan and me this was the event of the year (perhaps the decade!) It was a joyous celebration and the memory of it nourishes my spirit. . . . Beth and Chris, thank you for bringing, in a way, the Museum to us. We feel now

that the Museum of American Folk Art is not just an institution but a real "home" for the kind of art we love.

We're so glad we met you and Cathy and Anne-Marie and to know that the Museum is staffed by young, enthusiastic, competent, warm and sensitive people. We're convinced the Museum is in good hands. . . . Thanks again for your memorable visit to our home. . . . We hope to see you again. Hats off to the intrepid Explorers — we hated to see your bus pull away. For now With all best wishes, Irene and Nathan

Exhibitions Openings he Museum of American Folk Art is pleased to announce the opening of three exhibitions at the Eva and Morris Feld Gallery at Lincoln Square, New York City.

The exhibition, Woven for Warmth: Coverletsfrom the Collection of the Museum of American Folk Art, will be replacing the Saltillo Sarape show on March 5th, and will remain at the gallery through May 7, 1992. A selection of American coverlets highlights major gifts to the Museum from the collections of Margot Paul Ernst and Cyril I. Nelson.

Woven in the late eighteenth through the mid-nineteenth centuries by professional and home weavers, the show includes important examples of

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the five main types of coverlets: the geometric patterned plain weave, the overshot, the double-weave, the "summer and winter," and the fancier jacquard.

New York Beauties: Quiltsfrom the Empire State opens on May 14, and runs through September 6, 1992.

The Museum initiated the New York State quilt project to locate and document the quilts of its home state. Through a four year process of active fieldwork and art-historical research, over 6,000 quilts, from the eighteenth century through 1940, have been identified. This traveling exhibition is the culmination of the Project and features twenty outstanding quilts.

Accompanying the show is a fully illustrated book written

by Jacqueline M. Atkins and Phyllis A. Tepper and published by Dutton Studio Books in association with the Museum.

Step Lively: The Art of the Folk Cane opens on June 4, and runs through September 13, 1992. This exhibition of 150 American folk canes from the early nineteenth century to the present, focuses on the sculptural qualities of these objects and illustrates just how far "beyond necessity" the makers, American folk artists, ventured. A beautifully illustrated book by guest curator, George H. Meyer, on this extensive and important collection of American folk canes will be available for the exhibition.

Buffalo Hunter on Spotted Pony ENAMEL ON PANELING,

33.73

x 21.73

Objects Gallery 230 WEST HI RON STREET CHICAGO, ILLINOIS 60610

TEL: 312

664 6622

FAX: 312

664 9392

Also representing CLEMENTINE HUNTER SARAH RAKES JIMMY SUDDUTH PURVIS YOUNG

Ob'ects BRIGITTe• SCHwoeR

oaLLeRY•

PRIMITIVE. FOLK St ESKIMO ART

(formerly Arctic Art)

DAVID

ALVAREZ

LEROY

ARCHULETA

DEWEY DAVID

BLOCKSMA BUTLER

HOWARD

FINSTER

MANUEL JIMENEZ LYNNE TOM

LOSHBAUGH

MAY

CONSTANCE

ROBERTS

BILLY

RODRIGUEZ

MOSE

TOLLIVER

929 BROADWAY DENVER COLORADO 80203 "DEWEY BLOCKSMA:"ARIZONA HIGHWAY".

DIPTYCH. MIXED MEDIA ON CANVAS. 24" X 36"

(303)825-8555

SPRING 1992 THE CLARION

SS

MUSEUM

NEWS

TRAVELLING EXHIBITIONS Docent, Arlene Luden Wins Membership Contest uring the run of the Swiss Folk Art exhibition, docents and volunteers of the Museum of American Folk Art held a membership contest. The prize was an original painted table, crafted and donated by Rubens Teles, former director of Jay Johnson Gallery and teacher of marbleizing and graining at the Folk Art Institute.

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In the three month period that the contest ran, 168 new members were recruited.

Our special congratulations and thanks go to our remarkable Grand Prize Winner, Arlene Luden, a shop volunteer at Two Lincoln Square, who signed up eighty new members.

We also wish to thank the following participants for their outstanding efforts!

Vivian Adams Phyllis Selnick Marie Anderson Laurie Seubert Dominick Basile Meg Smeal Milagros Beck Phyllis Tepper Bernice Berkower Raquel Vieira Ken Bing Joan Wagner Sheila Brummel Ann Wrenn Rick Conant Debbie Dunn Millie Gladstone Inge Graff Caroline Hohenrath Bonnie Hunt Maridean Hutton Barbara Klinger Sharon Koota Nancy Meyer Jeanne Riger Mary Rix Diana Robertson Alice Rothblum Marilyn Schwartz

Mark your calendars for the following Museum of American Folk Art exhibitions when they travel to your area during the coming months: June 22, 1990-June 27, 1992 The Romance of the Double Wedding Ring Quin American Adventure Pavilion EPCOT Center Walt Disney World Orlando, Florida 407/824-4321 January 20, 1992-March 16, 1992 Swiss Folk Art Celebrating America's Roots Midland County Historical Society Midland, Michigan 517/835-7401 January 27, 1992-March 23, 1992 Harry Lieberman: A Journey of Remembrance Museum of Arts and Sciences Macon, Georgia 912/477-3232 February 3, I992-March 30, 1992 Access to Art: Bringing Folk Art Closer Lyman Allyn Art Museum New London, Connecticut 203/443-2545 February 10, 1992-April 6, 1992 Beneath the ice: The Art of the Fish Decoy John G. Shedd Aquarium Chicago, Illinois 312/939-2426 February 23, 1992-April 5, 1992 The Cutting Edge: Contemporary American Folk Art from the Rosenak Collection Tampa Museum of Art Tampa, Florida 813/223-8130

March 1, 1992-April 25, 1992 Quilts from America'. Flower Garden: The Great American Quilt Festival 3 Cincinnati Zoo and Botanical Garden Cincinnati, Ohio 513/281-4701 March 2, 1992-April 27, 1992 Discover America/Friends Sharing America: The Great American Quilt Festival 3 Portsmouth Community Arts Center Portsmouth, Virginia 804/393-8983

April 20, I992-June 15, 1992 The Cutting Edge: Contemporary American Folk Art from the Rosenak Collection Telfair Academy of Arts and Sciences, Inc. Savannah, Georgia 912/232-1177 April 27, 1992-June 22, 1992 Access to Artg: Bringing Folk Art Closer Huntsville Museum of Art Huntsville, Alabama 205-535-4350

March 23, I992-May 31, 1992 Patterns of Prestige: The Development and influence of the Sattillo Serape Gene Autry Western Heritage Museum Los Angeles, California 213/667-2000

May 18, 1992-July 13, 1992 Young People'. America: The Great American Quilt Festival 3 Lied Discovery Children's Museum Las Vegas, Nevada 702-382-3445

March 30, 1992-May 25, 1992 Access to Alit: All Creatures Great and Small Kirkpatrick Center Museum Complex Oklahoma City, Oklahoma 405/427-5461

May 25, 1992-July 20, 1992 Santos de Palo: The Household Saints of Puerto Rico Bass Museum of Art Miami Beach, Florida 305/673-7530

March 30, I992-May 30, 1992 Continuing Traditions in American Folk Art(USIA) Banco of Brazil Sao Paulo, Brazil April 6, I992-June 1, 1992 Swiss Folk Art Celebrating America'. Roots Indiana State Museum Indianapolis, Indiana 317/232-1637 April 13, 1992-June 8, 1992 Harry Lieberman: A Journey of Remembrance Lakeview Museum of Arts and Sciences Peoria, Illinois 309/686-7000

For further information contact Alice J. Hoffman, Director of Exhibitions, Museum of American Folk Art, Administrative Offices, 61 West 62nd Street, New York, New York 10023, Telephone 212/977-7170.

MI SPRING 1992 THE CLARION

Gallery Associates

Snowflake Cookie Cutter Huge Success t all began when Vivian Adams, director of the mail order department of the Museum of American Folk Art Book and Gift Shop, baked a batch of six-point star "snowflake" Christmas cookies for her friends, the way her mother had taught her. The cookies were so beautiful and so delicious that through a friend's recommendation the cookie recipe and three patterns were featured in Victoria Magazine and the December 1991 issue of Woman's Day Magazine. Before long, phones in the Lincoln Square shop started ringing endlessly â&#x20AC;&#x201D; subscribers wanting

he Museum of American Folk Art announces the forming of a new membership committee especially tailored for young people! The Gallery Associates will be for people under the age of 35 who are interested in folk art and who would like to become involved with the Museum of American Folk Art. The Committee's activities will focus on learning and sharing knowledge of folk art; fund raising for the Museum; and increasing awareness of the Museum's programs within the New York community. Members of the Committee will develop their

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information on how to obtain cookie cutters for the cookies pictured in the magazines. At last, Michael Bonne, a coppersmith from Indiana was found to reproduce the six-point star cutter templates in copper â&#x20AC;&#x201D; previously the patterns had been made of thin cardboard.

The cutters retail for $21 dollars plus shipping, and to date, the Museum shop has sold over 500 "Snowflake" cookie cutters.

own activities and will work closely with the Museum staff and with the Board of Trustees.

Ideas for the committee's responsibilities include organizing special lectures on subjects relating to folk art, helping coordinate the Raffle at the Fall Antiques Show Opening Night Benefit Preview, and holding a yearly Gallery Associates party. If you are interested in participating please call Catherine Fukushima at the Gallery (212) 595-9533. We hope that you will join us. (continued on page 70)

E FOLK ART SOCIETY Is'I C.

AN INVITATION TO JOIN THE FOLK ART SOCIETY OF AMERICA The Folk Art Society of America is a non-profit, tax-exempt organization formed to discover, study, promote,preserve, exhibit and document folk art,folk artists and folk art environments.

Membership includes a subscription to the quarterly publication,Folk Art Messenger, and all other privileges of membership.

CATEGORIES OF MEMBERSHIP: El 17 C]

Patron Membership $50 General Membership $20 Student Membership $10, I.D. copy required

El CI

Foreign Membership $30 U.S. Gift Membership $20, include message or card

El

Back issues

$5,each when available

Contributions are tax deductible to the extent allowed by law.

Name Address Zip Telephone Referred by Please make check payable to Folk Art Society and send to:.

FOLK ART SOCIETY OF AMERICA P.O.BOX 17041 RICHMOND,VIRGINIA 23226-7041

SPRING 1992 THE CLARION 67

LESLIE MUTH GALLERY: Contemporary American Folk Art

is pleased to announce our relocation to 225 East de Vargas St. Santa Fe, New Mexico (505) 989-4620

BROOKS FOLK ART American Folk Art 204 High Street, No. 7 Chattanooga, TN 37403

By Appointment(615) 265-2760

Bessie Harvey "Grandma and Grandpa"

March Exhibit "East of the Mississippi" Ron and Jesse Cooper "Rhinestone Cowboy" "Glassman" Rev. Herman Hayes Woodie Long

Sultan Rogers Herbert Singleton Mary T. Smith Jimmy Lee Sudduth Derek Webster

Sultan Rogers, "Haint House Lamp", wood and electrical lamp wiring, 52" x 18 1/2 x 20 1/2"

68 SPRING 1992 THE CLARION

Leroy Almon,Sr. Jerry Brown Richard Burnside Chuck Crosby William Edmondson Howard Finster Sybil Gibson Homer Green Bessie Harvey Lonnie Holley Clementine Hunter Joe Light Rosie Lee Light Annie Lucas Charlie Lucas

Woodie Long W.T. McLennon Rev. B.F. Perkins Frank Pickle Earl Simmons Bernice Sims Vannoy Streeter Jimmie Lee Sudduth Sarah Mary Taylor Son Ford Thomas Annie Tolliver Charles Tolliver Mose Tolliver Fred Webster and others

Objects Gallery 230 WEST HURON STREET CHICAGO, ILLINOIS

60610

TEL: 312 664 6622 FAX: 312 664

9392

Also representing SAM

DOYLE

CHUCKIE WILLIAMS WILLIAM

el-

HAWKINS

TRAMP ART

Purvis

Untitled PAINT ON WOOD,

48" x 32-5"

The Cats of Tom Langan "Leaping Lizzy and Sneaky"

Eldred W heeler Gallery • 3941 San Felipe • Hous-ton,T exas 77027 • (713) 622-6225

SPRING 1992 THE CLARION

69

MUSEUM

NEWS Cleater Meaders demonstrating pottery techniques for members on the North Carolina tour.

(continued from page 67)

Folk Art Explorers' Club he Folk Art Explorers' Club is a travel program open to members of the Museum of American Folk Art and their friends, offering tours to different parts of the United States to visit private collections, artists, museums, and galleries. Inaugurated in 1987 by Dr. Robert Bishop, former director of the Museum, we began by offering day trips to members in the New York metropolitan area. The program was expanded in 1988 to include overnight tours to other parts of the country in an effort to bring the Museum's programming to our national membership.

Since then, over 500 members have participated in numerous day trips and overnight tours. Destinations have included Santa Fe, New Orleans, San Francisco, Houston/San Antonio, and Nantucket, plus two tours to New York City for out-of-town members. Our November 1991 trip was an exciting tour to North Carolina. The overnight programs usually include four full days of touring with a travel day at either end. Groups number from 25-40 people, and most of the tours fill up quickly.

The Museum has members in all fifty states and more than twenty foreign countries. The Folk Art Explorers' Club was designed to make it possible for all of them to participate in Museum activities. It is particularly gratifying to note that we have had participants from all over the country as well as France, Australia, and Canada.

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70 SPRING 1992 THE CLARION

Museum members Lorna Prowse and Audrey Neale examining pieces at the Owens Pottery in Seagrove, NC.

Because the tours are relatively short, they allow many working people with families the opportunity to be involved, and each day is well planned and chock-full. For example, on the recent four-day tour of North Carolina, our group visited five private collections, three contemporary folk artists and their environments, five active folk potteries, two museums, three galleries, and a restored village. In addition, we enjoyed several wonderful meals, including a catered barbeque dinner at the home of museum members who also shared with us their fabulous collection of contemporary folk art and southern pottery

Vollis Simpson (in baseball cap) relating stories about his wind machines, pictured in the background, at his environment in Lucama, NC.

• In the fall of 1992, the Folk Art Explorers' Club will conduct a twelve-day trip to Switzerland, the first overseas program. Arrangements have been made with the generous assistance of our Swiss members, and we will have a multi-lingual Swiss guide with us throughout the tour.

• Coming up soon, in May 1992, is our tour to Atlanta, Ga. There still may be room for you!

• If you are interested in either the Atlanta or Switzerland trip, don't delay. . . Call Beth Bergin or Chris Cappiello at 212/977-7170 to get on board.

fus amertcansi filkart

bettie mintz p.o. box 30440 bethesda, maryland 20824 301-652-4626

oso pO 10 00 ANTIQUES MARKET • April 26 & 27, 1992

Ohio amish c. 1930 quilt, 56" x 50", blues, browns & black

*THE MARSTON HOUSE* American Country Upholstered Furniture Handcrafted In Maine

Sarah Hutchins Fireside 48"h., 28" w., 25" d $495 plus fabric

Hundreds of Dealers in Fine Antiques and Vintage Collectibles FREE PARKING The nation's great new (Ps MA show of the 90's - just before Brimfield Week which starts Tuesday. April 28 - Just 15 miles to the north.

ABSOLUTELY OPEN - rain or shine - with most dealers under cover.

Stafford Springs Speedway Route 140, Stafford Springs, CT

Early Buying — Sunday 8 AM — $10 No Pre-show Buying Among Exhibitors Will Be Permitted.

REVIVAL PROMOTIONS,INC. * P.O. Box 517 • Center of Wlscasset, Maine 04578 207-882-6010 • 1-800-852-4137

Post Office Box 388, Grafton, MA 01519 (508)839-9735

*AMERICAN * ANTIQUES*

SPRING 1992 THE CLARION 71

"WHAT'S SO FUNNY? I'M ROBIN HOOD" Robyn was born with a very rare syndrome called "Wolfrand Syndrome." There are less than 70 known cases in the U.S. Robyn is totally blind in one eye and has 40% vision in the other. But, the whole world is beautiful to him. And he loves what he does see.

Robyn is a diabetic and has a mild case of cerebral palsy. But he will tell you that he has no problems because God and people love him.

Robyn enjoys making people happy by painting pictures.

He paints totally from his own mind's experience.

ROBYN HOPES YOU ENJOY HIS PAINTINGS!

4*

Introducing...

ROBYN BEVERLAND (b. 1957 - House Paint on Plywood)

FOR INFORMATION CONTACT:

Wanda's Quilts QUILTS窶認OLK ART PO. Box 1764 Oldsmar, Florida 34677 Phone:(813)855-1521

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Call for a brochure.

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72 SPRING 1992 THE CLARION

RATES $95.00 per insertion. Box and phone numbers count as two words. Abbreviations and zip codes count as one word.

Area codes must accompany phone numbers. Maximum is 40 words (including headline, address, etc.).

DEADLINES January 10 April 10 July 10 October 10

for March 1 issue for June 1 issue for September 1 issue for December 1 issue

PAYMENT Check or money order must accompany copy and be received prior to closing date. Make check payable to MUSEUM OF AMERICAN FOLK ART, The Clarion Classified Ad Department, 61 West 62nd Street, New York, NY 10023.

NO PROOFS WILL BE FURNISHED FOR CLASSIFIED ADS NO PHONE ORDERS WILL BE ACCEPTED

Claire's American Classics

Hooked Rugs from The Barbara Johnson Collection.

CLAIRE MURRAY'S art is a reflection and celebration of America. Her love of early colonial crafts brings Folk Art to the 20th century. Claire introduces her own 1992 collection of heirloom quality hand hooked rugs exclusively for the Museum of American Folk Art. Send for Claire Murray's new color catalog $5(refundable on first purchase)

USEUM OF AN!EllICAN ,k • .k RT "

1-800-252-4733

I

TH Ii A11 E111(1.1 COLI,FA 1'11 ION

, PO Box 390• Dept.C• Rte S• Aseutney,VT 05030

,"11;r1i 1-802-674-6017

MEMBERSHIP

INCREASED MEMBERSHIP CONTRIBUTIONS SEPTEMBER/NOVEMBER 1991 We wish to thank the following members for their increased membership contributions and for their expression of confidence in the Museum: Sheila S. Allen, Highland, MD Wallis E Allen, Alberta, Canada Andrew A. Anspach, New York, NY Aaron Berger, Jamaica Estates, NY Sheila Brog, New York, NY Joann Bruce, Monroe, NY Suzanne Diamond, Atherton, CA Penny Dionne, W. Willington, CT James and Pamela Downey, New York, NY R.A. Dubin, Chittenden, VT Peggy A. Dunlop, Brooktondale, NY Richard Edgeworth, Chicago, IL Rita Ertel, Cedarhurst, NY Janet Hannah Eskridge, Lincoln, NE Gladys A. Faires, Knoxville, TN

Laura Fisher, New York, NY Ms. Judith Gaffney, E. Hampton, NY Ms. Gregor A. Gamble, Brunswick, ME Daniel M. Gantt, Greenwich, CT Wendie Gerber, Fremont, MI Edith Gerver, Norwalk, CT Ms. Jeanette M. Glover, Westbury, NY Dr. & Mrs. W. Stanley Gore, Lake Charles, LA Rose Ellen Greene, Coral Gables, FL Elizabeth Haderer, E. Quogue, NY Mr. & Mrs. Paul M. Hawkins, Atlanta, GA Lynn & Bruce Heckman, Ossining, NY Michael and Hope Hudner, Little Compton, RI Ayuko Isshiki, New York, NY R. Jorgensen Antiques, Wells, ME Mr. & Mrs. Steven Kellogg, Sandy Hook, CT Margaret C. Kelly, Jackson, MI Mr. & Mrs. George E. Kuhn, Germantown, OH Carole Rose Livingston, New York, NY Kathy Livingston, Woodcliff Lake, NJ Phyllis Loeb, Rye, NY Dee Maynard, Bedminster, NJ

Diana McClun, Walnut Creek, CA Mrs. Gertrude Meister, Jamaica, NY Phyllis H. Merz, Baltimore, MD James Meyer, Huntington Valley, PA Dr. & Mrs. Ward Alan Minge, Corrales, NM Carolyn C. Otis, Arcata, CA Mr. & Mrs. James E Quirk Jr., Bedford, NH Carol C. Rader, Concord, MA Mrs. Claire A. Rosenzweig, London, England Freyda Rothstein, Beverly Hills, CA Mrs. Esterly Rutrnan, New York, NY Mr. & Mrs. Philip C. Schwartz, Ridgewood, NJ P.K. Sloman, New York, NY Janet Piper Smith, Ann Arbor, MI Mr. & Mrs. P. Solomon, New York, NY Shirley Stenberg, Cushing, ME Mrs. J.A. Wansbrough, Victoria, Australia Barry S. Wildstein, Philadelphia, PA Sandy White Antique Quilts, Cerritos, CA

Mr. Dain Calvin, Phoenix, AZ Mr. & Mrs. Robert Campus, New York, NY Ms. Ellen Cannon, New York, NY Ms. Kathleen Capacci, Juneau, AK Ramona Cardwell, St. Clair Shores, MI Mona Cardwell-Daddario, Syosset, NY Ms. Karen Carlson-Smith, Upper Saddle River, NJ Miss Virginia T. Carmichael, Middletown, NJ Carmita Castellini, Ridgewood, NJ M. Noel Cayetano Castro, Oaxaco, Mexico Leslie Charry, Riverdale, NY Mrs. Charles Clark, Jackson, MS Mrs. Eugenia Clarke, New York, NY Sara Clinton, New York, NY Jette Clover-Hurks, Tilburg, Netherlands Ms. Kathryn Graves Cohen, New York, NY Ms. Laura Colangelo, New York, NY Mrs. Frances Coles & Mrs. Ethel Mason, Ossining, NY Mrs. Eleanor S. Cook, Lakewood, NJ Dana Corbett, St. Helena, CA Jessica Cornelius, New York, NY Mr. Wayne Cox, Minneapolis, MN Ms. Holly Craft, Ithaca, NY Robert E. Crawford, Manakin-Sabot, VA Carey S. Crosby, Mill Valley, CA Mr. & Mrs. C. Thomas Crosby Jr., Dover, NH Julie Cullen, Cliffside Park, NJ Nancy Currier, Webster, NY

Ms. Maria Eiler, Portland, CT M. Alison Eisendrath, New York, NY Ms. Charlene Pereida Eleg, Reno, NV Ms. Patricia Erlich, New York, NY

GROWING MEMBERSHIP SEPTEMBER/NOVEMBER 1991 Pearl & Benjamin Abrams, Floral Park, NY Ms. Dorothy Ackerman, Lake Katrine, NY Ms. Joan H. Adler, New York, NY Ms. Joan L. Alexander, Austin, MN Alice Alper, New York, NY The American Collector, Bloomfield Hills, MI Mr. 0. Roger Anderson, New York, NY Wade Anderton, Winchester, TN Nicholas Angleton, Hackensack, NJ Mr. Nicholas Arena, Greenwich, CF Jane Aruns, Santa Fe, NM Mr. & Mrs. Saul Astor, New York, NY Mr. Ralph Auf Der HeIde, Santa Barbara, CA Ms. Marcia M. Bain, New York, NY Mrs. Rose BareII, New York, NY Ms. Amanda L. Barrett, Brooklyn, NY S. V. Baum, Hamburg, PA Mr. & Mrs. J. W. Beaver, Santa Barbara, CA Ms. Catherine Bechtel, Columbiana, OH Milagros Beck, New York, NY Mans Beckerman, New York, NY Ms. Donna Bell, Jamaica, NY Mrs. Phyllis Roby Benedek, Pound Ridge, NY Ms. SheIli Berger, New York, NY Mrs. E Berk, New York, NY Ms. Rebecca A. Blackburn, Lafayette, LA Mr. Michael Blackwell, Chicago, IL Ms. Mavis Blessing, Lighthouse Pt., FL Ms. Elisa Block, New York, NY Ms. Glenna Bloom, New York, NY Novella Bolen, Ann Arbor, MI Deanne Bonnar, Acton, MA Dr. & Mrs. M. Boris, Roslyn, NY Ms. Jenifer P. Borum, Long Island City, NY Mr. Robert Bottome, Miami, FL Mr. Robert P. Boulais, Alexandria, VA Mr. Eric Bowles, Marietta, GA Ms. Jennie H. Boyd, Leesburg, VA Mr. Peter J. Brightman, New York, NY Ms. Janet Brodie, Dobbs Ferry NY Mr. Jim Brown, Silver Spring, MD Trudy and Julie Brown, Roslyn Heights, NY Ms. Phyllis Bruce, Parma, OH Mrs. Orville H. Bullit Jr., Berwyn, PA K. LeRaye Bunn, Louisville, KY Ms. Lillian Burns, Fort Smith, AR Ms. Eleanor Burts, Bronxville, NY Ms. Jeanne Lyons Butler, Huntington, NY

74 SPRING 1992 THE CLARION

Mr. Paul S. D'Ambrosio, Cooperstown, NY Mrs. Nancy Daly, Blue Bell, PA Ms. Pamela Danesi, Brooklyn, NY Ms. Rachel Davis, Cleveland, OH Ms. Evelyn Payne Davis, New York, NY Mrs. B. W. Dennis, Atlanta, GA Ms. Hester Diamond, New York, NY Mrs. Elizabeth C. Dille, New York, NY Vilanya Diskin, Cambridge, MA Ms. Sandra T. Donabed, Wellesley Hills, MA Ms. Diane Donnelly, Baltimore, MD Ms. Nancy Dorman-Hickson, Birmingham, AL Mr. Brian Dowdall, Cocoa Beach, FL Ms. Deborah Doyon, New York, NY Ms. Ann Duncan, Sayville, NY R. Lawrence Dunworth M.D.. Huntineton. WV Ms. Shirley R. Dutton, New York, NY Mr. James Eaton, Sleepy Hollow, IL Reginald Eaton, St. Simons Is., GA Sari Eckler, Brooklyn, NY Beate Eckols, New York, NY Jessie E Egan, East Massapequa, NY Ms. Judith Eigen, New York, NY

Ms. Mary H. FaIke, Milan, OH Ms. Deborah Feingold, New York, NY Ms. Sally B. Ferguson, Little Rock, AR Ms. Judith R. Fishman, Brooklyn, NY Mr. Peter Flentov, Boston, MA W A. Forbes, Asheville, NC Ms. Susan Frame, New York, NY Ms. Candie Frankel, Jackson Heights, NY Ms. Karen Freedman, Branford, CT Ms. Martha Friedlaender, New York, NY Ms. Sandra Gansberg, Great Neck, NY Mr. & Mrs. Bruce Geismar, Great Neck, NY Barbara & Edmond Genest, New York, NY Mr. Robert A. Gerard, New York, NY Ms. Sandra Gilpin, Hanover, PA Ann Glazier, Houston, TX Mr. Henry S. Gordon, New York, NY Ms. Janet Grey-Inglis, Taupo, New Zealand Mrs. Anne Laurie Gunter, Montgomery AL Ms. Linda S Gurski, New York, NY Darcy Hadjipateras, Greenwich, CT Ms. Constance Haenggi, Houston, TX Ms. Marianne Haeni, Stamford, CT Ms. Elaine M. Hameister, Petoskey, MI Ms. Margaret Hamilton, Clinton, NC Ms. Mary A. Hansen, Millbury, MA Ms. Colleen Harmon, Los Angeles, CA Mr. James C. Harraka, New York, NY Dori Hart, Portland, OR Mr. Mark Hayden, Prescott, AZ Ms. Elva B. Hazlehurst, Towson, MD Bette N. Heinrich, San Antonio, TX Ms. Marilyn Henrion, Hawley, PA Mr. Jim Henry, New York, NY Ms. Shirley Herzer, Grunstadt, Germany Richard Herzog MD, Manhasset, NY Ms. Susan Hess, Rego Park, NY Mrs. Janet Hobbie, Allentown, PA K. W Hoblitzelle, St. Louis, MO Sylvia Hodge, Brooklyn, NY Ms. Carol Hogan, Baltimore, MD Ms. Helen Holden, Syosset, NY Chas. E. Holman, Tuscon, AZ Leslie Howard Gallery, New York, NY Elizabeth M. Howell, lbnawanda, NY

Ward & Polly Hubbell, Alexandria, VA Walter Tires Hudson, Lynchburg, VA Mr. & Mrs. Harry E. Humphries, Miami, FL Mr. Robert J. Hurst, New York, NY Susan K. Ieromnimon, Piscataway, NJ Kiyoko Ishida, New York, NY Ms. Noriko Isshiki, Chibashi, Japan Frances Jaurino, Staten Island, NY Jerald B. Johnson, Denver, CO Mrs. Richard L. Jones Jr., Swarthmore, PA Mr. Clyde Jones, Bynum, NC Debby Jones, New York, NY Mrs. Edmund 1. Kahn, Dallas, TX Francis & Sally Kahn, Flushing, NY Ms. Adina Kalet, New York, NY Ms. Maxine Kaplan, New York, NY Ms. Rachel E. Kaufman, Perrysburg, OH Mr. & Mrs. F. Kavaler, New York, NY Harumi Kawagishi, New York, NY Eva B. Kaye, Brooklyn, NY Mr. Tom Kelly, Mineral Point, WI Juan Kenigstein, Brownsville, TX Kaori Kimbara, New York, NY Mr. Christopher King, Nova Scotia, Canada Ms. Elisabeth Kirsch, New York, NY Ms. Claudia Klein, Woodstock, NY Ms. Marianne Koch, Eugene, OR Amy Dorn Kopelan, New York, NY Kenneth & Karin Koser, Decatur, GA Ann Kowaleski, Mt. Pleasant, MI Ms. Norma Kramer, New York, NY Ms. Nancy Kreinberg, Berkeley, CA Ms. Natalia Kuksina, Washington, DC Ralph Kylloe, Londonderry, NH Ms. Carol Lachman, Brooklyn, NY Elaine LaRoche, New York, NY Mettie Lautenbach, Egg Harbor, WI Mrs. Mary L. Lefcort, New York, NY Jacques Legeret, Paudex, Switzerland Deborah Lemchen, New York, NY S. Lewinter, Westfield, NJ Ms. Georgina A. Lewis, Brookline, MA Daryl A. Libow, New York, NY Ms. C. Jean Liitschwager, Leaburg, OR Kathleen D. Lindh, Greenwich, CT Ms. Susan Lindsay, Thronto, Canada Leon Loard Gallery, Montgomery, AL Ms. Inge Loeffler-Schulz, Leopoldshoehe, Germany Mr. Mike Loftin, Chicago, IL Ms. Enid Logigian, E. Northport, NY Mrs. John H. Loynes, Westport, CT Ken Lubin & Jamie Fitzgerald, Brooklyn, NY Ms. Katherine S. Mackey, Hendersonville, NC S. E. Mackinnon, St. Louis, MO Ms. Eleanor F. Mailloux, Helvetia, WV Ms. Virginia M. Makel, Verona, OH David Mammen, New York, NY Ms. Geraldine Manlin, Glendale, CA Ms. Beatrice D. Markowitz, New York, NY Mr. Raymond E. Marsh, Pittsburgh, PA Mr. Joel E. Martin, Charlotte, NC Maxine Maxwell, New York, NY Merry] L. Mayer, New lbrk, NY Ms. Susan J. McCann, Vestal, NY Mr. Jim McDonough, Knoxville, TN Elizabeth McGee & Mark Pecker, Brooklyn, NY Ms. Sara Ann McLennand, Wellington, FL Ms. Susan Meltzer, New York, NY L. M. MendeIs, New York, NY Elissa Meyers, New York, NY Jo Michalski, Anchorage, AK Ms. Bryna Millberg, New York, NY Mr. Tim J. Miller, Houston, TX

Ms. Margaret Mintz, New York, NY Ms. Donna Miska, Horseheads, NY Ms. Joan Moll, Williamson, NY Ms. Thwny Moyer, Los Angeles, CA Mirja Muurinen, Kuliju, Finland Dr. S. D. Nagel, Southfield, MI Ms. Hiroko Nakamura, Toyohashi, Japan Mr. & Mrs. Peter Nason, Carversville, PA Ms. Jean Natrop, Mayville, WI Sandy Naval, E. Northport, NY Audrey J. Neale, Richmond Hill, Canada E. & S. Nicholson, Newfields, NH Ms. Christianne Nickoloff, Laguna Hills, CA Ms. Ellen Novack, New York, NY Ms. Madeleine O'Reilly, Fallston, MD Ms. Lillian I. Palmer, Bronx, NY Sherry Pardee, Iowa City, IA Mr. Lewis F Parker, Dallas, TX Ms. Nancy F. Parks, Aaronsburg, PA Jacque Parsley, Louisville, KY Ms. Joan Pearlman, New York, NY Mr. & Mrs. Tony Pechenik, Lebanon, PA Marie Pedlow, Somers, NY Ms. Antoinette Peloso, New York, NY Ms. Marlene Warren Peltz, New York, NY Ms. Grace Perdue, Plano, TX Ms. Liz Piatt, Orinda, CA Ms. Janet Thylor Pickett, Montclair, NJ Winnifred P. Pierce, Ann Arbor, MI Mr. Mark Pilewskie, ibledo, OH Mrs. Mardell Pinckney, Menlo Park, CA Darryl Pitt, New York, NY J. Randall Plummer, Fort Washington, PA Ms. Ruth A. Powers, Carbondale, KS Ms. Beth Preminger, Brooklyn, NY Mr. & Mrs. James F. Quirk Jr, Bedford, NH Mr. Michael Rains, Oakland, CA Mr. Robert Ricciardi, Forest Hills, NY Ms. Carol G. Rickard, South Salem, NY Ms. Kathy Riedesel, Sausalito, CA Mrs. Rich Roberts, Nashville, TN Ms. Stacey Robinson, Bronx, NY Ms. Theresa Rochford, New York, NY Mr. & Mrs. Charles Rosenblum, Flossmoor, IL Mr. Joseph Rossi, Lambertville, NJ Mrs. Alice Rothblum, New York, NY Ms. Nona J. Russell, New York, NY Ms. Carol S. Russell, Setauket, NY Raymond J. Ryan, Long Island City, NY Ms. Jacqueline Ann Sacco, Vero Beach, FL Gihan Salem, Beverly Hills, CA Dory Sandon, Lake Park, FL Ms. Mathilde Sanson, New York, NY Ms. Grace Santarelli, New York, NY Mr. Herb Sargent, New York, NY Ms. Mary Sargent, Westfield, NJ Ms. Audrey L. Satlin, New York, NY Ms. Margaret A. Saunders, Rye, NY Ms. Susie Saunders, Byfield, MA Ms. Sue M. Sawyer, New York, NY L. W. Schiffer], Neenah, WI Ms. Ellen L.E. Schwarz, DeBary, FL Ms. Enid Schwarzbaum, N. Woodmere, NY Irene Scully, Ross, CA Mr. James Seder, Milwaukee, WI Mrs. T. V. Serrilli, Yonkers, NY Nelleke Van de Wege-van Sevenhoven, Lucaswolde, Netherlands Ms. Jill Severson, Des Moines, IA Ms. Judie Seymour, Pacific Palisades, CA Ms. Sara Shannon, New York, NY Mr. Bruce Shaw, Boston, MA Yann Sheppard, New York, NY

Ms. Jayne B. Sherman, New York, NY Ms. Marcia E. ShureII, Newport, TN Ms. Sachiko Shimomura, Yokohama, Japan Mr. John Sholl, Norwood, NY Ms. Louise Silk, Pittsburgh, PA Deborah Silverfine, Jackson Heights, NY Ms. Gale Silverman, Atlanta, GA John & Melinda Simon, Chicago, IL Abby R. Simpson, New York, NY Miss Elizabeth M. Smith, Scarborough, NY Ms. Patricia S. Smith, Marshfield, MA Ms. Marguerite Snow, Stockton, CA Steven Sommers, Brooklyn, NY Ms. Myrna Sossner, West Palm Beach, FL Ms. Sylvia Spar, New York, NY Leesa F. Speck, New York, NY Betty May Stark, Berkeley, CA Ms. Grace Starmack, N. Babylon, NY Ms. Elizabeth Stearns, New York, NY Ms. JoAnne Stevens, Lockport, NY Ms. Allison Stilwell-Cyr, Newport, RI Ms. Lynne Stoneberg, Chicago, IL Ms. Etsuko Sugita, Osaka, Japan Mr. William Swigert, Washington, DC Ms. Marian Thnenbaum, Morristown, NJ Ms. Cindi Thylor, New York, NY Judy & Jim Thylor, Weston, CT Nancy C. Toombs, Ingleside, IL Mr. Thomas P. Toth, Cleveland, OH Mr. & Mrs. A. F. Travaglini, Thorndale, PA Mr. Barney D. Tumey, Atlanta, GA Mrs. Edward W. Tuohey, Grand Rapids, MI Ms. Kathryn 'fussy, Walnut Creek, CA Mr. Andrew Van Sickle, Cincinnati, OH Thomas Venters, Hatboro, PA Ms. Ana Villanueva, Bronx, NY Nihon Vogue, Tokyo, Japan Ms. Elizabeth Voves, New York, NY Ms. Joan Wagner, New York, NY Mrs. Raymond Wallace, Leominster, MA Mr. John Walsh, Martinsville, NJ Mrs. Grace Walsh, Floral Park, NY Ms. Carolyn Walsh, Nantucket, MA Ms. Nancy C. Walsh, Harrison, NY Ms. Marcy Warren, New York, NY Ms. Susan Warren, Westfield, NJ Mr. Tim Weaver, New York, NY Mr. & Mrs. Jack Weintraub, New York, NY Daniel & Amy Berkower Weiss, New York, NY Ms. Susan Weissman, Croton-on-Hudson, NY Ms. Barbara E. Welfare, Brooklyn, NY Julia A. WeIlin M.D., Garrison, NY Ms. Beverly B. West, Alpharetta, GA Della Wetterman, Waco, TX Ms. Ruth White, Queens Village, NY Jonathan & Allison White, New York, NY Ms. Cathy White, W. Hempstead, NY Ms. Beth Wicke-Schultz, Weehawken, NJ Ms. Mary Lou Wilson, Gwynedd, PA Dr. & Mrs. Melvyn Wolk, Waverly, PA Ms. Kimberly Wolosoff, Riverside, Cr Marjorie Wong, New York, NY Sherry Woody, Rome, NY Ms. Ruth M. Worley, Raleigh, NC Dr. Linnea H. Wren, St. Peter, MN Cathe Wright, Palo Alto, CA Ms. Mary E. Wurtz, Washington, DC Miyako Yoshinaga, New York, NY Mrs. Frances Zelinka, Coral Gables, FL Ms. Karen Zimmerman, New York, NY Ms. Janet M. Zullo, Guilford, CT

SPRING 1992 THE CLARION 75

STELLA

RUBIN

Quilts & Country Antiques 12300 Glen Road Potomac, MD 20854 (Near Washington, D.C.) By appointment

(301)948-4187

Unusual Amish Spiderweb Quilt.

Circa 1950

13()KN Mary T. Smith•Ruth Mae McCrane•Mose T. & Annie T. Bill Traylor•Thornton Dial•Willie White•Roy Ferdinand Jimmie Lee Sudduth•Bernice Sims•Royal Robertson•B. F Perkins Clementine Hunter•Singleton•Artist Chuckie Fred Webster•Buzz Busby•Reggie

COTTON BELT DiE Singleton Second Line

76 SPRING 1992 THE CLARION

Sainte-James Boudrot Deacon Willie

225 SOUTH DECATUR STREET MONTGOMERY, AL 36104 205 834-5544

BY APPOINTMENT

BARRISTER'S GALLERY 526 ROYAL STREET NEW ORLEANS, LA 70130 504 525-2767

TOAD HALL REPRESENTING

Milton Bond John Carlton Gene Conley Chuck Crosby John Cross Jerry Farrell Jessica Farrell Tino Ferro Trinidad R. Gilmore Walter & June Gottshall David Gottshall Marie Gottshall Kristin Helberg Sarah Horan Ed Johnson

Marie Keegan Susan Lakin Woodie Long Nancy McGuire Bob Mahalick Sam Manno Gary Matteson Charles Munro Janet Munro Lee Neary Mary Shelley Helen Smagorinsky Barbara Strawser Jes. Snyder

MAY 92 IS FOLK ART MONTH IN COOPERSTOWN,NY

Whaler by Gary Matteson

May 1, 1992 The New York Historical Association unveils it's contemporary Folk Art Collection, complemented by a huge group show at Toad Hall.

TOAD HALL COOPERSTOWN 63 PIONEER STREET COOPERSTOWN,NY 13326 607-547-2144

TOAD HALL SARATOGA 350 BROADWAY SARATOGA SPRINGS, NY 12866 518-583-0149

TOAD HALL CATHEDRAL FARMS RR 3 BOX A 8 ONEONTA,NY 13820 607-433-6709

DOUBLE 1k GALLERY O AMERICAN FOLK ART/VINTAGE DESIGN

318 North La Cienega Boulevard Los Angeles, CA 90048 310/652-5990 LITHUANIAN ALTAR FIGURE c. 1850 Small Wood Carving from a Lithuanian community in Peroemanvil, Pennsylvania (approx. 18" on stand) This highly stylized yet simple carving emanates an insurmountable charm.

We Specialize in Unusual American Folk Art Gallery Hours: Tuesday â&#x20AC;&#x201D; Saturday 11-6

SPRING 1992 THE CLARION

77

BOOK

REVIEW%

JACK SAY SAITITT GALLERY At CAMELOT (Route 100 between Macungie and Trexlertown)

Macungie, Pennsylvania 18062

Jack Savitt, Representing

JACK SAVITSKY 20th Century American Folk Artist • Oils • Acrylics • Drawings For Appointment Call

(215)398-0075 -•••0 "

THE GREY &DARREL 4.• 06 *• V• Celebrating the Spirit of American Craftsmanship

Quality Country & Formal Furniture, in Old Paint, Tiger Maple & Cherry Windsor Chairs & Settees An ever changing Treasure Trove of Folk Art, Quilts, Theorems, Tole, Handmade Textiles, Sweaters, Blankets & Beguiling Antique Accessories & Gifts The Grey Squirrel, 5 Main St., New Preston, CT,is only a 40 minute drive North of Danbury, CT. Take Rte. 684N to Rte. 84E to Rte. 7N; From New Milford follow Rte. 202 7 miles to Rte. 45. Turn toward Lake Waramaug & you are in the charming village of New Preston.

Antique shops, Art Galleries, Bookstores & Inns.

Call Wally Thiel for more infomation.

203-868-9750 Thurs. through Mon. 11 am • 5 pm.

78 SPRING 1992 THE CLARION

Bill Traylor (continuedfrom page 33) 1946 editorial which appeared in Colliers. The "quotes" are "misquotes." And the legless men who frequently appear in Traylor's works are not selfportraits. Shannon elucidates that the images were drawn prior to Traylor's loss of his own leg, with inspiration being provided by the few legless men on crutches who frequented Monroe Street, and "Jimmie," a friend of Traylor's who visited nearly every day and whose peg-leg is depicted often. Readers may find it an interesting fact that the Museum of Modern Art was introduced to the art of Bill Traylor in 1942, and Alfred Barr and staff "agreed to pay $2 a piece for the larger drawings and $1 for the smaller ones," and that "sixteen others were selected for the Museum Collection and a check will be sent to you by the Museum." Shannon returned the check for $20.50, but has retained the letter to this day.

Unlike many artists, Traylor lived to know of two "one-man" exhibitions held of his works, and received a stipend in the amount of $10.00 for the exhibit at the Fieldston School in New York. While in Montgomery, he was brought to see the exhibit held at a shortlived cultural center begun by Shannon and a group of artists.

Traylor carefully observed each of the 100 drawings, laughed at the antics going on in the paintings, but did not acknowledge that the works were his own creative outpourings. It was not until ten years ago that Traylor's art came to the forefront of the art community. In the Corcoran Museum's groundbreaking exhibition "Black Folk Art in

America, 1930-1980," Traylor's image of a coiled serpent illustrated the catalog cover. Traylor was praised by art critics and named "the star of the show," a "striking example of genius," and "master of design and form."

Traylor's works have since been exhibited extensively both nationally and abroad, and he is one of the few self-taught artists to receive international recognition. Bill Traylor's uncompromising modernism has been enthusiastically accepted within the realm of contemporary art circles. Works created fifty years ago appear fresh and accomplished. The book as the graphic dazzler that it is, will appeal to student, artist, designer, collector, and art historian.

Gallery owners and artists Frank Maresca and Roger Ricco became captivated by the life and art of Bill Traylor some ten years ago. They stress the artistic and historical significance of this self-taught artist, viewing Traylor as a hero in American and AfricanAmerican culture. Bill Traylor: His Art-His Life is their second collaborative publication. The first, American Primitive: Discoveries in Folk Sculpture, published by Knopf in 1988, set new standards in defining and interpreting American sculpture.

Diane Finore is owner ofFinore Marketing Services, a marketing and promotional agency. She wrote "The Art of Bill Traylor"for The Clarion, Spring 1983. Finore has an MA. from New York University in the American Folk Art Studies program.

& TUR.47 <c0 4111 ANTIQUES SHOWS March 27-29, HARTFORD,CONNECTICUT The 19th Annual Connecticut Spring Antiques Show The State Armory, Broad Street and Capitol Avenue Benefit: The Haddam Historical Society, Inc.

JOHN C. HILL AMERICAN INDIAN ART AMERICAN FOLK ART 6990 E. MAIN ST.,Second Floor SCOTTSDALE,AZ 85251 (602)946-2910

May 16th, WOODBRIDGE,CONNECTICUT Outdoor Show on Center Field, Off Route 114 Benefit: The Amity-Woodbridge Historical Society, Inc.

June 20th, REDDING CENTER, CONNECTICUT Outdoor Show at Lonetown Farm, Route 107 Benefit: The Redding Historical Society, Inc.

July 11th, MANCHESTER CENTER, VERMONT Outdoor Show on River Rd., Off Rt. 7 Benefit: The Friends of Hildene, Inc.

July 18th, COVENTRY, CONNECTICUT Outdoor Show at Nathan Hale Homestead, South Street Benefit: The Antiquarian and Landmarks Society, Inc.

August 1st, GLASTONBURY,CONNECTICUT Outdoor Show on The Village Green, Main Street Benefit: The Historical Society of Glastonbury, Inc.

August 15th, NEW LONDON,CONNECTICUT Outdoor Show at Connecticut College, Mohegan Avenue September 12th & 13th, SOUTH PORTLAND, MAINE The 6th Annual Portland Symphony Orchestra Women's Committee Antiques Show The State Armory,680 Broadway LINDA TURNER

45 LARCHWOOD RD., SO. PORTLAND, ME 04106 (207) 767-3967

MARKETPI,ACE

Ifttroluci n3

M

iclui an

The Folk Connection features midwestern folk and outsider artists: Virgil Norberg, Allan Eberle, Paul Hein, Randy Norberg, Oliver Williams, Greg Dickensen and others. For a catalog send $10 to Sherry Pardee, P.O. Box 2926, Iowa City, IA 52244, 319/337-2500 Bases For Art and Antiques Custom mounting of sculpture in metal, wood, and plexi. Collection display consulting. Folk art a specialty for over 15 years.

American Primitive Art and Bases Inc., 596 Broadway #205, New York, NY 10012, (212) 966-1530, Aarne Anton DeacquisItIons. We handle folk art deacquistions from private collectors, estates and museums.

Buyers: Let us know your areas of interest (or artists). Write for current inventory/prices. Sellers: Send color photos or slides with name of artists. P.O. Box 3075, Hilton Head, SC 29928.

Contact—A great new service offered by Cherry Jochum and Andrew Klasel, formerly of Gilley's Gallery. Collectors, buyers and sellers: freshen your collection or move/find inventory through a nationwide audience. 260 Maximilian, BR, LA 70802.

Call/Fax 504-387-5824.

Stephen Huneck Catalog, featuring sculpture, furniture, and jewelry by the Vermont artist. Send $2 to Stephen Huneck Catlog, RFD 1, St. Johnsbury, VT 05819.

Gallery hours are Monday through Saturday 10-3, Spaulding District Road, St. Johnsbury, Vermont.

(802) 748-5593.

Brazilian Folk Art& Amazonian Indian Art. Several hundred items on display. Carved wooden votive sculptures (ex-votos), Macumba Candomble altar irons(ferramentos), Carrancas, and various Indian art of fifteen tribes. Tribe Gallery, 196 7th Avenue, Brooklyn, N.Y. 11215, 718-499-8200

ICson C'-Apr.1 244 of a

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SPRING 1992 THE CLARION 79

4\de it, AMERICAN FOLK AND OUTSIDER ART Hours: TUES.-SAT. 11-6 6909 MELROSE AVENUE LOS ANGELES CA 90038 213.933.4096

CONSTANCE ROBERTS. 'BETTER COOKING FOR MODERN LIVING' CARVED PINE WHISTLES. 12" X 9"

INDEX

TO

ADVERTISERS

all of us americans America Hurrah America Oh, Yes American Masterpieces Ames Gallery of American Folk Art ANB International Mama Anderson Anton Gallery Art Inside Barrister's Gallery Beaverland Enterprises Inc. Brooks Folk Art Steven L. Buckley Robert Cargo Folk Art Gallery Collwill-McGehee Cotton Belt Double K Gallery Epstein/Powell Espiritu Laura Fisher Antiques Folk Art Society of America

$O SPRING 1992 THE CLARION

71 3, 5 72 29 4 73 18 8 22 76 72 68 26 9 17 76 77 27, 32 28 67

Forbes & Turner Antiques Shows 79 Gasperi Gallery 15 Sidney Gecker American Folk Art 4 Gilley's Gallery 28 Grass Roots Gallery 23 The Grey Squirrel 78 Anton Haardt Gallery 32 John Hill American Indian Art 79 Leslie Howard/Alternative Art Source 79 Lynne Ingram Southern Folk Art 16 Martha Jackson 25 Kentucky Quilt Project 31 Knoke Galleries 26 Leon Loard Gallery 8 Main Street Antiques 18 Main Street Gallery 27 Marketplace 79 71 Marston House Inside Front Cover Frank J. Miele Gallery Steve Miller 1 Claire Murray 73

Leslie Muth Gallery 68 Objects Gallery 65, 69 Outside-in 80 J.E. Porcelli 19 Rathbun Gallery 29 Red Piano Art Gallery 14 Revival Promotions 71 Roger Ricco/Frank Maresca 11 Stella Rubin 76 John Keith Russell Antiques, Inc. Back Cover Jack Savitt Gallery 78 Brigitte Schluger Gallery 65 David A. Schorsch 20 Toad Hall 77 Walters/Benisek Art & Antiques 2 Wanda's Quilts 72 Marcia Weber/Art Objects, Inc. 19 David Wheatcroft Inside Back Cover Eldred Wheeler of Houston 69 Thos: K. Woodard 6

Roman Stripe, Ohio, circa 1910

AMISH QUILTS DAVID WHEATCROFT LEWISBURG, PENNSYLVANIA TEL: 717-523-6687

JOHN KEITH 4,USSELL ANTIQUES,

Painted Eighteenth Century Connecticut Apothecary.

481/2x 13 3/4 x 74 1/4 inches.

SPRING STREET,SOUTH SALEM, WESTCHESTER COUNTY,kY. 10590

(914)763-8141 • FAX:(914)763-3553

TUESDAY-SUNDAY 10:00-5:30