The Clarion (Spring 1977)

THE CLARION Editor: Julia Weissman

The Museum of American Folk Art 49 West 53 Street, New York, New York 10019 Spring 1977

Number 7

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ANGEL GABRIEL, weathervane. Artist unknown. Polychromed 4 inches. From the perma1 metal. Early 1800, Connecticut. Height 29/ nent collection of the Museum of American Folk Art.

Dear Members, Our cover is the Angel Gabriel weathervane from the permanent collection of the Museum of American Folk Art. It was given many years ago by Adele Earnest. Now it is hanging by the entrance for all to see and serves as our logo and the symbol of our Museum.

Angel Gabriel was a motif for gravestones and mourning pictures; we chose it as an epitaph for Bruce Johnson, our Director who died this last summer. But the angel also symbolizes permanence: permanence in its own right having survived many generations, the permanence of beauty, the permanence of loyalty, and uppermost in my mind, the permanence of the Museum of American Folk Art. There have been many moments when each of us was tempted to give up. Many a tear was shed and many a stubborn front has been feigned. There have been endless negotiations, endless works and endless doubts.

But now the Museum has become all of us, strong and independent. One Trustee has set out to eradicate all the debts and is close to succeeding. Another has started House Tours and other benefits with great success. A number of members have established a Friends Committee, a now flourishing part of the institution. Two other Trustees, convinced that

It is our pleasure to announce the election of Frances Martinson, a New York lawyer and member of our founder's family, and William Wiltshire III, a noted collector from .Richmond, Virginia, to the Board of Trustees.

Unfortunately Peter Nicholls who had been serving as a Trustee is temporarily living in London and cannot attend meetings. Under New York statute his trusteeship had to be suspended. We are looking forward to his return so we may again take advantage of his invaluable services.

The saddest thing, of course, was the death of our director, Bruce Johnson. You will find a resolution on pagel6 written

by Dr. Louis Jones, one of our esteemed colleagues and a personal friend of Bruce's.

The Museum is establishing the Bruce Johnson Memorial Fund and the response has been overwhelming.

We have established a committee to search for a new director. It is a very difficult job. Committee members are interviewing relentlessly.

In the meantime, we are lucky to have Bruce's assistant Karen Schuster to take charge with the help of Ralph Esmerian, our Vice President. The Museum has come through these difficult times, and we feel a fine solidarity.

Please come and shop at the Museum. Elizabeth Tobin has found some marvelous folk art and crafts and the Bookshop has tripled its sales during this year. When you come you will find a proud new awning over our door announcing the

there is much undiscovered talent in the world, are relentlessly contacting and interviewing candidates for the directorship.

Yet another Trustee is using her knowledge and contacts to find a permanent place for the Museum. And all down the line I find every Trustee diligently working in the Museum's interest.

Yesterday I came into the office and found a new membership drive brochure beautifully conceived and executed. In October, I received an imaginative and effective invitation to the House Tour in the mail. These things give me great happiness. I fear for the Museum no more; the Museum is permanent and forever will make its contributions. I hear about the Museum everywhere: "Oh yes, the Museum of American Folk Art", "I love your shows", "I love your catalogues", "I love folk art." There is always a quick smile and a brightening of the eyes. People like Joseph Martinson, our founder, and Edith Barenholtz, Stewart Gregory, and now Bruce Johnson would be happy to know that the Museum with its strong board, staff and membership is permanent like the Angel Gabriel.

I wish you a very Happy New Year and hope to see and meet you all.

Sincerely, Barbara Johnson President, Board of Trustees

presence of the Museum. During the week Elizabeth will help you and on the weekends stalwart Kevin Bueche will be there as he has been for the past three years.

As a result of increasing sales and attendance our need for volunteers has become critical. We would appreciate interested members who can offer any skill—e.g. typing, sales, gallery aides—contacting us.

The Board of Trustees Museum of American Folk Art BOARD OF TRUSTEES Mrs. Barbara Johnson, President Mrs. Adele Earnest, Vice-President Mr. Ralph Esmerian, Treasurer, Vice-President Kenneth Page, Esq., Secretary Mrs. James Burke Mr. Lewis Cabot Mrs. Phyllis D. Collins Dr. Louis C. Jones Mrs. Norman Lassalle Mrs. Ronald Lauder Frances Martinson, Esq. The Honorable Helen S. Meyner Mr. Cyril Nelson Mrs. Richard Taylor Mr. Andy Warhol Mr. William Wiltshire III

THE CAKE BOARDS OF NEW YORK STATE

By Richard Barons

FIGURE 1. "In Memory of Washington" pastry mold, mahogany, 15" x 25%2" x 1" carved on the outer edge of the face of the board, "J.C." while on the bottom of the central roundel is carved the name, "T. Asten." New York City, circa 1828-1833. Courtesy of the New York State Historical Association, Cooperstown, New York.

Really, the most popular folk art has to be food. At least three times a day we avidly indulge in this form of folk culture. Be it a humble breakfast, a prolonged lunch, or a spectacular evening dinner out, each bite speaks of a craft handed down from cook to cook, generation to generation, and country to country. But often the recipes are part of an oral tradition, and if written down at all, are copied in notebooks or on slips of paper that get spilled on or tossed away when a new ingredient is discovered. At times if a recipe survives, it takes the form of basic building blocks intended for the virtuoso cook to improvise on. All this improvising leaves the historian with merely a diary account of a past meal, a bare and basic recipe, or more often the pan used in the preparation thereof. How does someone keep track of something that is digested? Of course, the pleasure of food is seeing and eating.

With the so-called cake boards, we are left with a visual feast of design and a famine of information. They are some

of the most beautiful and meticulously produced wooden kitchen utensils that were ever made in America. These pastry molds have been long collected and appreciated for their superb design and folk art interest, as well as antiquarianism.

Among the most famous early collectors to amass a group of pastry board molds were George Horace Lorimer, Titus C. Geesey and Elie Nadelman.

Much of the Lorimer collection was dispersed at auction, the Geesey collection is housed in the Philadelphia Museum of Art and is rich in Pennsylvania redware examples, the Nadelman molds are scattered about, with the largest holdings at the New York Historical Society in New York City.

While these flat relief carved molds are most intriguing remnants from past kitchens, they often measure nearly three feet in length, and their size and meticulously carved designs must have made them quite expensive, surely not an accouterment of the average household. Probably the finest school of pastry mold carving was situated in the City of

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FIGURE 2. "Lafayette at Yorktown, 1781" pastry mold, mahogany, 1 " x 1 ", carved on the bottom of the central roundel 14-3/4" x 264 is the nanie "W. Farrow," New York City, circa 1815-1834. Courtesy of the New York Historical Society, New York City.

FIGURE 3. "Bloomer Girl" pastry mold, mahogany, 13-3/8" x 23-3/4" x 1 ", impressed "J. Conger," New York City, circa 18281833. Photograph by Caren Arias, Courtesy of Betty Sterling, Randolph, Vermont.

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New York between 1 820 and 1840. Nowhere was wood mold carving so brilliantly crafted, and nowhere were political events so permanently rendered for the contemporary cook.

These usually mahogany, walnut, or rarely, lignum vitae, molds have become wooden reminders of our young country's great interest in its historical past.

We know from transcribed song books that Americans were singing about the American Revolution in the 1850's and still vocalizing the "Battle Yorktown", and "Ode to the Death of General Washington" long after that. With historical events still fresh and popular fare, it is not odd to find cake board molds bearing such titles as, 'The Capture of Major Andre," "The Battle of New Orleans," "General Lafayette," and "General Jackson," and all of them being created from the late 1820's up until the latter part of the 1840's.

sugar ornaments, the modern table embellishments having very properly fallen into the hands of the silversmiths." Envision a molded cake in the form of the seal of the State of New York as a central ornament on a New York dinner table.

Travelers in the low lands and Germany during the 19th century noted that huge gingerbread figures were often iced in vivid colors or even covered with gold leaf on strips of Dutch metal (zinc and copper) so they would glisten from the stalls in country fairs or pastry shop windows. The figures were sometimes as large as 5 feet and took the forms of saints, animals, or themes from folk tales. How impressive one of the common New York State "Eagle" design cookies would be glistening in gold foil.

In reading printed and manuscript collections of 17th, 18th and 19th Century English and American recipe books,

FIGURE 4. "Seal of the State of New York" pastry mold, mahogany, 16/ 1 4"x 2514" x 1 "impressed "J.Y. Watkins, N.Y." and "J. Conger" circa 1830-1833. Courtesy of Garth's Auction Barn, Delaware, Ohio.

What did the cook do with these molds? It seems quite certain that they could have been used in a number of different ways. In England during the early part of the 18th century pie tops were often given lavish designs by the crust being rolled on a mold and then placed on top of the pie before baking. In 1720, "E. Kidder's Receipts of Pastry and Cookery" illustrates many designs for "Pyes, Florendines, Torts, and Pasteys." These fancy desserts were very much part of the table decoration. Indeed by 1846, Alexis Soyer in his London printed "The Gastronomic Regenerator; a Simplified and Entirely New System of Cookery," notes that he has observed, "...as ages change so do the fashions.

Fifteen years ago large pieces were very much in vogue but at the present time I know many epicures that would object to sit down before those once favorite monuments, or colossal

one is struck by the number of cakes and cookies which were either "stamped," "molded," or "shaped" in some way.

In considering the large size of these pastry board molds, most recipes for march-panes or marzipan seem possible.

Springerle also could easily be created on a large mold. But one recipe found in the manuscript collections of Colonial Williamsburg seems the most likely type of cake produced in these molds. In a manuscript entitled, "A Booke of Sweetmeats" by Mrs. Custer, and believed to have been copied from a printed 17th century cookbook, this recipe for gingerbread is designed to hold together well when using large molds. Mrs. Custer writes, "Take halfe a pound of blanched allmonds, 2 ounces of cinnamon, and put in ginger to your taste, a pound of searced sugar, a penny loafe grated of white bread and

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dry it and scarce it over night, and put some gum dragon to steep in rosewater, then beat your almonds in a morter and now and then put in a spoonful of your spices, sugar, and crums of bread and sometimes sprinkle in a little sack, and toward the latter end of your beating, put in some of your gum to binde all together, and when it is well beat and mixed in the morter, you may make it into roles or print it according to your pleasure but it is best to role it out and print it, the prints of white ginger bread are used much thinner than the cullered, which is commonly made all moste halfe an inch thick or a quarter of an inch at the least."

or just "J.Y. Watkins, N.Y.," over the years both collectors and antique dealers have come to lump the entire genre of New York cake boards into "Conger type." In 1828 John Conger is first listed in the New York Business directories as a carver located at 65 Sullivan Street. He moves each year until 1832, when his address is given as 242 Greene Street, and doesn't appear again until a John Conger is listed in 1837 as a print cutter at 211 Orange Street. But if this John Conger is the cake mold John Conger, we may never know.

The man who carved so many pastry molds could certainly create wood engraving blocks, but this could have been his son, or no relation at all. There were other John Congers in New York at the time, one being a carpenter.

FIGURE 5. "E. Pluribus Unum" pastry mold, mahogany, 11-113" x 11" x 1 ", impressed "J.Y. Watkins, N.Y." and "J. Conger,"circa 1830-1833. Photograph by Joan Potter, courtesy of Elizabeth S. Mankin,Side Door Antiques, Kent, Conn.

Now that we have some ideas about what was produced on these pastry boards molds, let's look at their producers and some of their designs. Although the molds bear a number of stamped or carved names, the three most famous are "J. Conger," "J.Y. Watkins, N.Y.," and "Henry I. Cox, Carver, N.Y., 1834."

Though the most common of all marked pastry molds are those stamped either "J. Conger," with "J.Y. Watkins, N.Y."

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But who was J.Y. Watkins? James Y. Watkins is listed as a tinsmith on Catherine Street from 1830 until 1838, when he was both a tinsmith and the owner of a kitchen furnishing warehouse. It can be assumed that John Conger carved molds for Watkins to sell, thus accounting the reason for the double stamped examples, but it would be dangerous to think that all single stamped "J.Y. Watkins," pastry board molds were from the hand of John Conger. Judging from the single stamp-

FIGURE 6. "Couple" pastry mold, mahogany, 10-5/8" x 10-3/4" impressed "J.Y. Watkins, N.Y.", circa 1830-1840. Photograph by Robert Hunt, courtesy of Peter A. Nelson, Templeton, Mass.

FIGURE 7. "Man with Staff" pastry mold, mahogany, 10" x 11 "x 3/4 ", New York City, circa 1828-1833. Photograph by Joan Potter, courtesy of Elizabeth Mankin,Side Door Antiques, Kent, Conn.

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ed "J.Y. Watkins" pastry board molds I have seen, it appears that Watkins had a number of carvers working for his warehouse.

John Conger's molds basically seem to follow two design formats. One is a large flattened oval on a rectangular board with a roundel in the center, creating an almost surreal eye-like effect. The other format is simply a roundel placed on an almost square board. The first pastry board mold I ever saw was the "In Memory of Washington." (Fig.]) This incredible carving is most certainly the work of John Conger. Indeed, on the outer edge of the face of the board is incised a large and flowing "J." and "C." This board follows the eye-like format using a tomb with two mourners to form the central roundel. The mourners are standing at a classical monument on which is carved a weeping willow tree and from which thrusts a fluted column. As if blown in the wind, an incredibly calligraphic eagle is perched atop the tomb, thrusting its beak into a cup held by one of the mourners. The other crying figure holds aloft a liberty cap. Cut on the plinth of the

memorial is "in memory of," with Washington's name written out on the ground below. But besides the mourners, tomb, and eagle, this roundel is filled almost nervously with stars, flowing leaves, budding flowers, and, most intriguing, energized, almost vaporous elements engulfing the dresses of the mourners. There is a cross hatched frame around the rosette in which is carved at the bottom the name of the New York City baker, "T. Austin," for whom the mold was likely made.

In order to create an even more varied surface for the cookie, the rest of the "eye" is filled with a King in a Kilt, a hatchment complete with cannon and cannonballs, an American shield, a globe of the world, two American flags, and a liberty pole and cap all being engulfed by stars, leaves, and wheat.

This most exciting carving creates a theme repeated by symbols that almost never end. Small motifs fill up even the tiniest spaces in an excellent example of "horror vacui".

But if "In Memory of Washington" (Fig. 1) seems involved then the unsigned "Lafayette at Yorktown 1781" (Fig. 2) is also replete with detail. Following the oval design theme, this Conger-style mold has an almost Lord Fauntleroy dressed Lafayette, atop a horse with a brilliant flowing tail, riding through a landscape with huge leafy plants bearing berries. In the background are tents including a domed example topped by an eagle. The baker, William Farrow, for whom the mold was likely made, has his name carved on the ground that Lafayette's horse trods. Outside the central roundel are a pair of vertical ovals with beaded frames, one with an upright cornucopia spilling out pineapples and bananas, the other with an urn holding a bouquet of flowers. Once again, stars and leaf-like designs fill every possible empty space and the frame around the main oval is particularly intricate, with a twisted ribbon effect.

Of the signed Conger examples the "Bloomer Girl" (Fig. 3) mold is incredible in the number of design elements used.

In particular one should note the rooster above the Bloomer Girl and the cock robin above the young man carrying an umbrella. Flowers fill every conceivable space even when they are not burstinglfrom the central basket or overflowing from the two cornucopiae. It is very interesting to note the variety in border designs, since often a small arc is used to create many variations.

The "Seal of the State of New York"(Fig. 4) repeats some designs from both Figures 2 and 3, and creates a very intricate and elegant board stamped both "J. Conger," and "J .Y. Watkins, N.Y." Imagine the gingerbread that would be formed by this mold.

On the round Conger molds one of the most popular motifs was the American Eagle with a banner clenched in its beak, proclaiming "E. Pluribus Unum." (Fig. 5) A very charming FIGURE 8. "Roses" pastry wheel mold, mahogany with oak handles, 11" overall length with the wheel mold 3'4" square, impressed with "J. Conger," New York City, circa 1828-1833. Photographed by Joan Potter, Courtesy of Elizabeth Mankin, Side Door Antiques, Kent,Conn.

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1210111111MM

FIGURE 11. "Lord Byron" pastry mold, mahogany, 15%" x 26"x 1 '; attributed to Henry I. Cox, New York City, circa 1834. Courtesy of the New York Historical Society, New York City.

FIGURE 12. "Manhattan" and "Superior" double sided pastry mold, mahogany, 8-1/8" x 14%" x 1 ", New York City, circa 1825-1835.

Courtesy of the New York Historical Society, New York City.

round "J.Y. Watkins, N.Y." mold has a couple standing amid huge snowflake-like flowers (Fig. 6); while in the board entitled "Man with Staff" (Fig. 7), we have an interesting looking gentleman who most probably figures in a folk tale current to the 1830's. He wears britches, tall boots, and a simply-cut short coat, and carries what looks like a napkin over his left arm. He has a walking stick with a large round handle and wears a hat resembling the feathered dance hats of the Iroquois Indian. This man walks amidst an intensely lush landscape where he is dwarfed by clover, ripe strawberries and a sheaf of wheat. A most interesting signed Conger pastry device is the pastry wheel (Fig. 8) carved with the typical winding rose motif, which could be used for rolling cookies to be cut in squares or possibly in making a border around a larger mold.

Henry I. Cox, a New York City carver working during the early 1830's, has left us with only one signed board recorded, but his interesting style of carving has led me to believe that at least two other boards are by his hands. "General Lafayette," (Fig.9) which is signed by Cox, notes that he is a carver, gives New York as its place of manufacture and is dated 1834 (ranks as one of the finest pastry molds in existence).

This unusually constructed board, which is bread-boarded at its ends to protect it from warping, has a wealth of intriguing motifs and the central design of Lafayette on a rearing horse with its mane and tail blowing in the wind against an alpine background, which Cox certainly borrowed from a contemporary print of Napoleon. This Lafayette has great drama. On the top of this oval, leaf framed design is an eagle with billowing clouds on either side and rays of light leaping above. The eagle holds a banner identifying Lafayette on either side of which are two hugh clumps of fabric with spears and bayonets protruding into a starry sky. On the right corner sits Liberty with a laurel branch in her hand and on the left side stands Justice with her proverbial scales.

Below Lafayette are two fluted, scroll ended, cornucopiae; one spilling out melons and a huge growing oak branch, the other sending forth pears, grapes, and pineapple, while a rose branch grows from amongst the fruit. One of the most splendid features of this board is the classically designed scrolled lower border complete with Bell flowers. A feature that seems peculiar to Cox's carving is his use of broad areas of simple flat surfaces such as the body of the horse. Another feature of Cox's work seems to be his use of a special device for each corner of his oval format. In this instance a boss with acanthus leaves is used to divide the top half of the frame from the bottom half directly at the middle of the left and right edges.

"Mrs. Jones' pastry mold"(Fig. 10) is very similar in feeling to Figure 9, though the iconography of the board seems somewhat ambiguous. The theme centers around an almost circus clad horse pulling a chariot in which an American Indian maiden holds a banner with stars. Her horse charges in front of a hugh hairy plant that divides the board in half. On the other side of this plant is a Greco-Roman clad woman with wings,

holding a tablet on which she is inscribing with a quill pen the words "Hull," "Degat," "Jones," and "Jackson." Whether this board refers to General Jackson and his Lieutenant Thomas Jones, who was in command of 5 gunboats during the Battle of New Orleans, and Hull, a good friend of Lieutenant Jackson, who Was killed in a duel at Pensacola in 1811, we may never know. But we do know that a Mrs. Jones was the likely recipient of this board for her name is carved directly below the house. It seems highly plausible that Henry Cox created this carving. The house incorporates his broad areas of smooth, rounded carving very similar to that of

FIGURE 13. "Jim Crow" and "Indian with Tomahawk" doublesided pastry mold, walnut, 7-5/8" x 3%2" x 1-1/8 ", New York State, circa 1835. Courtesy of the Genesee Country Museum, Mumford, New York.

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Figure 9; also the peculiar use of a device in the corners of the oval in which to break up the frames are found in this mold. Another feature of similarity is the over-abundant use of background stars.

The "Lord Byron" pastry board mold (Fig. 11) is even more interesting, though less ambiguous than Figure 10. Here we have the personification of England being escorted by a lion holding a scroll imprinted with the name "Byron." In the middle of the board, being presented with a laurel wreath by an enormous feathery American Eagle, is the weeping figure of Greece leaning on a broken column. On the ground in front of the column are scattered helmets, a lyre, a shield with a cross and the capital that toppled from the column.

A soldier in armor ready to strike a fatal blow with a sword and wearing the pants of a Turk, has his weapon being held immobile by the female attribute of America. America's shoulder is being held by a paternal-looking eagle who is holding a shield. The background is aglow with stars and is typical of the one mold signed by Cox. This "Byron" mold also has devices on either side of the oval format to break up the repetitive design of the frame. This brilliant board is a summation of America's interest and feelings toward the Greeks during their fight for independence. Towns took up collections of money to send to Greece, and one small Western New York community changed its name to "Byron" in honor of the dead poet who did what many Americans wished they could.

Surely Cox and Conger were not the only wood carvers creating these expensive confectioner's molds. Boards have

come to light initialed "I.W.," and two molds are known that bear the name "I. Beard" burned into them several times.

There is an extremely charming double-sided unsigned mold bearing the likeness of the two New York style fire engines "Superior" and "Manhattan" (Fig. 12). This mahogany board has the blazing stars in the sky and three firemen, the leader holding a speaking horn. Under the pavement line is carved a long ladder and a hook, the typical symbols of nineteenth century fire companies.

Another unsigned mold with a New York State history is a double-sided board with Jim Crow and an Indian with a tomahawk (Fig. 13). The Jim Crow side probably epitomizes the fine style of low relief carving used in the manufacture of these molds. The kinetic energy that is obtained in the loose broad strokes that outline this black man create the appearance of constant movement. The figure literally moves off the ground as his hand rhythmically slaps his thigh. The shape of his finders are accented throughout the carving, and to help contain the energy, the artisan has carved sharp slashes completely outlining the mold in an uninterrupted pace.

The cake molds made in New York State are almost unexcelled as beautiful kitchen utensils. Only in Pennsylvania redware examples are designs so beautifully conceived and executed with such style. Though much work still must be done both in recording examples and researching uses, these pastry molds, devoid of their food attributes, remind us that some really great pieces of folk art were designed to be eaten.

We wish to thank the following volunteers who have regularly contributed their ti me for the past year: STUDENTS Dwenna Dubisky Kevin Bueche Louise Firtell Bruce Cohen Sally M. Gerbrick Robert Ferguson Kookie Johnson Annette Brafman Meyers Cathy Kibler Phillida Mirk Emily Lenett Elizabeth Mudd Harold Malkin Hazel Osburne Dena Noble Cynthia Schaffner Roslyn Siegel Jackie Peter Duane Piechocki Myra Shaskan Clare Thaw Nancy Potenzano Janet Wolyniec Clifford Stuart John Tobin Jean Walker Ann Williams Bob Withington

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American Folk Art in Private Collections THE KAPLAN COLLECTION

By Julia Weissman

Ram Weathervane—Mrs. J.M. Kaplan.

There is scarcely a recent book (or exhibition) on American folk art that does not contain one or more examples bearing the legend, "Collection of Mr. and Mrs. Jacob M. Kaplan."

Yet the Kaplan collection, a distinguished and well known one, is not preponderant with such art. What, then, makes it what another noted collector said of it, "Small, as collections go, but a jewel, an exquisite jewel of a collection!"?

One might wonder why some collectors concentrate on one more or less specific period or area of art. Is it love or is it madness in the marketplace? Some insight into what motivates them might be gained from a visit in the home of what might be called a "generalist" collector. It is quite enlightening as well as pleasurable to see how widely disparate "schools" of art can live side by side. That they do so harmoniously in the Kaplan collection says as much about Mrs. Kaplan's (for the collection is of her making and pursuit) approach to and understanding of art as it does of the art itself.

Rather modestly, Mrs. Kaplan does not consider the totality of her assemblage of art a "collection." For her, it is the sum of highly personal acquisitions, "objects that I love and like to have around."

Mrs. Kaplan's diffidence is genuine, but the simplicity of the statement is perhaps a little deceptive. The art so gracefully deployed throughout the Kaplan apartment on Manhattan's East Side and in their country home impresses visitors as reflecting not only eclectically elegant artistic taste but close to unfailing good judgment. Interspersed among modern and antique furniture, it neither overwhelms nor is overcome by its surroundings.

Perhaps it is significant that the first thing one sees in stepping from the elevator into the vestibule of the apartment is folk art. Suspended from the ceiling in a welcoming gesture is the wooden "Angel Gabriel" featured as the frontispiece in Robert Bishop's book,American Folk Sculpture.

Many of the famous folk art pieces, such as the huge curlew weather vane exhibited last year at the Whitney and again, recently, at the Brooklyn Museum, stay in the country

house. Bought for no other reason than for its grace and beauty of line, and more as sculpture than as great folk art, this curlew bird shares honors with other fine pieces of folk art, such as an exceptional Blue Heron decoy and two other weathervanes, the large, sensitively modeled Merino Ram and the well-documented "Columbia, Goddess of Liberty." Other examples of folk art, mostly paintings, are in the New York apartment, where they mingle with 19th and 20th century works of art, Benin bronzes, old master drawings, pre-Columbian treasures, and African and Asian masterpieces, and an unusual contemporary wall hanging.

Ammi Phillips—Portrait of a Woman.

It is quite apparent that Mrs. Kaplan does not try to specialize (although she does seem to have a predilection for primitive art of all persuasions); nonetheless, it is equally obvious that there is a governing philosophy, which she expressed when asked what moved her to buy her first piece of American folk art, "Lady in Black." "It was, I guess, only what seems to govern all my choices—the artistic quality of the object and its particular appeal for me. I knew very little about American folk art at that time, and certainly nothing about Ammi Phillips. Nobody did, for that matter, when I acquired my first Ammi Phillips, for he was yet to be identified. I just liked the painting and so I bought it."

One of Mrs. Kaplan's perhaps best known folk art paintings hangs in her bedroom, the "Mrs. Ostrander and Son," by Ammi Phillips, which she bought at auction in 1961 at what even in those days was a very low price. She has since acquired seven Ammi Phillips's, but several years ago traded two of them in exchange for other things she wanted. One of the "trades" is a remarkable painting on wood (possibly a fireboard) done c. 1818-1820, a scene commemorating the tragic massacre of American soldiers by the English in the War of 1812. The latest Phillips in the collection, "Blond Boy With Primer, Peach, Book and Dog," was acquired about two years ago. It was discovered in a house in upper New York State, where it had been passed down in the same family, unidentified, for three generations. When it was on view a short time ago in an exhibition of Ammi Phillips paintings, Hilton Kramer singled it out as being an American masterpiece.

In yet another room, Leonard Baskin's wooden owl stares at a rare mid-19th century Amish quilt, hanging on the wall, whose unusual arrangement of muted red and blue vertical bars predates by a hundred years the paintings of Agnes Martin or Bernard Newman. The fascinating quality of folk art is how its untutored practitioners were able to create intuitively what 20th century trained artists have struggled intellectually and analytically to achieve.

Not unnaturally, Mrs. Kaplan, who has an intuitive "eye" sharpened by experience in many areas other than folk art, has made many "good" buys. For example, not long ago, she 12

was browsing in a "junk" shop and found an unidentified neoclassic drawing which, after doing some research, she discovered was an important but long lost ,study by Jacques Louis David. On another occasion, in that same shop, she bought an overlooked treasure, an early trompe l'oeil folk painting of a child stepping out of a picture frame. Mrs. Kaplan admitted, however, that more often than not she has had to pay "good prices" for works of art she found irresistible which could be acquired no other way.

Knowledge and taste develop with experience, of course, but Mrs. Kaplan's almost professional competence is well grounded in more formally acquired study. "I have, in fact, quite a bit of training in art," she revealed. "As a young girl, I studied at the Art Students League before and, for a while, after college. I had wanted to go away to college, to Radcliffe; but my conservative mother, who believed a young girl should live at home until married, forbade it. So I continued to live at home and went to Teachers College, Columbia University, where I majored in Fine Arts.

She didn't quite make it through to her degree at that time, though. She was married ("51 years ago!") and, "Well, then there were four children, households to look after, and much travelling abroad. I continued to paint from time to time, but soon I gave it up altogether, recognizing that being a serious artist demands total commitment, which in those years I could not manage."

As her children reached adulthood, Mrs. Kaplan became increasingly involved in various artistic activities. In 1958, at the urging of her family, she returned to Columbia to complete her undergraduate studies, then to the Institute of Fine Arts and to Columbia Graduate School, where she earned her M.A. degree in 1964. Her Master's thesis, based on a startling observation she made regarding a famous Raphael drawing, was published in the Arts Bulletin a few years ago.

While scholarship enhances one's appreciation for art, it is ultimately the love for each acquisition and the personal involvement of the collector that gives distinction to the quality of a collection. It is because Alice Kaplan understands and demands quality that the folk art in her collection is so exceptional.

Blue Heron—Mrs. J.M. Kaplan.

Opposite: Curlew Weathervane—Kaplan Coll.

Left: Girl Stepping Out of a Picture Frame—Kaplan Coll.

Right: Columbia—Mrs. J.M. Kaplan

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Fall, 1976 Dear Membership, The Friends Committee was in full gear this fall planning many activities. On October 5, 1976, prior to the opening of A CHILD'S COMFORT, members of the Committee sponsored dinners at their homes for invited guests. A champagne dessert at the Museum followed.

The Friends Committee and the Board of Trustees cosponsored the Museum's Manhattan House Tour Benefit on Saturday, November 6. A reception followed at the Museum.

The tour was a great success. We hope that all the members and guests on the tour enjoyed it. We are already looking forward to next year's!

The Friends Committee is sponsoring a Lecture Series held at the Museum the second Monday of each month featuring prominent Americana experts. More information on upcoming lectures is listed elsewhere in The Clarion. We hope you will all attend.

The Museum's summer 1977 exhibition will be a gathering of new-found folk art from the collections of our membership.

H.R. Bradley Smith of the Heritage Plantation, Sandwich, Massachusetts is preparing the catalogue for the show. Member's of the Museum's Board of Trustees and Friends will be selecting the pieces for the exhibition.

New members of the Friends Committee are Marna Brill, Alan E. Cober, David Davies, Pete and Anne Lowder, and Julia Weissman.

We welcome ideas for worthy projects for the Friends Committee from the membership.

Sincerely, Helaine W. Fendelman Chairperson

FRIENDS COMMITTEE Helaine Fendelman, Chairman Paul Portugal, Treasurer Jana Klauer, Secretary Joan Barenholtz Marna Brill Alan E. Cober Mr. and Mrs. Daniel Cowin Lucy Danziger David Davies Burton Fendelman Ellin Gordon Phyllis Haders Joan Johnson Samuel Pennington Scudder Smith Jean-Claude Suares El eanora Walker Julia Weissman Riki Zuriff

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A CHILD'S COMFORT: Baby and Doll Quilts in American Folk Art The current exhibition has been a great success, attracting quilt collectors and art lovers.

The exhibition gives a varied and extensive view of children's quilts spanning more than a century, from 1830 to the present. Quilts from many areas are included with the main emphasis on Pennsylvania Amish, New York State and midwestern quilts. Although a few are devoted to childhood images, they are for the most part in the same vein as the large quilts, incorporating many of the same traditional patterns but designed in such a way so that the designs compliment their size.

It's a great show for the Christmas season. The brightly colored pieced and appliqued quilts attractively displayed create a very warm atmosphere. The Bookshop has adopted the flavor of the show and has contributed to its success with a wide selection of related books and catalogues along with numerous textile gifts such as quilted and woven pillows and the popular calico teddy bears.

Due to the popularity and enthusiasm which have greeted this display, A CHILD'S COMFORT has been extended until February 4, 1977.

The exhibition catalogue published by Harcourt Brace Jovanovich is due to be on sale early in January. The text describes the world of the nineteenth and early twentieth century child and contains a special section by Josephine Rogers, the guest curator of the exhibition, with patterns and directions for making four baby quilts. All 64 quilts in the exhibition are pictured, 48 in full color, the remainder in black and white. Instructions for hanging and mending sewn handwork make the book useful for both collector and quilter.

The book, A CHILD'S COMFORT, Baby and Doll Quilts

by Bruce Johnson may be ordered from the Museum now.

The price by mail is $6.95 + $1.00 for postage and handling for the soft cover and $12.95 + $1.00 postage and handling for the hard cover. (Member's price $5.56 + $1.00 p&h for soft cover, $10.36 + $1.00 p&h for hard cover.)

FOR THE QUILT BOOK COLLECTOR MANHATTAN HOUSE TOUR BENEFIT The second Manhattan House Tour Benefit was held on November 6th. Over 200 Members and friends visited five exceptional homes all decorated with American art.

In addition, tour guests were able to speak with the noted folk art collector, Mr. Herbert Hemphill, Jr. at his home and view one of the outstanding folk art collections in the United States. Guests on the tour returned to the Museum for a reception and an opportunity to view our current exhibition, A CHILD'S COMFORT. A beautiful red and white quilt, donated by the noted collector, Phyllis Haders, was raffled.

Our member, Mrs. Frances Fink, was the lucky winner.

UPCOMING EXHIBITION The Museum of American Folk Art's new exhibition, MASTERPIECE PAINTINGS: New York State Folk Painters, will open to members on February 23rd, 1977 (to the public on February 24th). Marna Brill, Curator of the exhibit, has amassed a number of paintings that have not been shown before. The exhibit is to include portraits (ranging from the Patroon painters to the present) and landscapes (with a particular emphasis on rural farm scenes). Included in the exhibition will be such artists as Sheldon Peck, Noah North, Ammi Phillips, Susan Waters and Henry Walton. Of particular interest are a newly discovered family portrait believed to be

by M.M. Manchester, a farm scene illustrating the significance that the Industrial Revolution had on rural life, a young girl's impression of a local 4th of July picnic and a painting depicting water traffic on a New York State canal.

The exhibit will remain at the Museum until the end of May.

Another quilt book, and a charming one too, to add to your collection is now in the Museum of American Folk Art Bookshop. It's Phyllis Hader's little book, Sunshine and Shadow: The Amish and Their Quilts, recently published by Universe Books.

Mrs. Haders, internationally known as a dealer and collector of fine antique quilts from all over the United States, is also noted as being something of a specialist in Amish quilts. Her familiarity with them goes back to her childhood, for there was an Amish community neighboring her own in her native Indiana.

In an engagingly personal narrative Mrs. Haders gives her readers a nice insight into the religiosity that restrained the decorative impulses of these self-isolating people and caused them to favor somber colors for their outer clothing and plainly furnished homes. But, says Mrs. Haders, "Although these people present a very sober, monochromatic face to the world in their outward dress, bright colors are not foreign to them (and) may be worn in the form of dresses under their dark garments (or)found in men's and boys'shirts."

Thus, though frugality rather than poverty motivated the salvaging of worn clothing for use in quilts, intuitive artistry seems to have been irrepressible and must account for their quilts' unique qualities.

Probably the most striking characteristic of Amish quilts is the interesting balancing of large pieces of fabric, often wool, in geometric or wide stripe designs that are basically simple in form but bold in size, and the unusual mix of often moody color combinations. They would be, in this respect, as modern in feeling as many contemporary paintings if it weren't for the delicate and meticulously stitched quilting designs that add a surface dimension of shadow and light.

There is an unusual richness of carefully chosen detail illustrations in this little book and 12 documented color plates—how we wish there were morel—augmented with captions of significant quotations from Amish literature and favorite passages from the Bible.

The title of the book incidentally, comes from the name of one of the quilts in it, Sunshine and Shadow, made around 1920. "Out of the darkness and into the light, the traditional design reflects the rhythm of rural Amish existence, the eternal renewal of life itself."

There is also available, a pretty calendar using some of the illustrations from the book.

Sunshine and Shadow and the quilt calendar are for sale in the Museum Bookshop or are available by mail. Sunshine and Shadow with the Member's discount is $4.76 plus $1.00 for shipping and handling or $5.95 plus $1.00 for shipping and handling for Associate Members and non-members. The quilt calendar with Member's discount is $2.80 plus $1.00 for shipping and handling or $3.50 plus $1.00 for shipping and handling for Associate Members and non-members. New York State residents please add appropriate sales tax for either item.

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The Trustees of the Museum of American Folk Art, meeting together on June 7th, 1976 in sorrow and shock, bowed before the death of their friend and colleague, BRUCE ALEXANDER JOHNSON They resolved to remember his remarkable contribution to the Museum he had served so brilliantly for three years as Acting Director and as Director: the reestablishment of its professional credit, the improvement of its financial stability, the brilliance of its exhibition successes. From his selfless leadership has come a reborn institution whose future he made possible.

More especially the Trustees remembered the man himself: his youthful drive and unconquerable optimism, his solid integrity balanced by warmth and laughter and style.

Measured by any yardstick, his was a wholly successful life.

In remembering with affection and admiration the man and his contributions, the Trustees resolve to move forward vigorously and creatively toward the fulfillment of Bruce Johnson's dream for the Museum.

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metric and a non-geometric design (providing you wiii do a bit of homework). All materials provided for a $10.00 fee payable at first class. Bring scissors. Instructor, Elizabeth Tobin.

5 classes—$50.00 to members.

SANDWICH ARM

71111111..,r MUSEUM AWNING The Museum has a splendid new awning which extends over our entire front window. The awning was contributed by a very kind anonymous donor. The awning draws the attention of passersby to the Museum, protects items in the window from the effect of too much sunlight, and provides shade which cuts down on our air conditioning bills in the summer. The awning is a welcome addition to our facade.

The Museum needs several other items which would be as useful and as effective as the awning. The Museum would appreciate receiving contributions towards the purchase of a typewriter, a xerox machine, two desks, filing cabinets, humidifier, and a cash register. Contributions of any of these items would also be welcomed. Please call before bringing anything in. Donations may be mailed to the Museum or call Dianne Butt at 212-581-2475.

All donations are tax deductible.

MUSEUM CLASSES QUILTING: Introduction to basic principles of quilting, applique and pieced work. Supplies provided each week for a project which is begun in class and completed at home. All materials provided for a $10.00 fee payable at first class. Bring scissors and thimble (if you use one).

Instructor, Micki McCabe.

4 classes—$40.00 to members.

EARLY NEEDLEPOINT: Introduction to stitches and patterns dating from the 18th and 19th centuries which can later be adapted to projects of your own choosing. You will explore stitches and different kinds of threads on a 1800's style sampler which you keep as ongoing reference.

In needlepoint you can create either geometric or nongeometric designs (flowers, figures, etc.). In this class, besides working on a sampler you will complete a geo-

RUG HOOKING: Introduction to traditional technique of rug hooking using a rug hook (looks like a crochet needle set in a wooden handle) and strips of closely woven woolen fabrics. You choose pattern, woolens and then begin hooking in the first class. Materials available for purchase from teacher. It is possible to keep costs under $10.00 depending on the size of the project. Bring sharp scissors, notebook and pencil. Instructor, Norma Pelletier.

5 classes—$50.00 to members.

RUG BRAIDING: Learn to make long lasting durable rugs from wool material. Learn all skills to make rug from start to finish. Learn to make different shapes such as circles, ovals, squares and rectangles. You will be sent list of what is needed for first class. Instructor, Adriane Bindwood.

5 classes—$50.00 to members.

BASKETRY: A class for beginners in mastering fundamental techniques begun in class and then continued at home.

Begin with a flat mat for a casserole and then learn to make a natural curved basket, a basket with a lid, a cover for a bottle and a jardiniere for a plant. Rattan and board for working available for purchase from teacher. Possible to keep costs under $10.00. Bring wire cutters, measuring tape, awl or knitting needle. Instructor, Hisako Sekiji ma.

5 classes—$50.00 to members.

All classes will begin the first week of March. Please contact Elizabeth Tobin for further details.

MUSEUM OF AMERICAN FOLK ART 49 WEST 53RD STREET, NEW YORK,NEW YORK 10019 BE SURE TO ATTEND THESE REMAINING LECTURES Sponsored by the Friends Committee of the Museum of American Folk Art: Individual lectures $5.00 for members, $6.00 for non-members February 14

The Furniture of the Pennsylvania Germans MONROE FABIAN, curator, National Portrait Gallery, Smithsonian Inst. and a student and collector of Pennsylvania German art.

March 14

Pennsylvania German Folk Art JOE KIND IG III, antiques dealer, student, writer and speaker on Americana for many years.

April 11

The Art of Mourning ANITA SCHORSCH, Commissioner of Pennsylvania Historical Museum Commission; Winterthur Institute; freelance writer. ,.

May 16

Zedekiah Belknap BETSY MANKIN, formerly an intern at the Abby Aldrich Rockefeller Folk Art Collection, now taking her masters at the New York Historical Association in Cooperstown.

June 13

Whaling and Scrimshaw BARBARA JOHNSON, President of the Board of Trustees, Museum of American Folk Art and noted collector of scrimshaw and whaling objets.

BE SURE TO ATTEND THESE REMAINING LECTURES

Sponsored by the Friends Committee of the Museum of American Folk Art: Individual lectures $5.00 for members, $6.00 for non-members

Non-Profit Org. U.S. Postage PAID Permit No.3504 New York, N.Y.

DATED MATERIAL