The Clarion (Fall 1983) by American Folk Art Museum

THE CLARION AMERICA'S FOLK ART MAGAZINE The Museum of American Folk Art New York City FALL 1983

EXCEPTIONAL FOLK ART IN A UNIQUE SETTING Furniture, quilts, paintings, weathervanes, folk art and accessories.

SHIT MUIR American Folk Art • 17 East 96th Street, New York, New York 10128 • 212-348-5219 • By Appointment Only • Dealing in Investment Quality American Folk Art

Young Girl with Cat New England, mid-19th century 29 x 24 inches

NATHAN LIVERANI & SON COLCHESTER,CONNECTICUT 06415 TELEPHONE(203)537-2409

ESTABLISHED 1925

FINE QUALITY AMISH AND MENNONITE QUILTS

Amish, Holmes County, Ohio, c.1920 Pennsylvania German Quilt Exhibition, September 13 - October 21 Goethe House, 1014 Fifth Avenue, New York City Curator, Margie Dyer Exhibiting Fall Antiques Show, October 6 - October 9 Passenger Pier Terminal, New York City

MADE IN AMERICA COUNTRY ANTIQUES AND QUILTS 1234 Madison Ave.(bet. 88th & 89th Street) New York, NY 10028 -(212)289-1113 Open Monday - Friday 10:30 - 6:00, Saturday 11:00 - 5:30

c_AMERICAN (ANTIQUESC81,QUILTS TOM W()()DARD

BLANCHE GREENSTEIN

Shown:JEFFERSON STRIP,

Hours: Monday through Saturday â&#x20AC;&#x201D;11AM to 6 PM. Closed Saturdays July and August.

835 MADISON AVENUE, NEW YORK, N.Y. 10021(BETWEEN 69Th AND 70TH STREETS)TELEPHONE(212)988-2906

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or two centuries,Americans have enjoyed woven carpets in their homes. Now, continuing a tradition, here is our own exclusive new collection of all cotton classic woven rugs. WOODARD WEAVES' Available in large sizes as well as runners. Twenty-five authentic patterns inspired by Shaker,Amish,Pennsylvania Dutch and rural New England weavers.Seamless carpets:9'x 12',6'x 9',4'x 6'. Runners in widths of two and three feet. Complete full-colorcatalogue available by mailafterSeptember1,1983.

THE CIA)*ION

ETM

Sunburst. John Scholl. Germania,Pennsylvania. c.1900. wood, paint, metal wire. 71 x 387 1982.8.1. An article on John Scholl and his work appears on page 56.

CONTENTS

FALL 1983

THE MIDWESTERN CORN PALACES: by Cynthia Elyce Rubin 24 A "Maize" of Detail and Wonder

The Clarion is published three times a year by the Museum of American Folk Art, 49 West 53rd St., New York, NY 10019;(212) 581-2474. Annual subscription rate for MAFA members is included in membership dues. Copies are mailed to all members. Single copy $4.50. The Clarion, America's Folk Art Magazine. FALL, 1983 Published and copyright 1983 by the Museum of American Folk Art, 49 West 53rd Street, New York, New York 10019. 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 nbt 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 material.

THE MUSEUM COLLECTS: by Joyce Hill and Cynthia Sutherland 32 New Directions, New Accessions

WHO WAS THE UTICA ARTIST? by Paul D. Schweizer and Barbara Polowy

CHILDREN'S CHILDREN: by Wendy Lavin

American Folk Dolls

Portraits of a Proud Past

Change of Address. Please send both old and new addresses and allow five weeks for change.

IN CELEBRATION OF A SUNBURST

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 of quality or 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.

Current Major Donors

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.

JACOB MAENTEL: by Valerie Redler

by Charlotte Emans

The Sculpture of John Scholl

Letter from the Director

Museum News

Membership

Index to Advertisers

PHOTO BY C. EISENBERG.

Museum of American Folk Art

Administration Dr. Robert Bishop, Director Gerard C. Wertkin, Assistant Director Charles Salamey, Controller Donna Kanner, Accountant Lillian Grossman, Assistant to the Director Jeanne Bornstein, Adminstrative Assistant Richard Griffin, Clerk

Departments Anne Minich, Director ofDevelopment Marie DiManno, Museum Shop Manager Nancy Dorer, Curator ofEducation Susan Flamm,Director ofPublic Relations Joan Lowenthal, Director ofPublications Edith Wise,Librarian Daniel Pagano,Development Assistant Claire Spiezio, Membership Administrator Nancy Mead, Assistant Shop Manager Programs Irene Goodkind, Nancy Brown, Co-Chairwomen Friends Committee Dr. Marilynn Karp, Director, New York University Master's Program in Folk Art Studies Judith Reiter Weissman, New York University Program Coordinator Lucy Danziger, Susan Klein, DocentProgram Consultants Eleanora Walker, Exhibitions Previews Coordinator Phyllis Tepper, Docent Scheduling Mary Buchan,Junior League Liaison Priscilla Brandt, Trips and Seminars The Clarion Joan G. Lowenthal, Editor Sara Robinson Farhi, Associate Editor Faye Eng, Anthony Yee,Art Directors Ira Howard Levy, Design Consultant Topp Litho, Printers Ace Typographers, Typesetters Museum Shop Staff Sheila Carlisle, Elizabeth Cassidy, Anne DeCamp, Rita Geake, Lisa Haber, Caroline Hohenrath, Annette Levande, Barbara Levin, Robin McCoy, Isabel Mills, Eileen Murphy,Sally O'Day, Phyllis Ostow,Pat Pancer, Rita Pollitt, Myra Shaskan, Caroline Smith, Sheila Zuhusky 6

BLACK ARTICULATED FIGURE. 24" HIGH. C. 1920.

Collections & Exhibitions Joyce Hill, Curator Claire Hartman,Registrar/Exhibitions Coordinator Mary Black, Consulting Curator Cynthia Sutherland, Assistant Curator Jeff Waingrow, Curatorial Associate Michael McManus,Curatorial Associate Charlotte Emans, Assistant Registrar Pat Locke, Assistant/Curatorial Department Rohini Coomara, Gallery Receptionist Joseph Minus, Gallery Assistant Howard Lanser, and Joseph D'Agostino, Exhibition Designers

CARL HAMMER GALLERY AMERICAN FOLK ART 620 NORTH MICHIGAN â&#x20AC;˘ CHICAGO,ILLINOIS 60611 312/266-8512

American Folk Art at Sotheby's.

This 19th century watercolor drawing of a man feeding a bear an ear of corn was included in our auction of Pennsylvania-German Folk art from the Fred Wichmann Collection. It sold at our New York Galleries in June 1983 for $22,000. Sotheby's, the only international art auction firm with 100 years of experience in America, offers the most expertise and the finest auction facilities in the world. For information about buying and selling fine American Folk Art at our next auction this fall, please contact Nancy Druckman at(212)472-3511. Sotheby Parke Bernet Inc., 1334 York Avenue at 72nd Street, New York, N.Y. 10021.

SOTHEBY'S Founded 1744

Museum of American Folk Art Board of Trustees

Executive Committee Ralph Esmerian President Frances S. Martinson Executive Vice President Alice M. Kaplan Senior Vice President Lucy Danziger Vice President Karen S. Schuster Vice President George E Shaskan Treasurer Susan Klein Secretary Catherine G. Cahill Judith A. Jedlicka Margery G. Kahn

Members Adele Earnest Barbara Johnson Theodore L. Kesselman Jana Klauer William I. Leffler Ira Howard Levy Cyril I. Nelson Kenneth R. Page Cynthia V.A. Schaffner Andy Warhol Robert N. Wilson William E. Wiltshire III

Trustees Emeritus Mary Allis Cordelia Hamilton Herbert W. Hemphill, Jr. Marian W Johnson Louis C. Jones Jean Lipman

Development Advisory Committee

Virginia W. Brieant, Director, Contributions to the Arts, Warner Communications, Inc. Theodore L. Kesselman, Executive Vice President, Bankers Trust Company

Richard S. Locke,Executive Vice President, The E.E Hutton Group Robert M. Meltzer, Vice Chairman ofthe Board, Triangle Pacific Corporation

Richard G. Mund,Secretary and Executive Director, Mobil Foundation

Current Major Donors

The Museum of American Folk Art thanks its current major donors for their generous support:

Over $20,000 Mr. and Mrs. Frederick M. Danziger Mrs. Eva Feld Estate of Morris Feld Margery G. Kahn Fondation Krikor Fondation Tarex Institute for Museum Services 8

Japan-United States Friendship Commission Jean and Howard Lipman *Manufacturers Hanover Trust Joseph Martinson Memorial Fund National Endowment for the Arts New York State Council on the Arts *Shearson/American Express Inc. *United Technologies Corporation

$10,000-$19,999 *American Express Company Margery & Harry Kahn Philanthropic Fund J. M. Kaplan Fund, Inc.

Henry R. Kravis New York Council for the Humanities Rockefeller Brothers Fund Estate of Jeanette Virgin

$4,000-$9,999 *Bankers Trust Company Bemhill Fund *Chase Manhattan Bank, N.A. Mr. & Mrs. Edgar Cullmann Adele Earnest Howard A. Feldman Mr. & Mrs. Austin Fine

Current Major Donors

Barbara Johnson Mrs. Ruth Kapnek Mr. & Mrs. Robert Klein Ira Howard Levy *Mobil Corporation Mr. & Mrs. George Shaskan Swedish Council of America *Time Incorporated Norman & Rosita Winston Foundation $2,000-$3,999 Amicus Foundation *Bristol-Myers Fund *Caterpillar Foundation *Chemical Bank *Exxon Corporation *Grace Foundation *E.F Hutton Foundation *International Paper Company Patricia & Richard Locke *Marsh & McLennan Companies, Inc. *Metropolitan Life Foundation *Morgan Guaranty Trust Company *Ortho Pharmaceutical Corp. *Philip Morris, Inc. *Rockefeller Center, Inc. *Schlumberger Horizons, Inc. *Seamen's Bank for Savings Alfred Tananbaum Foundation, Inc. *Warner Communications, Inc. William Wiltshire III Robert N. Wilson *Xerox Corporation $1,000-$1,999 *American Stock Exchange *American Broadcasting Companies, Inc. Babtkis Foundation *Bank of New York *B.E.A. Associates Mr. & Mrs. Joseph A. Bena, Jr. *Bloomingdale's *Bozell 8z Jacobs

The Museum also thanks the following donors for their recent gifts to the Permanent Collection and Library: The Americas Foundation Mr. and Mrs. Francis Andrews Anonymous donors(2) Mr. and Mrs. Edwin Braman Dr. Stanley B. Bums Mr. James I. Chesterly Eva and Morris Feld Folk Art Acquisition Fund Dr. and Mrs. Alfred Halpern Mr. and Mrs. Philip M.Isaacson

*Bunge Corporation *CBS,Inc. *Citibank, N.A. *Chesebrough-Pond's Inc. *Coach Leatherware Mr. & Mrs. Peter Cohen The Compton Foundation *Con Edison Joyce & Daniel Cowin *Culbro Corporation Joseph E. Cullman III *Echo Scarfs Susan Zises Green *Gulf + Western Foundation Sumner Gerard Foundation Justus Heijmans Foundation *IBM Corporation *Institutional Investor *Johnson & Johnson Family of Companies *Macy's New York Helen R. & Harold C. Mayer Foundation Meryl and Robert Meltzer *Morgan Stanley & Company *New York Telephone Company *The New York Times Foundation Richard Ravitch Foundation *Reader's Digest Association *Reliance Group Inc. Marguerite Riordon Mrs. John D. Rockefeller Ill Jon and Sue Rotenstreich Foundation Loma Saleh Mr. & Mrs. Samuel Schwartz Rev. & Mrs. Alfred R. Shands III Arman & Louise Simone Foundation *Sotheby's The Stitchery, Inc. Barbara & Thomas W Strauss Mr. & Mrs. Stanley Tananbaum Issac H. Tuttle Fund H. van Ameringen Foundation David Walentas

Barbara Johnson Estate of Otto Kallir on behalf of one of the heirs Dr. and Mrs. Arthur B. Kern Mr. Bruce Lacont Jean and Howard Lipman Made in America, New York, New York Mrs. Clara Morthland Dorothy and Leo Rabkin Marguerite Riordan Mr. and Mrs. Gary Stass Mrs. Henry Tumenâ&#x20AC;&#x201D;Education Collection Estate of Jeanette Virgin Bill Weaver in memory of Mr. Quincy Weaver and Mrs. Anna Mahaffey Weaver

$500-$999 Louis Bachmann Foundation Edward J. Brown Robert & Judith Burger Catherine D. Callegar Colgate Palmolive Corp. Cowen & Company Mr.& Mrs. R.W. Danunann John K. Davenport Mr. & Mrs. James DeSilva, Jr. Doyle Dane Bembach E.M.D.L. American Folk Art Richard C. & Susan B. Ernst Foundation Dr. & Mrs. Joseph French Mr. & Mrs. Edward Gardner Joyce & Stephen Hill Joan & Victor Johnson Theodore & Shirley Kesselman Susan C. Kudlow Mr. & Mrs. Arthur Levitt, Jr. Mainzer Minton Company Enid Michelman Eleanor 8z Lewis Newman Milton Petrie Mr. & Mrs. Moe Rosenman Mrs. Robert Steinberg Betty Sterling Jeannemarie Volk

The Museum is grateful to the Co-Chairwomen of its Special Events Committee for the significant support received through the Museum's major fund raising events chaired by them. Cynthia V. A. Schaffner Karen S. Schuster

*Corporate Member

A portion of the Museum's general operating funds for this fiscal year was provided by a General Operating Support grant from the Institute of Museum Services, a Federal agency that administers to the nation's museums.

JOHN IWTH KVSSELT, AVIQUES,IN& spRING.grREE" wailmum,ki10590 (914)763-8144 i

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Assembled set of eight Shaker side chairs fitted with filters. A possibly unique grouping, with chairs from each of the New England Colonies. 1111.11*• .... 111111ilb°1w.""ii

All are compatible and in original condition.

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THE ROPES FAMILY HIGHBOY Fine and rare walnut and maple Queen Anne highboy, having maple sides and legs, with the front of the base having walnut veneer Shaped,blocked skirt with original acorn shaped pendants. Original finish and brasses. Descended in the Ropes family of Salem,Massachusetts. Salem,circa 1720-1730.35 inches wide.22 inches deep, 71 inches high.

Thomas G. Schwenke Fine Authenticated American Antiques 956 Madison Avenue(75th Street)New York, NY 10021 Telephone:(212) 772-7222 Thies. thru Sat. 11 a.m.-6 p.m. Please note: After many years I have moved to my new galleries in New York City and welcome your visit. 11

London's outpost for English non-academic art and Americana Paintings, Weathervanes, Decoys, Quilts, Pottery, Country Furniture

rane Gallery (3 mins. from Harrods)

171A SLOANE STREET,(First Floor), LONDON S.W.1. Tel: 01-235 2464 Daily 10-6 Sat 10-4 (Associated with Crane Kalman Gallery of 178 Bromp ton Road, London S. W.3. Tel: 01-584 7566 & 01-584 3843)

TRAMP CAVING OF AMERICAN MINSTREL S:10W. (SIMILAR TO ONE PICTURED ON P.74 OF KLAMK IN'S BOOK ON WOODCARVINGS),

WE ARE LOCATED IN MOODY, MAINE, WHICH IS MID-WAY BETWEEN OGUNQUIT AND WELLS ON COASTAL RTE.1, AND OPEN YEAR ROUND

KENNETH & IDA MANKO ANTIQUES

JOHN F.PETO(1854-1907) 1 4 x 12/ 14 inches; signed lower right:"J F Peto" Mug,Pipe and Biscuits,c. 1890; oil on academy board;9/

Kennedy Galleries believes that the role ofan art gallery is to educate and to make great art available to public and private collectors. To be a client of Kennedy Galleries is to be assured ofthe finest 18th, 19th, and 20th century American art.

40 West 57th Street(5th floor), New York, N.Y. 10019,(212)541-9600 14

Letter from the Director Dr. Robert Bishop

During the past six months the Museum has strengthened its curatorial staff. Joyce Hill, who has served as Research Associate, was named Curator and will continue to supervise the development and study of the permanent collection. Mary Black, former Director of the Museum of American Folk Art, has rejoined the staff as Consulting Curator. Mrs. Black's many years of experience in the field will be brought to bear in a variety of projects. Among her responsibilities is research in specific collection areas and the development of a new major folk art show. Cynthia Sutherland, a graduate of our Folk Art Studies Masters Program, has been named Assistant Curator and, in addition to conducting research, she will be working with the well known author, curator and Trustee Emeritus, Jean Lipman. Mrs. Lipman will guest curate the important, multifaceted exhibition, "Young America;' which will include paintings, sculpture, textiles and other works of folk art. Michael McManus, another graduate of the Folk Art Studies Masters Program, will be serving as Curatorial Associate. He will focus upon a special book project on the Museum and its collection in conjunction with Harry N. Abrams, Inc. Jeffrey Waingrow, who is also a newly appointed Curatorial Associate, will be organizing our decoy collection. This important holding will be researched and catalogued in preparation for exhibition. Nancy Dorer, another graduate of our Folk Art Studies Masters Program, has assumed the responsibilities of Curator ofEducation,and is currently developing a rich variety of new programs to be implemented this fall and winter. Edith Wise, our new librarian, is organizing and cataloging the Research Library. She served ten years as Reference Librarian at the Graduate School of Arts and Sciences, New York University. Her varied experience also in-

Guest curator, David Pottinger, at the preview opening of Quilts from the Indiana Amish: A Regional Collection, with (1. to r.) Assistant Registrar, Charlotte Emans, Registrar, Claire Hartman and Susan Einstein, whose photographs appear in Mr. Pottinger's book, Quilts from the Indiana Amish: A Regional Collection.

Pictured with Elizabeth Warren (left), Guest Curator of the exhibition, Quilts from the Pennsylvania Amish, are two of the exhibit's lenders, Thomas K. Woodard and Blanche Greenstein and Museum trustee, Barbara Johnson.

eludes foreign assignments to Latin America and Spain, under the United States Department of State, the OAS, UNESCO, the National Science Foundation and ten years at the Library of Congress. I am most pleased to announce special recognition for the Museum's publishing efforts. At the recent meeting of the American Association of Museums the book/catalogue, AMERICAN FOLK ART: EXPRESSIONS OF A NEW SPIRIT, designed and produced by Derek Birdsall of London, won a coveted Award of Merit from a field of 900 entries, in the second annual Publications Competition. This volume, produced to accompany our touring exhibition assembled from the permanent

collection, was made possible by a generous grant from United Technologies of Hartford, Connecticut. Also cited for excellence were our invitations America at Home, The Chalk Menagerie and The Art ofScherenschnitte, and Gala Auction, designed by Ira Howard Levy and his staff at Estee Lauder. All three were selected for honorable mention awards. This is the second year that the Museum has been so honored by the American Association of Museums. Our real estate committee is continuing negotiations with developers and in the very near future we will be able to give you details about our exciting new home. Thank you for your support and ongoing interest. 15

E.M.D.L.

Painted and veneered plaster sculpture / 2" wide x 121 / 2"deep x 14" high circa. 1930, 161

American Folk Art Frederick Taylor House Washington Crossing Historic State Park Washington Crossing, Pennsylvania by appointment(215)493-8835 SVWECT TO PRIOR SALE

OPENING THIS FALL 28 East 10th Street New York, New York by appointment(212)477-3442

FROM OUR COLLECTION OF MENNONITE & AMISH QUILTS

orignm--Superbly quilted 'Joseph's Coat;' made by Fanny Snyder of Manheim, Pennsylvania (Lancaster County). Circa 1890

KELTER-MALC El 361 Bleecker St. New York City 10014 Tues.-Sat. 12-8 p.m. 212-989-6760 IN GREENWICH VILLAGE 17

Yolanda Fine Arts The Midwest Gallery for Folk Art

Village Smithy 18 x 30 (Hand Carved & Painted) Sculpture

Josephus Farmer Presenting American & European Naives

Color slides available upon request. Yolanda Fine Arts 542 Lincoln Avenue, Dept. C

Winnetka, IL 60093 1-312-441-5557

Ethnographic Arts Inc. Randall Morris

Shari Cavin-Morris

Legba and Samedi Crosses by George Liautaud: Photo by William Grigsby

19th & 20th Century Folk, Outsider & Ethnographic Art 56 Crosby Street New York, New York 10012

By Appt. (212)334-9381

COLLECTION OF PHYLLIS HADERS AMISH QUILT DOUBLE IRISH CHAIN, LANCASTER COUNTY, PENNSYLVANIA, c.1910 ,WOOL 88" HEIGHT x 72" WIDTH

BYAPPOINTMENT ONLY(212)832-8181 136 EAST 64TH STREET,NEW YORK,N.Y. 10021

BONNER'S BARN 25 Washington St. Malone, NY 12953 518-483-4001

Outstanding 19th century copper Indian weather vane retaining much of the original Gilt, Superb Untouched Condition, 37- Long. 32' High.

PATRICIA ADAMS Box 959 Evanston,Illinois 60202 Phone:312-869-6296 By appointment 30 minutesfrom downtown Chicago

Specializing in 18th & 19th Century Americanfurniture, paintings andfolk art. ApUSE44, • ?;., 0 0 0 = rT1 U (0) cil

Quality pair of mallard decoys, Charles Perdew

iv, 10021 (212)249-8484 by appointment

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Exceptional watercolor of the S.S. and C. Junction, lberville, PQ.; executed by T Bonneau and measuring 20" x 26". 21

DAVID BUTLER (1898-

)

Boat, Enamel on Tin, Wood

Bruce Brice Rev. Howard Finster Milton Fletcher Clementine Hunter 0. W."Pappy" Kitchens Sr. Gertrude Morgan Juanita Rogers Nellie Mae Rowe Mose Tolliver Inez Nathaniel Walker Chief Willey Malcah Zeldis

GASPERI FOLK ART GALLERY 831 St. Peter Street New Orleans, Louisiana 70116 (504) 524-9373

WASHINGTON'S HOUSE AT MOUNT VERNON Pencil drawing on paper. 131 / 2"x 16" framed, by L. Vienna McAllister on May 27th, 1852 at Castleton Seminary

SUZANNE FELDMAN

AMERICANA

ROUTE 112 WEST - LAKEVILLE,CONNECTICUT 06039 (203)435-2674 or(212) 734-5885

NEW ENGLAND PAINTED LIFT-TOP BLANKET CHEST CIRCA 1840

FOLK ART GALLERY

KENNETH J. BUTLER 73 WEST 82ND STREET NEW YORK, NEW YORK 10024 212-873-3616 ANTIQUES BROWNSTONE RESTORATION

Ship's figurehead 820 Madison Ave., at 68th St., N.Y.C. 10021 212-628-5454 Tues.-Sat. 12-5 P.M.

Above Two turn-of-the century postcards from the Midwest where corn was considered a very important crop.

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by Cynthia Elyce Rubin

DO THINGS AT PEARY,IOWA

The First Corn Palace, 1887 Courtesy ofthe Iowa State Historical Department. Des Moines.

Our story begins during the summer of 1887 in the Midwest countryside when most of the area was suffering from a bad drought. However, in and around Sioux City, Iowa, like an oasis in the midst of a sandy desert, there sprang up green vegetation and growth. Abundant rainfall had produced excellent crops which had culminated in a decade of great agricultural prosperity. Surrounding areas had been less fortunate. Thus, Sioux City was a boom town, a prodigy of the West, and the city fathers were anxiously seeking a way to express their gratitude. Various plans were considered: one person suggested a jubilee with heaps of corn along the streets as a continual reminder of the cause of thanksgiving; another proposed to decorate the courthouse with cornstalks. After considering various alternatives, they came upon a novel way both to express their thanks and to create goodwill for the city. Why not build a palace of corn? Let the design be unique. Let the edifice be decorated inside and out with the main product of the field, and let there be music, entertainment and all sorts of artistic exhibits. In the Sioux City Daily Journal of August 21, 1887,an article proclaimed: St. Paul and Montreal can have their ice palaces, which melt at the first approach of spring but Sioux City is going to build a palace of the product of the soil that is making it the great pork packing center of the Northwest'

Meanwhile, the entire city caught the spirit of the occasion. Newspapers were filled with articles explaining the origin of European harvest festivals. Corn Bees were held by local ladies' groups. Women wore corn beads, and men wore corn husk ties. Mothers were feeding babies cornstarch, and the list went on. "Corn is King" was the local slogan, and it became more and more of a reality. The idea of a corn palace was inspiring to the city's inhabitants as well as to the thousands in neighboring towns and farms. People had a keen sense of appreciation for the role of corn as the source of agricultural prosperity. It seemed as though the entire area had gone "corn crazy': As the original plans expanded and the concept of a corn palace grew, the need for additional monies was apparent. At first, $5,000 had seemed like an adequate amount, then $25,000 was deemed necessary. By the end of September, the project had assumed so much importance and promised to be so successful that the Sioux City Corn Palace Exposition Company was incorporated to build what the Sioux City Daily Journal called the "Eighth Wonder of the World7 At first, the corn palace was to occupy a space of 100 square feet in the center of town, but two weeks before the opening it was decided to double the area of the building. The planners' 25

original intent was to construct a building which would reflect thanks for a bountiful harvest, express appreciation, and serve as an homage to the harvest gods. It was a novel idea, and once the project got underway, enthusiasm snowballed. Everyone wanted to help. People donated huge amounts of produce for decoration. The railroads hauled grains and materials at no charge. Corn fever took over; excitement was verbalized by a piece of local journalism written by a music dealer, J.G. Smith: Corn is King The time is now at hand In this great and glowing land, Where side by side we stand, And clasp each other by the hand, and shout and sing, CORN IS KING....

The Second Corn Palace,1888 Courtesy ofthe Iowa State Historical Department, Des Moines.

The Journal is the best paper to read; 'Twill tell you everything you need, And if its advice you will heed To the Corn Palace you will go with speed; And join and sing, CORN IS KING.'

The city fathers wanted Sioux City to be the Corn Palace City of the World. After all, what was good for business was good for the community. And so the spectacular monument opened on Monday, October 3, 1887, the entire city bedecked for the occasion. Illuminated arches spanned the city's intersections; stores and houses were decorated. Corn was everywhere in every imaginable way, and in its midst stood the pride ofSioux Cityâ&#x20AC;&#x201D;the marvelous corn palace. Architecturally, the building defied classification. It certainly looked like nothing ever seen before. Appearing more Moorish than American, a 100foot tower stood in the center of the structure and was adorned with a huge cupola, arched windows, minarets and pinnacles. At each of the front corners was a square tower representing the Dakotas, Nebraska and Minnesota. Great arched entrances opened onto the 26

The Third Corn Palace,1889 Courtesy ofthe Iowa State Historical Department, Des Moines.

street. Above each doorway was a panel portraying agricultural scenes in bas relief wrought with colored corn and other grains and grasses, while depicted upon a platform at the top of each entrance tower was an allegorical scene in figures. The towers were connected by the battlement walls of the edifice, above which rose graceful pinnacles. In the background was the corn-thatched roofâ&#x20AC;&#x201D;a solid mass of green. The cupola towered above the roof, its arches and panels fashioned like those below, its spire rising to the height of a hundred feet. The flying buttresses

sweeping gracefully down from the four turrets of the cupola to the corner towers constituted the most conspicuous feature ofthe palace, and together with numerous openings and arches, contributed to an appearance of airiness and fantasy quite in keeping with the ornate exterior. The entire exterior surface was covered with corn and other grains. The fantastic lines of the superstructure were enhanced by a maze of detail and color. From spire to foundation every portion was covered with some decoration to please the eye and catch the imagination. Along the upper line of

The Fourth Corn Palace,1890 Courtesy ofthe Iowa State Historical Department, Des Moines.

The Fifth and Last Corn Palace,1891 Courtesy ofthe Iowa State Historical Department, Des Moines.

the front ran a shiny border of oats interspersed with the dark seed of the sorghum plant and flaming red corn. The numerous pinnacles were garbed in the rich colors of native grasses and crowned with tufts of millet and streaming banners. Born of the inspiration of a new idea, unique in design, and novel in material, the first corn palace, in every line and detail, seemed to sing the significance of the great American Midwest and to pay tribute to its creativity and enthusiasm. The space inside the palace beneath the cupola constituted a large auditorium, the walls of which formed

â&#x20AC;˘ "one grand panorama of delightful imagery',' rich with the beauty of nature's own painting. The bright colors of grains and grasses and straw were massed and blended in surprising brilliance and harmony. A map of the United States was made of seeds and each state was represented by a different color;a huge carrot spider was poised in a web of corn fibers; and, most marvelous of all, was the tableau of the golden stairsâ&#x20AC;&#x201D;a beautiful wax figure of Ceres, clad in a robe of satin husks and bearing a cornstalk scepter, standing upon a stairway of yellow corn.4 After a week of street parades, fire-

works,Indian dancing and speeches by noted local citizens, the first corn palace was formally closed. Two days later a party of Eastern businessmen and politicians, including Cornelius Vanderbilt and Chauncey Depew,came to view this homegrown wonder. Mr. Depew, prevailed upon to make a speech, declared that he had seen nearly all of the natural and unnatural wonders of the world but never before had he seen a corn palace, stating,"Any city so enterprising and so prolific in beautiful designs and enthusiastic in all public enterprises must of necessity be the metropolis of the Northwestl" The New York Times called it, "really something new under the sun': Over 130,000 visitors proclaimed it an overwhelming success. Marveling at the prodigious accomplishment of the first corn palace, the city quickly made plans for a second,to be held in 1888. During the weeks of preparation, the local newspapers followed developments with exalted enthusiasm; the railroads were induced to announce half-fare rates to Sioux City; souvenirs were on sale; arrangements were made for an elaborate program of entertainment; and long before the opening,free passes were sent to all Congressmen and other prominent people. While the architecture of the second palace was similar, it was not as inspired as the first. The exterior was entirely covered with an estimated 30,000 bushels of corn and other grains. Ears of every color, sawed lengthwise into halves and transversely into sections, were nailed to the walls in intricate patterns and geometrical figures. Along the top of the wall ran a border of wheat sheaves; the upper portions of the towers were elaborately embellished, and the battlements were tufted with millet and sorghum seed. From the northwest to the southeast corners, the color scheme was graduated to suggest the succession of seasons; the somber, neutral shades of 27

winter gradually increasing in brightness, variety and richness of combination until the full splendor of the autumn tints appeared. The whole interior was a colorful wilderness. The booths around the walls in which produce was displayed were the units of decoration. Viewed from the promenade encircling the vast amphitheater, the maze of ornamental detail was unified by a band of goldenrod and millet which separated the lower booths from the gallery. The supporting pillars, transformed with white corn into graceful columns of"marble': carried the eye upward from the vividness and life below to a belt of inverted wheat sheaves at the base of the domelike roof. From there the eye swept across the surface of the dome and up its majestic, grain-covered arches to its apex.' Unity and diversity, harmony and disharmony, concentrated their strengths in this vision. The soft-hued radiance of illumination added a glamour that accentuated the palace's atmosphere of romance. The third corn palace opened in 1889 with great fanfare; hundreds of Winnebago Indians in native dress participated wholeheartedly. Probably none of the prior festivals attracted more attention and attendance than this one. Indeed, a special train had toured the Eastern seaboard to spread the word. The New York Times noted, "Everything used in the decorations except the iron nails is the product of Iowa cornfields and the whole train is a marvel of beauty:" The most distinctive feature of this third palace was a grand tower, over 180 feet high. It was built in four courses, each smaller than the one below, thus affording space for balconies from which the panorama of the city could be seen. The interior designs, crafted by a workforce of 269 women, were superior to those in previous structures. The fourth corn palace of 1890 was described as a "Mohammedan mosque 28

with Iowa trimming:" The dome, built in the form of a huge globe, was decorated with corn to represent the world, with Iowa and Sioux City conspicuously in front. On top of the world was a great table supporting an upper dome, a sort of Moslem turret two stories high. Three towers, similarly crowned, graced each of the two front sides. As the visitor passed through the main entrance, the most striking feature of the interior came into viewâ&#x20AC;&#x201D; above the annex, on the other side of the auditorium, was a miniature valley. Leaping over rocks, hemmed in between high hills, winding across a prairie and finally falling over a ledge into a lake below, a stream of water came from distant mountains thick with pine trees. Three times during the festival, a gallant "King Corn" came forth. Along with beautiful floats graced by attendants, this king of peace told the allegorical history of corn.' Unfortunately, a bad rain storm put an early end to "King Corn's" reign and stopped the festival before its time. The zeal of Sioux City seemed not to have been dampened by the dismal end of the fourth corn palace festival. The following year another magnificent palace was built, the grandest one of all. More than a block long and dominated by an awe-inspiring dome over 200 feet high, said to be the largest ever constructed of wood, the fifth corn palace was so well-proportioned and elegant that its mammoth bulk, covering an entire city block, was deceiving. Somewhat resembling the nation's capitol, this palace was crossed in the center by an immense archway, above which was a large balcony bordered on each side by stately turrets which were flanked by minarets overlaid with wild sage and white corn, giving the appearance of a chased silver column. The arched facade was covered with red corn creating an illusion of carved rock. Above and beyond the balcony was the openwork of the lower reaches

An interior view of one of the Corn Palaces Date unknown. Note the textures ofthe different materials. Courtesy ofthe Iowa State Historical Department, Des Moines.

1892 Corn Palace. Thisfirst Corn Palace was located at the corner of4th and Main Streets in Mitchell, two blocks south ofthe present structure. The 100 x 66-foot wood building was completely covered with corn and grains.

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of the great central dome, draped in oats and converging below the broad blue frieze at the base of the upright portion ofthe dome. A triumphant procession of domestic animals was portrayed with dark seeds and grasses upon this belt of blue. Above the frieze were minarets. Decorated with indigo corn at the base, they passed through nature's spectrum in shades of purple, red, orange and yellow to dazzling white. Between these minarets were observation posts, adorned with lacy straw fabric. The blue and gold capitol of the dome supported a huge yellow cornucopia pouring forth the treasure and richness of the fields. The auditorium occupied the east wing; its western counterpart was devoted entirely to agricultural exhibits. Adorning the walls and the balcony over the archway were numerous elaborate paintings and statues artfully constructed of grains. In artistic detail and harmony of coloring, the fifth corn palace surpassed all previous efforts.'° With the demise of this most fabulous palace, the era of the Sioux City Corn Palaces came to a premature end. Although the promoters had fully intended an even more grandiose one for the following year, a ravaging flood caused such a considerable loss of life and property that there was no human energy or expense left for celebration. Meanwhile,a group ofentrepreneurs from Mitchell, South Dakota, recognizing an opportunity for profit, announced the opening of the Mitchell Corn Belt Exposition in the fall of 1892, which was directly patterned after the one in Sioux City. At the time, the town of Mitchell was only twelve years old, with fewer than 3,000 inhabitants. It had dirt roads for streets, wooden sidewalks, gas lamps and insignificant buildings. The weeklong celebration was a success; in the following year, 1893, the building was enlarged and the second festival celebrated. Because of drought conditions 29

no festivals took place until 1900. Later, in 1905, the first corn palace was razed. A larger, more modern building was erected and used until 1920. At this time,the name was changed from Corn Belt Exposition to the Corn Palace. The third and present building was completed in 1921. The citizens of Mitchell were dissatisfied with the plainness of the former structures and asked the committee to add the domes and minarets as in the original one. In 1937 they were added. Today, the Corn Palace is a municipally owned building and serves the people as the city auditorium. Each fall, dur30

ing the last full week of September, the annual Corn Palace Festival takes place. Top talent from Hollywood and Broadway perform, and nine blocks of Main Street are roped off for a carnival and various exhibitions. School bands from surrounding towns march and perform during an entire week which becomes a gala civic occasion. Starting in July the old corn and grains are removed in preparation for redecorating. Old corn will shatter, and if it is not mature, it will shrink after it is affixed to the panel. Different panel designs are used each year. For some twenty-five years, Oscar Howe, a Sioux,

has designed these panels. They are drawn to scale on black roofing paper and fastened to the bare panels. The ears of corn are then sawed lengthwise or in round wedges by small power saws and nailed to the panels according to the designs of that particular year. The corn itself, all grown locally, represents another major project. Area farmers have developed special Corn Palace varieties, giving Mitchell's artists a wide range of colors for use in their original corn mosaics. The corn can be neither colored nor dyed,so area farmers must grow corn for its brilliant colors. So far, red, blue and several

season and magic of the designer's fancy. There was endless variety in their artful expression. No two were exactly alike, with their brief existences dictated by the very nature of their materials. They were built to last no longer than the season they celebrated, and carried within themselves the very seeds of their own destruction. It was an architecture of whim and circumstance and a phenomenon of country life. If folk architecture is the product of an ancient and traditional sense of design; if continuity and ritual are important; if the structure is built for utilitarian purposes; if a strong sense of community pervades and if a native material is used in construction, then the Midwestern corn palaces have a distinct value as vernacular architecture and are a valuable contribution to America's heritage and folk culture.

The 1983 Corn Palace with panel designs in a tribute to South Dakota animals.

Crews apply corn to the panels. Precise instructions are printed on the black roofing (tar)paper layouts(See Insert), which have been prepared by the artist in his studio in full scalefrom the original drawings. Each panel is individually completedfrom a scaffold.

variegated strains have been successfully cultivated. Currently,farmers are experimenting with a green corn and hope to have it adequately developed for use in a few years. The dark brown border material is murdock, a common weed. The long grass on the towers is a wild grass called slough grass, which is found in marshy places. The Palace takes one or two thousand bushels of corn each year and many tons of grains, grasses and sorghum stalks. Of all the seasonal celebrations, the harvest festival is most closely associated with the bounty of the earth. What

symbol of fertility is more representative of the cycle of man's harmony with nature than corn, which the American Indian considers the father of man and a sacred commodity? It is he who took corn from its wild state and gradually converted it into a domesticated grain, incorporating it into his culture and religion. Corn has long dominated American agriculture and its history. It certainly serves as a symbolically perfect building material for a temple of thanksgiving! The corn palaces were a vision quickly produced and quickly completed. They took on the whim of the

FOOTNOTES 1. Quoted by Dorothy Schwieder and Patricia Swanson, "The Sioux City Corn Palaces," The Annals ofIowa,41(Spring 1973),P. 1211. 2. Sioux City Daily Journal, August 24, 1887, 3, ibid., p. 1212. 3. Sioux City Journal, September 23, 1887, 6, ibid., p. 1213. Note that the Sioux City Daily Journal became the Sioux City Journal in AugustSeptember 1887. 4. John Ely Briggs,"The Sioux City Corn Palaces," The Palimpsest, III (October 1922), p. 316. 5. Ibid., p. 318. 6. Ibid., p. 321. 7. The New York Times, March 8, 1889, 8, quoted in "The Sioux City Corn Palaces," p. 1220. 8. John Ely Briggs,"The Sioux City Corn Palaces," p. 322. 9. Ibid., p. 323. 10. Ibid., p. 325. Cynthia Rubin is currently Guest Curator of the Southern Folk Art exhibition scheduled for 1985. She co-curated the Shaker Folk Art exhibition in 1979 and has written articles and books, including Shaker Miniature Furniture and Mission Furniture. She is the first Ph.D. candidate in the Folk Art Studies program jointly sponsored by the Museum of American Folk Art and New York University. 31

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Carousel Horse; Marcus Charles IIlions; Brooklyn, New York; c. 1900; Poly1 2 x 42 x 10"; Gift of the chromed wood, glass, horsehair, leather, metal; 46/ City of New York, Department of Parks and Recreation. Although the extraordinary talent of carousel carver Marcus IIlions is indisputable, facts about his early life remain in question. Whereas his birthplace is listed as Vilna2 in some records, IIlions reported being born in Moscow in his naturalization papers. There he listed himself as a "stone and wood carver" born in 1874,3 a date differing from that given at his death. Whatever his age or origins, Illions was a master carver in the Coney Island Style. His horses are dramatically poised and rendered with heightened energy. As owner and head carver, IIlions employed many family members in his workshops from 1909 until the late 1920s.

Recent accessions to the Museum's permanent collection will provide the primary focus for the fall exhibit,"The Museum Collects: New Directions, New Accessions': This exhibit of paintings, folk sculpture, furniture, and textiles will also include tools and documentary materials related to the work of artists and artisans represented in the Museum's collection. Since the chartering of the Museum of American Folk Art' in 1961, the general collection has been shaped through gifts of individual objects as well as of collectionsâ&#x20AC;&#x201D;some small, some sizable. The Museum holdings are diverse and reflect the collective eye of many donors. Significantly, the donor friends of the Museum as well as the objects which they have givenâ&#x20AC;&#x201D;from santos to quilts to ships' figureheads, are geographically representative of every region of the United States from Cal-

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-IILL AND THERLAND ifornia to Maine. The recent accessions to be exhibited, some of which are illustrated, mirror the multi-faceted nature of the Museum's holdings. They also reveal the Museum's continuing commitment to add folk art examples of excellence which will strengthen existing holdings or provide representation of traditional forms and/or artists not previously included. A second thrust ofthe Museum's collecting pattern in the 1980s has been the accessioning of tools, working samples, and patterns related to works or artists represented in the collection. The recently acquired papers of John Haley Bellamy, the gift of Mr. and Mrs. Philip M. Isaacson, for instance, include several banner patterns drawn and cut by this master carver of eagles. Still another recent acquisition which gives fresh insight into the working methods of a specific artist is the paint

Carousel Horse; Stein and Goldstein; Brooklyn, New York; c. 1900; Wood, glass, horsehair, leather; 61 1/2 x 65 x 12%"; Gift of the City of New York, Department of Parks and Recreation. Carousel carvers Solomon Stein and Harry Goldstein, formerly carvers of ladies' wooden combs, set up shop in Brooklyn in 1912, advertising themselves as the "Artistic Caroussel Manufacturers': Their horses were massive and majestic, oversized and covered wherever possible with an abundance of flowers or clad in armour. "In spite of the profusion of flowers and delicate scroll carvings, the horses were wild looking and like a painting then in favor, 'The Horse Fair' by Rosa Bonheur; the total effect was overwhelming74

box of the prolific folk painter, Erastus Salisbury Field. The box, still streaked with residual reds, oranges, yellows, and blues, is the gift of the Americus Foundation. These additions to the Museum's collection, although not meaningful without a documentable link to their artist-owners, are interesting to viewer and scholar alike. All will be shown in "The Museum Collects'? A third area of collecting will also be focused upon. The Museum's collection includes some personal papers, photographs, drawings, account books, and newspaper clippings relating to artists whose work is owned by the Museum. Some of the Bellamy letters which were written during his years of carving ships' figureheads for the Navy,for example, will be mounted for the exhibit. Bellamy was fascinated by many subjects, including history, heraldry, and poetry; his papers reflect these interests. Even a few Bellamy poems, humorous and philosophical, were retained in his papers. Their study reveals Bellamy as a multi-dimensional person as well as a talented artist. Few of the objects accessioned within the past year have ever been exhibited at the Museum. An exception, however, is the polychromed wood relief of Saint John by John Perates (active 1930-70), Maine cabinet maker and icon carver. His twentieth century carving, with symbolssoclosely related to Byzantine iconography, was once on loan from the collection of Mr.and Mrs. Edwin C. Braman for the exhibit,"The Icons of John Perates7 The icon now returns as the Braman's gift to the Museum's permanent collection. Among the nineteenth century textiles in the exhibition is a rare, stenciled quilt, circa 1835, which has never been exhibited or photographed prior to "The Museum Collects': The quilt, the promised gift of an anonymous donor, will be shown with another stenciled fabric sample, accessioned in 1979, a framed segment salvaged from a larger covering. Very few documented examples of stenciled bed and table coverings are extant. The quilt, which is accompanied by a family history, is a particular rarity. A collection of over one hundred nineteenth century daguerreotypes and ambrotypes has recently been given to 34

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Bedcover; Pine Tree Border; Lucy Mower Eddy; Weaver undetermined; Thompson, Connecticut; c. 1840; Hand spun and combed yam;cotton and wool; 93 x 72"; Cornelia Ann Eddy. This Double Weave bedcover with a modified Pine Tree border on three sides surrounding a repeated pattern of Snowballs was fashioned in Connecticut by Lucy Mower Eddy. Whether or not she was the actual weaver of the coverlet is unknown, but family tradition is consistent in attributing the spinning and combing of the yam to her. Local or itinerant weavers more often did the actual weaving of coverlets, but the early narrow looms restricted their signing and dating.

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The Dividing of the Ways; Anna Mary Robertson (Grandma) Moses (1860-1961); Upstate New York; 1947; Signed "Moses': lower left; Oil and tempera on Masonite; 16 x 20"; Promised gift in the memory of Otto KaIlir; Copyright © 1983, Grandma Moses Properties Co., New York. The works of Grandma Moses have irrepressible cheer and evoke inevitable sentiment in their portrayal of the simplicity of late nineteenth century rural life. This example is typical of Moses' pastoral landscape treatment with its never idle country folk going about their energetic business. Even the animals possess a jaunty animation, and one can almost hear the sleigh runners crunch the freshly fallen snow. The fork in the road creates strong frontal dynamics with the briskly departing sleighs intent on their separate missions while curious neighbors look on.

Photo: Carleton Palmer

Woman with Two Children and Cat;Ernest Popeye Reed;Jackson, Ohio;c. 1968;Carved sandstone; 60 x 12 x 15"; Gift of Leo and Dorothy Rabkin. Although Popeye Reed does some carving in marble and wood, he works primarily in the sandstone and limestones quarried in and around his home area of Jackson, Ohio. Reed began whittling and carving at the age of fourteen. He uses hand tools primarily—a pocket knife, a mallet. He draws upon animals, birds, Indian, and mythological motifs for his reliefs. The sculpture of the sphynx-faced woman with children and cat is representative of Reed's early work—full figures sculpted with solidity, strength and bold distortion.

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Woman Wearing Jet Beads; Attributed to Micah Williams; Proba1 2 x 191/4"; Gift of bly New Jersey; C. 1825; Pastel on paper; 24/ Mr. and Mrs. Gary Stass. This portrait and its companion, Woman Wearing a White Shawl, represent the earliest pastels in the Museum collection as well as the first works attributed to Micah Williams (c. 1782-1837) to be accessioned. Both portraits are stylistically typical of Williams' work—the figure presented in three-quarter view almond-shaped eyes in frontal gaze, carefully detailed—often heavy—eyebrows, lips separated by a decided line. The hands in both portraits are also characteristic of Williams' portraits of the mid 1820s in the placement of the index finger over middle fingers.

Photo: Ken Hicks

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Eagle Perched on a Keg; Aaron Mountz; Cumberland County, Pennsylvania; Late 19th century; Carved pine; 16 x 18 x 6"; Gift of Mr. and Mrs. Francis S. Andrews. Although Aaron Mountz (1873-1949) was a disciple of the well known carver Wilhelm Schimmel, his carvings have recognizable characteristics and considerable merit on their own. The eagle form shows the labored finish which is the primary distinction of Mountz's work. Every detail is meticulous, each feather carefully cross-hatched. Mountz frequently carved eagles and owls; these forms are nearly abstract in interpretation when compared to the more naturalistic forms of Schimmel. Typically, the carvings are made of pine and are unpainted.

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Portrait of Hannah Perkins Fuller; Attributed to Benjamin Greenleaf; Paris, Maine;c. 1816;Oil on glass; 15/ 3 4 x 11"; Gift of Dr. and Mrs. Arthur B. Kern. Although a body of portraitureâ&#x20AC;&#x201D;primarily profiles in reverse painting on glassâ&#x20AC;&#x201D;had long been attributed to one Benjamin Greenleaf, this limner's true identity has only recently been established by folk art scholars, Arthur and Sybil Kern. The itinerant painter, Benjamin Greenleaf, was born in Hull, Massachusetts in 1769, and died in 1821. Although Greenleaf typically portrayed his sitters in profile, the Kerns have found three-quarter views on glass, as in the portrait of Hannah Fuller and her husband, Caleb, as well as portraits on canvas and wood. The Fuller portraits, which initially launched the Kems' research on Greenleaf, now become the first examples of his work in the Museum's collection.

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Three Lions; Olof Krans; Galva,1111nois; c. 1885;Oil on canvas;22 x 30"; Gift of Clara Moralland. Olof Krans, born in Sweden in 1837, came to the United States with his family to join the Swedish Jansonite community of Bishop Hill, Illinois, as a young boy of thirteen. His early years there left indelible impressions of the hard working religious communityâ&#x20AC;&#x201D;the people, their toil, the places of work and worship. Although Krans is known primarily for his painting of Bishop Hill scenes, he often depicted animals in his canvases, particularly in his later years. Krans' gentle treatment of the lions in this painting is reminiscent of his sympathetic renderings of human interaction.

Painted and Grained Chest of Drawers; Maker unknown; Probably Maine; c. 1830; Polychromed 1 2 x 20/ 2"; Anonymous gift. Thls 1 pine; 49 x 42/ country Federal chest, with yellow and brown grained ground, has striking crossbandings of reds and blacks. Additionally, the rectangular top has outline striping of red. The backboard with its voluted ends adds important dimensions of height and shape to this four drawer, mushroom-knobbed chest. Here, form and decorated surface work together to produce a bold and appealing example of painted furniture.

"The Museum Collects" will be on view at the Museum of American Folk Artfrom October 4,1983 to November 13,1983.

the Museum's research collection by Dr. Stanley Burns. Selected examples which relate specifically to folk art will be mounted in the fall exhibition. Interestingly, a significant number of the daguerreotypes reproduce portrait paintingsâ&#x20AC;&#x201D;some by recognizable folk painters like James Sanford Ellsworth. Another important daguerreotype, the gift of Marguerite Riordan, lends further credence to the interaction between the folk artist and early photography. This daguerreotype of a young child was painted and possibly taken by Erastus Salisbury Field. Also to be exhibited is a threedimensional trade sign which must have evoked fear and pain when seen in the nineteenth century but now prompts only a smile. The large, weathered white tooth, undoubtedly an advertisement for a local dentist, is the gift of Barbara Johnson. Although many of the objects from "New Directions, New Accessions" date from the nineteenth century, the work of self-taught, twentieth century artists like Jack Savitsky, Theodore Gordon, Minnie Evans, and Mose Tolliver bring balance to the exhibit. Gordon's work, Head of a Man, is the gift of Mr. and Mrs. Charles Rosenak. Gordon's faces are networks of curvilinear concentrics which fuse forcefully in a strong frontal image wrought in twentieth century media ofmagic markerand ball point pen. Asthe Museum moves into its twentythird year, it anticipates an exciting future of growth and change."The Museum Collects" salutes these new directions, as well as the accessions new to the Museum ofAmerican Folk Art. FOOTNOTES 1. The Museum was chartered originally as the Museum of Early American Folk Arts. 2. Vilnius, Lithuania, called Vilna under the Russian flag, was the Illions' family home, according to family genealogist Michael Castroll, West Haven, Connecticut. 3. In both the Declaration ofIntent and Petition for Naturalization papers filed by Marcus Charles Illions he lists his birth date as August 10,1874. Copies of these documents are in the possession of Mr. Castroll. 4. See Frederick Fried's A Pictorial History of the Carousel, New York: A. S. Barnes and Co., 1964. Joyce Hill and Cynthia Sutherland are Curator and Assistant Curator, respectively, at the Museum of American Folk Art. 37

Since the 1930s a small group of folk art enthusiasts have known of the existence of an interesting group of watercolors attributed to an individual named Lawrence W. Ladd. The works were discoverd by J. Stuart Halladay and Herrel G. Thomas sometime after 1932; however, for some reason they were not offered to the Abby Aldrich Rockefeller Folk Art Center when the majority of the Halladay and Thomas collection was acquired by Colonial Williamsburg in 1958. Included among this collection of works is a watercolor of the Utica Free Academy school building, a picture which led to the theory that these works may have been made in Utica by someone associated with that institution. Indeed, by 1979 this legend had become so widely accepted that when Robert Bishop published his Folk Painters ofAmerica, the name Lawrence W. Ladd had apparently been forgotten and an example of this artist's work appeared with the epithet, the "Utica artist'? Twenty years before this, about a year after the sale of the Halladay and Thomas collection, Charlotte Willard published in Art in America the one and only discussion of any substance that has appeared on these works up to now. Willard referred to Ladd's works in a larger essay about panoramas, an entertainment form popular in America in the middle decades of the nineteenth century because it successfully served the public's desire for rational amuse-

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ment clothed in didactic or morally uplifting terms. Of the several forms that such panoramas could take, the one by Ladd was made up of a series of separately painted views that were subsequently attached to form a long continuous roll. It is worthwhile to quote Willard's entire discussion of these watercolors, not only because of the important insight it provides about what was known

The Sideshow: the Siamese Twins, Eng and Chang and the Blind Rope Makers. Watercolor on paper. 18 x 287 Collection of Sybil B. and Arthur B. Kern. 38

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he included everything in his brilliant panorama from the Creation to the latest model railroad trains. His parents, evidently world travelers, took him everywhere, and naturally a trip around the world is included among the scenes. Most extraordinary, however, is the amazing virtuosity of the paintings themselves, primitive, impressionist and expressionist, fauve in color and highly imaginative.

An Unidentified Church. Watercolor on paper. 18 x 28'! Collection of Isabel and Bates Lowry.

about these works approximately twenty-five years ago, but also because it contains several statements that cannot be confirmed. Recently a most unusual panorama came to lightâ&#x20AC;&#x201D;a kind of 16mm. version of the "large" moving pictures. Some 200 feet long and about 18 inches high, it was produced around the 1880s by a young man, Lawrence W. Ladd who as a sickly boy amused himself by painting panoramas of his world. Since his world was wide,

On the basis of the evidence available today, it is difficult to confirm Willard's statement that Ladd was a "young" or "sickly boy"or that he traveled with his parents around the world. Furthermore, although it might be difficult to identify the "amazing virtuosity" that Willard saw in these watercolors, they are indeed remarkable, but primarily because of their excellent state of preservation, their bright washes of color, their relative rarity and the large number and wide range of subjects depicted. Finally, assuming that all the pictures were painted at the same time, they could not have been executed in the 1880s as Willard has claimed, for the most contemporary subject depicts the "Rockrimmon," an excursion trolley that was built in 1897 for service along the Connecticut River between Springfield and Longmeadow, Massachusetts. Among the works that survive today are two that are inscribed with the name Ladd. One, depicting Adam and Eve in the Garden of Eden,carries the inscription "L. Ladd" in the upper left and right hand corners of the composition.

A second depicts the Siamese Twins, Eng and Chang, and has the name "L. W. Ladd" in the center of the design. The only known watercolor giving Ladd's full first name was published in the July 3,1981 issue ofAntiques & the Arts Weekly and portrays a locomotive and tender, both carrying the nameplate "Centennial'? In the lower right hand corner of this work is a cipher in longhand that reads: "Mbxsfodf X Mbee" and under this, in the same handwriting, the word "Doctor'? By using a simple one-letter substitution system popular as a parlour amusement in nineteenth century America, it immediately becomes clear that his cryptogram can be decoded to read "Lawrence W Ladd'? This particular watercolor raises more questions than it answers, unfortunately, and it may have been for this reason that Willard chose not to mention it. Just next to the cipher of Ladd's name is another that can be interpreted to read:"Jmtfji Cvdl" and under this the word "Artist'? By using the same key employed to decode Ladd's name, this cipher can be translated to give the name Ilseih Buck. No lexicon of nineteenth century proper names has yet been found that lists the name Ilseih but this, of course, does not discount the possibility that this is a nickname derived from the proper name Elizabeth, Elisha or perhaps even Isaiah. One other fact that must be pointed out about the Centennial locomotive

watercolor is that the inscription describes Ladd as a "Doctor," whereas Buck is labeled an "Artist'? During the nineteenth century, it was not uncommon for handbills advertising a panorama to list both the artist who painted the work and the orator who would deliver a learned and entertaining discourse on the scenes to be presented. It would not be inappropriate for the person who delivered these speeches to

assume the title "Doctor" in order to give his presentation the requisite moral tone. If this is a proper interpretation for the two titles under Ladd and Buck's name on the Centennial locomotive watercolor, then history has done "Artist" Buck a disservice by attributing his or her work to "Doctor" Ladd. Given Buck's title, if the locomotive watercolor existed in isolation there would be very little question

Mutiny on Board the "Santa Maria;' 1492. Watercolor on paper. 18 x 28'.' Collection of Herbert W. Hemphill, Jr.

"Mutiny on Board the Santa Maria" as published in Pictorial History of the American Revolution (New York, 1846), ex libris, Library of Congress. 40

about its authorship, but, of course it does not, and the conclusions one might want to make from this picture alone must be mitigated by the appearance of Ladd's name alone on two other works. If a final answer to the question of the authorship of these works can ever be gleaned from the physical evidence of the works themselves, there is some hope that this problem may someday be

Destruction of Schenectady, 1690. Watercolor on paper. 18 x 28': Collection of Herbert W. Hemphill, Jr.

solved, for it would seem that there are still a significant number of watercolors belonging with this group of pictures, but which were dispersed sometime after 1959 and are today not recognized for what they are. Even discounting the two smaller panoramas that have also been attributed to Ladd but were not discussed by Willard in her 1959 article and are themselves incomplete, there are probably about 27 images from the

largest panorama that may be still extant but unidentified. Willard noted that Ladd's panorama was 18 inches in height and 200 feet long. Examination of the known watercolors from this panorama indicates that these works were painted on ledger paper manufactured in a roll 18 inches wide. Almost without exception, the watercolors that survive today are 28 inches wide, with scenes painted with the paper oriented horizontally. There is no way of knowing whether all the watercolors were painted within a relatively short period of time or whether the complete 200 foot long panorama represented the additive result of several, or even many, years' labor. Even if the latter circumstance were the case, it certainly seems reasonable that distinct groups of subjects were painted around the same time and affixed to the end of an ever-growing roll, but we have no way of confirming this because the 200 foot roll was cut into separate 28 inch long pictures around 1974 to facilitate its sale. At best, about 59 images from this series have been located today for a combined horizontal length of approximately 137 feet. Assuming that all of the missing images from the panorama were also 28 inches wide, approximately one-third of the panorama is still unlocated. Because of the close parallel in subject matter between many of the watercolors in the panorama and the magic lantern slides that were sold during the

"Destruction ofSchenectady:' as published in J.W. Barber, Historical Poetical and Pictorial American Scenes (Cincinnati, 1851), ex libris, Library of Congress. 41

last decades of the nineteenth century, likely subjects for the missing watercolors include other natural or manmade wonders such as Niagara Falls, the Natural Bridge, Jerusalem, the Pyramids or the Taj Mahal, the Columbian Exposition and religious scenes such as Pilgrim's Progress or the ever-popular story of the Prodigal Son. Other common subjects not represented include portraits of famous American heroes and copies of great works of art, although the absence of these latter subjects may be more a function of the influence of photography, which precluded the necessity of painting such subjects in the first place. Willard has noted that one of the most distinctive features ofthese watercolors was their "highly imaginative" character. Certainly the range of subjects depicted was considerable and included Biblical stories, landscapes, contemporary and historical architectural views, railroad scenes, disasters, natural wonders, European views, a series on temperance and scenes from American history. New research on both the contemporary and historical views has revealed, however,that many of the watercolors were not fundamentally products of the imagination, but instead were rather faithful copies of illustrations published in books and the popular press. Indeed Ladd and/or Buck appear to have been so indebted to their published sources that except for the occasional addition ofa figure, a

A View of Windsor Castle. Watercolor on paper. 18 x 287 Collection of Peter H. Tillou.

change of detail and the highly personalized use of color, the style of the watercolors varied according to the style of the source copied. This is most apparent in their rendering offaces, the suggestion of three dimensional space and the modeling of figures. Because virturally nothing is known about either Ladd or Buck, it is impossible to say whether or not they had any firsthand knowledge of any of the contemporary events or scenes they

painted. Ultimately, however, this question is much less important than the insight that these watercolor scenes provide into Victorian imagination and popular taste in America at the turn-ofthe-century. Influenced by the legacy of the mid-century panorama fad and the several large historical cycloramas that were shown in America at the very end of the century, as well as the example of such domestic devices as the stereoscope, the magic lantern and toy

"View of Windsor Castle,' as published in R. Donald, Wonders of Architecture(New York, 1871), ex libris, Library of Congress. 42

elsewhere during these years. Ladd and Buck tried to synthesize a personalized mode of pictorial expression with the Victorian Age's interest in history, morality and the exotic. An interest in new and little-known regions of the world, a new national consciousness, a belief in the ideology of progress, the growing ease of communication and travel and the widespread endorsement of a conventional moral system is reflected in Ladd and/ or Buck's panorama. The panoramic format they adopted suggests that they clearly painted their watercolors to entertain, despite the fact that at the end of the century such moving picture machines had already been eclipsed by the photograph, the newly invented cinematograph, the music hall and the museum.

The Creation. Watercolor on

paper. 18 x 28! . Collection of Isabel and Bates Lowry.

panoramas that depicted scenes of American history, Ladd and/or Buck conceived the idea of painting their own panorama; selecting and copying their subjects from the wide range of illustrative material available in America following the Civil War. The important point about these watercolors is not that they are based on published sourcesâ&#x20AC;&#x201D;for the practice of copying is a venerable and widespread tradition in academic as well as primi-

tive artâ&#x20AC;&#x201D;but rather, that the breadth of subjects painted by Ladd and/or Buck suggests the artists' ambition to encompass the full range of the Victorian world. In this regard, their panorama is a product of the same impulse that prompted Melvil Dewey to invent a system by which all the world's knowledge could be organized, as well as providing a rationale for the comprehensive "panoramic" expositions held in Philadelphia, Chicago and

The Utica Master exhibition entitled, "A Panorama for the People': is scheduled to be opened to the public at the Museum of Art ofthe MunsonWilliams-Proctor Institute in Utica, New York between March 3 and May 20, 1984.

Paul D. Schweizer is the Director of the Museum of Art of the Munson-Williams-Proctor Institute in Utica, New York. Barbara Polowy was former Head Librarian at the Museum of Art of the Munson-Williams-Proctor Institute and is now Art & Photography Librarian at the Wallace Memorial Library at the Rochester Institute of Technology.

"And God separated the light from the darkness:'as published in The Illuminated Bible... embellished with engravings by J.A. Adams after designs by J.G. Chapman,(New York, 1846), ex libris, Library of Congress. 43

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The pages of pioneer women's diaries and oral histories poignantly tell the stories of American folk dolls. They seemed to be invariably tied to Christmas, the one holiday when children were most likely to receive presents. The arduous demands of rural life left little time for celebrations and giftmaking. Birthdays were often ignored, but Christmas inspired parents to create a variety of dolls. Even though many dollmakers worked in dim light with primitive implements, they fashioned imaginative and loving examples. Remembering her mother's efforts, a Utah woman explained: "It was an impossibility to buy dolls, so she conceived the idea of making them each a rag doll. How this could be accomplished without their knowledge, she would have to work out after the children had retired. Each night she and her two older daughters would sew and work, work and sew until the task was finished; the result being two large rag dolls with shoes, 44

stocking, chemise, panties, petticoats, and yellow dresses....There were never any dolls which had more care or fondling, more clothes made for them than these two dolls!"

While fathers and brothers carved wooden dolls using prized penknives, mothers sewed the popular rag dolls and stuffed them with bran, sawdust, straw or rags. Any available material including mattress ticking,linen,or unbleached cotton comprised faces and bodies. Expensive materials such as silks and wools were used sparingly, often for hair and facial features. Children made folded cloth dolls that did not require stuffing and simple sock or handkerchief dolls. The more elaborate cloth dolls were meant to take the place of unattainable "store-bought" dolls and were often copied from fashionable papier mache and china dolls. Occasionally, a cloth face covered a broken china head in an attempt to sal-

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vage what must have been a tragic accident. Replaced faces appear on many homemade dolls as thrifty parents repaired torn or soiled faces. The many mends found on old cloth dolls testify to the importance of these dolls in their owners' lives. A single doll sometimes had to last years, and was not carelessly thrown out when worn. Popular books and magazines provided instructions for prolonging the lives of beloved dolls, such as the advice in The American Girl's Book:"When the face becomes soiled, it can be renewed again by sewing on a new piece of linen and painting it...72 Today collectors look for the skillfully made cloth dolls modeled after the high fashion lady dolls. Some of

these dolls were fashioned from memory with imaginative substitutions and fanciful additions. Others represent marriages of various materials with adroitly carved wooden heads or even husk or apple faces attached to cloth bodies. Parents readily recycled the china or bisque limbs of a broken doll, attaching them to a homemade cloth body. Those who could buy the china heads sold by peddlers and in general stores then made the rest of the doll at home. As Annie Kimball recalled: "My clever, thoughtful mother made the body of strong new Indian Head factory muslin and sewed on the beautiful china head. The body was largeâ&#x20AC;&#x201D;the largest doll I had ever seen. Instead of stuffing it with sawdust or bran, patient hands had cut old soft cloth scraps which, as filling, made the body firm, yet soft. Seams at knees and elbows made flexible limbs which were sewed to the torso:'

Wooden dolls reflect the whittler's 45

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pleasure, with the best of them appearing more sculptural than doll-like. Ordinary dolls were created from discarded household objects such as the spoon, the clothespin and even the potato masher. Because of their sturdy construction, wooden dolls enjoyed a high survival rate as noted by the words "KANT BE BROKE," cheerfully painted across the chest of an old wooden doll found in West Virginia. Wooden dolls show exceptional variety ofform:from the macabre coffin dolls, popular in the 19th century, to the happier "Dancing Dans" and "Jumping Jacks" that worked by strings or by a stick inserted in the back. Throughout the Southern highlands"poppets,"simple wooden dolls carved by hardworking men and women from native woods, reflect the homespun styles of their region. The craft guilds and cottage industries of the 20th century were 46

and personality, as expressed by an Arkansas cornhusk dollmaker: responsible for making these appealing dolls available in all parts of the country. Materials used in dollmaking were only limited by the creator's imagination. Resourceful parents and children fashioned dolls from such unlikely materials as wishbones, clay pipes and nuts. Cornhusk and applehead dolls were favored by both the Indians and White settlers who, to some degree, copied each other's modes of dollmaking. Nut and applehead dolls often portrayed elderly people as their wrinkled faces were well suited for their subjects. Often drawn from memories of specific characters in the community, these dolls contain a wealth of detail

"I don't think anyone else makes the dolls like I do for I just studied these dolls and how to make them myself.... All of my cornhusk dolls are characters of people I can remember when I was five years old, from 1906 on up through my childhoodri

In the last twenty years many great Black folk dolls made from a variety of materials have surfaced. Their numbers indicate the inability of numerous Black families to purchase commercial dolls. The popular topsy-turvy dolls, thought to have originated on the plantations of the South, reflect BlackWhite preoccupations. While some Black dolls embody middle class aspirations (usually those made by Blacks themselves), other Black dolls represent

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racial and comic stereotyping. Both types are avidly collected today as important artifacts of American history. Indian dolls show the greatest diversity in materials and subject; each tribe's dolls reflected the people's particular mode of dress and customs-. For most Indian children dolls were an integral part ofchildhood. Beverly Hungry Wolf, a Blackfoot wrote: "All that I played with was part of our culture. I had lots of little tepees and all the toy furnishings that go inside. I had lots of dolls also. I was a great one for making dolls. I used wires to start them, then I wrapped the wires to make their bodies, and then I dressed them in Indian clothes. My friends and I made lots of dolls. Those of us who had the longest hair donated some to make hair for our dolls. Then the boys would hunt gophers and squirrels and skin them and we would make the little skins into clothing for the dolls, and rugs for our tepees:"

While rudimentary dolls were some-

times stuffed into toy cradleboards, most Indian dolls portray adult figures dressed in miniature versions of adult clothing. Boy dolls represent men of action, whether riding Plains horses or fishing in arctic kayaks. Regional differences abound as illustrated by the Inuit fur parkas and the Seminole lightweight patchwork cottons. Early dolls reflect Indian culture before the influence of the White man. The few examples that survive wear plain hide garments, perhaps decorated with quillwork. Beading, trade cloth and European-style clothink tell the story of the blending of two different cultures. As silent eyewitnesses to history, dolls captured the more harmonious aspects of the "melting pa,'just as they contained imaginative combinations of materials. Often conceived in isolation and hardship, American folk dolls embody triumphs of the spirit.

FOOTNOTES I. Margaret Jensen Smith in Treasures ofPioneer History, vol. 5, comp. Kate B. Carter (Salt Lake City, Utah: Daughters of Utah Pioneers, 1956), pp. 188-189. 2. Miss Eliza Leslie, The American Girl's Book, or Occupation for Play Hours (Boston: Munroe & Francis, 1831), cited in "Some Home-Made Dolls Circa 18317 Clara Holland Fawcett, Hobbies, June 1952, p. 114. 3. Annie Kimball in Carter, Treasures ofPioneer History, 5:186-187. 4. Mrs. Johnnie Head cited in The Doll, Carl Fox (New York: Harry N. Abrams, 1973), p. 339. 5. Beverly Hungry Wolf, The Ways ofMy Grandmothers(New York: William Morrow & Co., 1980), p. 56.

Wendy Lavittt is curator of the exhibition, "Children's Children: American Folk Dolls' which will be on view at the Museum of American Folk Art from November 21, 1983 through February 28, 1984. She is the author ofAmerican Folk Dolls (Alfred A. Knopf, 1982) and Dolls (Chanticleer Press, 1983) and co-owner of Made in America. She has lectured at various museums and is a free-lance writer. 47

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Zsacob Maentet: Born in Kassel, Germany in 1763, Jacob Maentel, the itinerant artist and gentleman of unique talents and farreaching vision, practiced many careers in the course of his lifetime. He was a physician,a secretary as well as a soldier under Napoleon, also serving during the War of 1812, a farmer and lastly, best remembered, an itinerant limner. Maentel's distinctive portraiture style sets him apart from other Pennsylvania limners who also employed the ubiquitous profile. His work imbues the faces of his subjects with vitality, aptly capturing the likenesses, even if the results were not always particularly flattering. The continual presence of diagonal design, specific facial and body characteristics, oriental treatment of foliage and detailed setting in some early profiles and many later frontal portraits, should put to rest the controversy among scholars, dealers and art collectors regarding the possibility of more than one hand executing these paintings. Maentel's prolific body of work in America spanned more than half a century; the majority of portraits were painted in Southeastern Pennsylvania(Lancaster, York, Dauphin, Berks and Lebanon counties), beginning around 1807 and extending through the next three decades. It was later that the artist moved westward to

PORTRAITS OF A PROUD PAST by ValerieRedler

On the Trail ofJacob Maentel

Possible Self Portrait. Jacob Maentel. Womelsdotf Pennsylvania. 1828. Watercolor on paper. 7/ 1 2 x 6/ 1 2". Courtesy of the Historical Society ofBerks County, Reading, Pennsylvania.

How many of us are fortunate enough to relive a moment in history? That opportunity presented itself last March as I flew from Pittsburgh, Pennsylvania en route to New Harmony, rndiana, imagining the westward path of the nineteenth century gentleman farmer,Jacob Maentel, a local portrait painter known for his talent and truthfulness in rendering his subjects. Staying with a descendant whose late husband, Thomas E Mumford, Sr., was Maentel's great-great grandson provided access to a treasure

trove of family papers and photographs. Visiting the Maentel home and gravesite, as well as meeting friends and relatives of the Jaquess, Cooper and Faul families whom he painted, gave me a deeper understanding ofthe life ofthe painter. The stenciled parlor where Maentel painted Mrs. Jaquess in 1841 was already familiar, and as I watched Mrs. Mumford feeding the horses, goats and dogs on her farm, the image of the monumental oil on canvas farm scene by Maentel now on display at the Workingmen's Institute came to life.

New Harmony, Indiana and its environs, where he worked for at least twelve more years. Records at the Workingmen's Institute in New Harmony should answer the previously unresolved question of birth and death dates:

Photograph of Louisa Mental Mumford. (1822-1904 New Harmony, Indiana. ca. 18901900. Collection ofMrs. Thomas F Mumford, Sr.

Old man Mantle, one of Bonaparte's old soldiers died today [April 28, 1863] he was near 100 years old, born June 15, 1763.

It should be noted that variations in the spelling of Maentel appear throughout the text, in keeping with their original state. Reasons for inconsistencies are due to phonetic spelling, misspelling, anglicization of the name and even the possible inebriated state of a census taker! The German spelling of Mantel is synonymous with Maentel; other versions are shown as Maental, Mentle, Mentel, Mendel and Mantell. The anglicized version of Mental was used by the family in Indiana and is also the presently desired pronunciation of the descendants. Walking through Harmony Township's Maple Hill Cemetery revealed Maentel's small rectangular gravestone, devoid of any dates and initialed J.M.; it is surrounded by that of his daughters, Amelia (1828-1908) and Louisa (1822-1901), and also by Louisa's husband, Thomas Mumford,

Sr., with whom Maentel lived out his remaining years. Three other children, William, Wilhemina and Frederick, are buried nearby. An imposing granite monument boldly displays the MENTAL-MUMFORD names on adjacent surfaces. The Indiana Federal Census of1850 lists Jacob Mentle as ninety-five years old (incorrect age) and living with his daughter Louisa, son-in-law Thomas Mumford, a successful merchant and farmer, and their three children: Mary (Thrall), Amelia (Hill) and Thomas. Advanced age was not the only reason Jacob Maentel no longer was master of his own house; a newspaper article in the New Harmony Advertiser dated Saturday, October 2, 1858 reports a devastating fire. On Wednesday morning last, about 3 o'clock,the house, belonging to Col. R. Owen, situated on his farm about a mile from town, was discovered to be on fire. The occupants, Mr. Mentle and family.... barely escaped with their lives, losing everything they possessed...

Notes from great-granddaughter Louise Hill add that "to his great sorrow:' Maentel's papers of discharge from the army were burned, together with miniature portraits of his seven or nine sisters which had been brought to America. However, a small, bound, medical book of remedies and medication, a "Materia Medica;' handwritten in German and Latin, seems to have been salvaged from that fire, for it was singed. A recipe for "Mental Salve" (consisting of a mixture of lard, white

and red lead, beeswax, camphor, oil of spike and oil of stone), passed down in the family, may also come from that book. Nevertheless, it is not as physician but as itinerant limner that Jacob Maentel is best remembered; the Indiana Federal Census of 1850 lists the occupation of Jacob Mentle as Painter. He is known for painting portraits of friends, relatives and everyday acquaintances, immortalizing their self-esteem and newly acquired success as a record for posterity, in addition to the more practical birth and baptismal certificates and marriage records. As J. Bennett Nolan so aptly stated: "What these strolling craftsmen sold was vanity... Until now it was thoughtthat Maentel and his family arrived in Indiana in 1836; however, evidence suggests that the year 1838 is more likely, due to several factors: the existence of a birth and baptismal portrait of Johannes Heinrich Meyer painted in Maentel's hand on June 14, 1837 in Schaefferstown, Pennsylvania; a newspaper obituary of Maentel's daughter Louisa, born in Harrisburg on March 2, 1822, telling of her arrival from Pennsylvania at the age of sixteen; and finally, records from the Posey County Assessor's Book of 1838 indicating that Jacob Mental owned personal property worth

Birth Certificate ofJohannes Heinrich Meyer. Jacob Maentel. Schaefferstown, Pennsylvania. 1837. Ink and watercolor on paper. 12/ 1 4 x 7W. Private Collection.

one hundred dollars, with a tax of thirteen dollars.' New Harmony, however, was not Maentel's original destination; he and his family were head toward Texas when illness occurred, causing them to stop in New Harmony and seek aid from their friends, the Schnees, whom they had known in Pennsylvania. Mr. Schnee took Catherine and the Maentel children to the area later known as Pelhamtown where he found employment for her sons.' The identification of Mr. Schnee is finally complete; the Posey County Cemetery records yield the name of Jacob Schnee (1784-1838), a former Lutheran minister from Lebanon, Pennsylvania who brought settlers into the Owen-Macluria Community in l827.5 Accordingly, Jacob Maentel's active painting years around Stewartsville and New Harmony span at least twelve years from around 1838 to 1850 and possibly later; the last known dated portrait is Jacob Frederick Keck, done in 1846. The question about Maentel's possible time spent in Baltimore and the new identification of his wife need to be addressed, due to the scarcity of information that is known about his early years. Although the 1807 and 1818 city directories of Baltimore list a Jacob Mattell as portrait painter,'the connection remains questionable. To date there are no known Baltimore portraits

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executed by Maentel, yet a Maryland link does appear to exist through marriage to his wife, Catherine. This fact is revealed by new information stated in the family notes of Louise Hill, indicating that he married Catherine Weaver of Baltimore, whose mother's maiden name was Gutt, as told to her by a relative. Until now, Maentel was said to have married a Catherine Gutt, of Alsace-Lorraine. It is known that Catherine Weaver was confirmed in 1818 in the First German Evangelical Church (Reformed) of Frederick, Maryland, married Jacob Maentel and moved to Harrisburg, Pennsylvania where a daughter, Louisa, was born on March 2, 1822 and a son, William, several years later. Louisa's birthplace had also been questioned as to whether it was Pennsylvania or Baltimore. Two other children were born in Schaefferstown according to church records from St. Luke's Evangelical Church; Wilhemina Mendel on April 12, 1826 and Amelia on November 30, 1828. In addition, the parish register includes names of many of the subjects he painted, such as Peter and Maria Rex Zimmerman, Christian and Mary Bucher and mem-

bers of the Bomberger, Wolfersperger, Haak, Mays and Zartmann families. Maentel's prolific years as a traveling limner began sometime in the early nineteenth century, but new information indicates that the group portrait thought to be his earliest,Schoolmaster and Boys, should no longer be dated circa 1800. A re-evaluation of the boys' clothing indicates a later date, of at least 1810. Furthermore, the smooth, mask-like face of the schoolmaster has been called a "youthful, halting attempt at portraiture:" unlike any of Maentel's usual facial characteristics. This discrepancy now holds a more plausible explanation. Close study has revealed that an extensive replacement was made to the upper half of the composition, including the schoolmaster's face, at an unknown date prior to acquisition by The Abby Aldrich Rockefeller Folk Art Center. Nonetheless, it should still be considered one of the first examples of the artist's profile and frontal stance within an interior setting.' The earliest portrait that I have seen is the profile of Mary Koss, dated 1807, with her name and date inscribed in the lower right quadrant; more dated profiles emerge from 1808 through 1811. In addition, portraits of military heroes appear around the time of the War of 1812; the proud profile of General

Grandmother Hartman. Reverse inscription: Painted on August 31, 1827 by Jacob Mantel.

Schumacker (ca. 1812)from Lancaster County is set amidst swirls of cannon smoke as his troops advance against the British with muskets and sabers; Major William Rees and his Daughter, Mary (ca. 1814) are posed before a typical Pennsylvania landscape of rolling hills dotted with bushes, trees and houses. It should be noted that Maentel's familiarity with and interest in military portraits coincides with his own involvement in the War of 1812, when he joined the Second Regiment, Second Brigade of the Pennsylvania Militia in Captain Thomas Huston's company, under command of Lieutenant Colonel John Lutz at York. Muster and receipt rolls show that Jacob Mantell of Lancaster served for six months from September 1, 1814 to March 1, 1815 and earned six dollars.'째 Unlike many academic artists, itinerant limners did not always sign their work, but Jacob Maentel signed four of his more than two hundred portraits. The earliest and only known signed profile is Lady with Reticule (August 31, 1827), signed on the reverse in German manuscript "von Jacob Mantel!' The woman can now be identified as Grandmother Hartman, whose name, written in English, was found by the present owner on a separate backing behind the portrait. In December, 1965

Grandmother Hartman.Jacob Maentel. Penn2". 1 sylvania. 1827. Watercolor on paper. 9 x 6/ Private Collection. 51

when Art in America published a photograph of this unidentified and signed profile portrait in a short letter to the Editor by R.H. Wood, its very existence served to reconfirm Mary Black's successful re-attribution ofa large body of profiles to Maentel, previously thought to have been painted by the printer, Samuel Endredi Stettinius." Jacob Maentel's distinctive style is consistent throughout his many profile and frontal portraits, although there are those who think that more than one other artist had a hand in producing works attributed to Maentel. As Charles E Hummel states: The number and variety of watercolors attributed to him suggest that at least two or three Pennsylvania artists may have been responsible for their execution!'

It is my contention, however, that the hand ofone single artist is clearly visible, a theory reinforced by my discovery of a frontal counterpart of the identified profile of Maria Rex, the great-granddaughter of the founder of Schaefferstown, with a companion portrait of her husband, Peter Zimmerman. Photographs of both portraits were published in a 1974 exhibition catalogue of the Allentown Art Museum. The limner is only identified as "The Schaefferstown Artist"; he is assuredly Jacob Maentel. In both the frontal and the profile por-

Maria Rex (Zimmerman). Jacob Maentel. Schaefferstown,Pennsylvania.1827-1830. Watercolor on paper. 16/ 1 2 x 10/ 1 2". Private Collection.

Maria Rex. Jacob Maentel. Schaefferstown, Pennsylvania. 1827-1830. Watercolor on paper. 12 x 7/ 1 2". The Howard and Catherine Feldman Collection. Photo: John Kress Bachman. 52

traits of Maria she is wearing the same dress. In the outdoor profile the collar is more opaque; she wears a diaphanous bonnet, holds an open book and stands on a small hill. The crude rendition of her outlined hand is seen in other profiles, such as Grandmother Hartman, and is more refined in Maria's frontal stance. The profile's carefully delineated facial characteristics include a heavy eyebrow over a thickly fringed eyelash with shadowing under the eye, an emphasized nostril, filled in upper lip area and pronounced chin line. I believe that the profile's previous dating of circa 1815 should be corrected to the years between 1827 and 1830,as her birth date of 1804 would have made her only eleven years old at the time of this sitting. Also, Maria and Peter were married around 1827. The rather elaborate interior of Maria's frontal portrait(ca. 1827-1830) shows her standing with her hand resting on the back of a yellow bambooturned Windsor chair, its strange, elongated shadows repeated under her tiny feet and adjacent table. The stenciled wall of Chinese inspired design is separated from the lower marbleized pattern by an oval diaper design above the chair rail: this type of design is also seen in General Schumacker's Daughter (ca. 1812).

Johannes Zartmann. Jacob Maentel. Lebanon County, Pennsylvania. 1828. Ink and watercolor on paper. 505/m x 8W'. Courtesy of the Philadelphia Museum of Art. Gift of Edgar William and Bernice Chrysler Garbisch.

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Additional stylistic features appearing in the frontal portrait of Maria Rex include exaggerated, deepset eyelids, stylized nose, lip demarcation, shaded lower jaw, inverted wing shape within the outlined ear and detailed hand, all of which occur in varying degrees in Maentel's three signed frontals of Seated Man with a Book, Johannes Zartmann and Jonathan Jaquess. The half portrait of Seated Man with a Book in a three-quarter pose is quite fascinating; the subject contemplates a verse from Book VI of Virgil's Aeneid. The lower right portion of the book identifies the picture as being painted by Jacob Mantel in "Wommelsdorf" on April 20, 1828. Could this possibly be a self-portrait? The Maentel family sees the same deepset eyes, prominent bone structure and wide forehead in the photograph of Maentel's daughter, Louisa Mental Mumford, who died at seventy-nine years of age. A Taufschein, a birth and baptismal certificate from nearby Jackson Township in Lebanon County of Johannes Zartmann, dated November 13, 1828, successfully bridges the gap between Fraktur form and portrait painting by expanding the means of record keeping. According to Mary Black: "Maentel widened the horizon of traditional Fraktur painting to include small scale portraits of his neighbors and relations!' Historian Frederick Weiser also states that they comprise a separate

and more specialized category of Fraktur.13 The fourth and only signed portrait from Poseyville, Indiana is signed in a slanted cursive style "Jacob Maentel fecid" and is of a well-known local Revolutionary War hero, Jonathan Jaquess, who was painted in 1841 at the age of eighty-eight. He was a Minuteman who served on land and sea for five years, including a tour of duty under General George Washington. He later sailed out to sea on the "Baltimore Packet,' a brig "mounting fourteen twelve pounders" that is thought to be the full-rigged ship in this portrait, according to a Jaquess descendant. The scar on the lower portion of Mr. Jaquess'face was caused by a saber cut during the Battle of White Plains. His third wife is shown in a companion portrait, Rebekah Fraser Rankin Jaquess, where she is seated in a green, left Writing Arm Windsor chair in front of a light blue stenciled wall. A New Harmony architect, Rose Broz, who removed about eleven layers of wallpaper in the Jaquess house to reveal the faded stenciled walls, is convinced they are authentic Moses Eaton patterns.' Art historian Nina Fletcher Little also believes the three border designs may be Eaton's.' A highlight of my research and trip to New Harmony was seeing two unsigned oil on canvas firescreens at

Mrs. Jonathan Jaquess (Rebeckah Fraser Rankin). Jacob Maentel. Poseyville, Indiana. 1841. Watercolor on paper.17/ 1 4x 113/3". Courtesy of The Abby Aldrich Rockefeller Folk Art Center, Williamsburg, Virginia.

the Workingmen's Institute which provide evidence of Maentel's continued growth as an artist and add a new dimension to his career. Though the medium has changed from watercolor to oil, and a much larger canvas is used, continuity exists in his treatment of similar elements. A sailing ship in the Seascape resembles the "Baltimore Packet" in the portrait of Jonathan Jaquess. The lower stone house with white framed windows and roofline also appears in the Farm Landscape and in the portrait ofthe Elder Mr.Faul. Diagonal shading in the exterior windows has its interior counterpart in the portraits of Mrs. Jonathan Jaquess and others. Maentel's use of diagonals is unmistakable, extending to overall design of subjects and objects: slanted shadows, books, hats, chairs, desks and even dress fabric patterns. His technique of outlined clustered leaves, usually depicted in lower bushes, as in the portraits of General Schumacker (ca. 1812) and Johannes Heinrich Meyer(1837), is used in the tree foliage ofthe upper quadrants ofthe Seascape.

Farm Landscape. Jacob Maentel. New Harmony, Indiana. 1840-50. Oil on canvas firescreen. 36 x 41". Courtesy ofThe New Harmony Workingmen's Institute, New Harmony, Indiana. Gift of Mrs. Mary Mumford Thrall. Photo: Robert Bryant.

Seascape. Jacob Maentel. New Harmony, Indiana. 1840-50. Oil on canvas firescreen. 33/ 1 4x 47/ 1 4". Courtesy of The New Harmony Workingmen's Institute, New Harmony, Indiana. Gift of Mrs. Mary Mumford Thrall.Photo:RobertBryant.

Jonathan Jaquess. Jacob Maentel. Poseyville, 1 2x 11/ 1 4". Indiana. 1841. Watercolor on paper. 17/ Courtesy of The Abby Aldrich Rockefeller Folk Art Center, Williamsburg, Virginia.

Unfortunately, these portraits were not always held in the highest regard by their owners. Family tradition tells that Grandmother Mumford lined her drawers with Maentel's portraits and eventually burned them! A member of the Faul family remembers the paintings lining the bottom of a cherry chest. And according to notes from the Cooper family, whose seven portraits were painted in payment of a debt, "The boys were so outraged with the results...that the pictures were hidden away in a trunk to be forever suppressed:' They surfaced seventy years later when a great-granddaughter found them. The paintings are now hanging in the home of her daughter, who says:"I think Jacob Maentel would be amazed at all the activity his paintings have producedâ&#x20AC;&#x201D;and the Cooper boys even more!" The culmination of

this "activity" will be a major retrospective of Jacob Maentel's works at the Museum of American Folk Art. A search is still underway for portraits painted by Jacob Maentel and further information on his life and travels. Kindly write to Valerie Redler, the Museum of American Folk Art, 49 West 53rd Street, New York, New York 10019. FOOTNOTES 1. Local History File(New Harmony Workingmen's Institute); Richard Owen is the son of Robert Owen,founder of the Owenite community in New Harmony. 2. J. Bennett Nolan, "Pennsylvania Sunday Best:' American Heritage, 8, no. 3, April 1957, P. 48. 3. Local History File(New Harmony Workingmen's Institute), assisted by Josephine Elliott. 4. Mumford family notes from the First Agricultural Fair, 1859. 5. Carrol 0. Cox, Posey County Cemetery Records 1814-1979, Evansville,Indiana, 1979, p. 117. 6. Mary Black,"Jacob Maentel' American Folk Painters of Three Centuries, eds. Jean Lipman and Tom Armstrong(New York: Hudson Hills Press, 1980), p. 117. 7. St. Luke's Evangelical Lutheran Church, Schaefferstown,Pennsylvania,Parish Register, 1763-1834, trans. Pastor Frederick Weiser. 8. Mary Black, "Jacob Maentel' p. 123.

9. Curator Work Sheet, accession no. 47.301.1, Abby Aldrich Rockefeller Folk Art Center, Williamsburg, Virginia. "New areas not original to portrait" were noted in June 1978 at A.A.R.F.A.C. 10. "Muster Rolls of the Pennsylvania Volunteers in the War of 1812-1814' Pennsylvania Archives, 2nd ser., vol. 12,eds. John B. Lina and William H. Egle, M.D. (Harrisburg, Pennsylvania: Lane S. Hart, 1880), pp. 228-229; "Soldiers of the War of 1812-14, Pennsylvania Volunteers:' 6th ser., vol. 8, pp. 1132-1133. 11. R. H. Wood, "Attribution:' Art in America, 53, December 1965, p. 138. 12. Charles E Hummel,"The Pennsylvania Germans: A Celebration of Their Arts, 1683-1850:' Antiques, 122, no. 6, December 1982, p. 1253. 13. Mary Black,"American Folk Painting:'How to Know American Folk Art, ed. Ruth Andrews(New York: E.P. Dutton, 1977), p. 95; Frederick Weiser, "Pennsylvania German Folk Art:' pp. 136-137. 14. Local History File, newspaper article "John and Rebekah Jaquess ... Pioneers"; Nils Kildegaard, "Tavern Street Museum to Recreate Rooms of Historical Jaquess House of Poseyville;' The New Harmony Times, November 9, 1978. 15. Nina Fletcher Little, American Decorative Wall Painting 1700-1850 (New York: E.P. Dutton, 1972), p. 147.

Valerie Redler, a teacher, Chinese brush painting artist and interior designer, is a 1983 graduate of the Folk Art Studies Master of Arts Degree program jointly sponsored by the Museum of American Folk Art and New York University, and will be the Guest Curator of the forthcoming 1986 exhibition of the paintings ofJacob Maentel to be held at the Museum.

IN CELEBRATION OF A SUNBURST THE SCULPTURE OF JOHN SCHOLL BY CHARLOTTE EMANS ••••••••••••••••

•••••••••••••••• Swan Carving John Scholl Germania, Pennsylvania c. 1900 wood, paint, metal wire 83/ 1 2 x 31 x 313/4"deep Collection ofMemorialArt Gallery ofthe University ofRochester. Rather than carvingfrom a single, large piece of wood,Scholl achieved a complex pattern byjoining together small, separately carvedforms.

The Museum is pleased to announce formally the recent acquisition of a major piece of sculpture, entitled "Sunburst," by the well known folk carver John Scholl (1827-1916). Illustrated on the cover of this issue of The Clarion, this significant addition to the Museum's permanent collection is the generous gift of Miss Cordelia Hamilton, and has been given in honor of Mrs. Adele Earnest in recognition of her research and continued contributions to the field of 18th and 19th century American folk art. Both Miss Hamilton and Mrs. Earnest are founding members and serve on the Board of the Museum. Little is known about John Scholl's early years before he emigrated to

America with his future wife in 1853.' Scholl was born on July 8,1827 in what is now West Germany. By 1870, he had settled on a farmstead in Germania, Pennsylvania with his wife, three sons and two daughters. He made his living there as both a farmer and a carpenter. Local tradition states that Scholl was head carpenter for the St. Matthieus Lutheran Church and the ballroom wing of the Germania Hotel. He also carved decorative ornaments for the Victorian farmhouse and numerous outbuildings which he constructed for his own family. Not until he reached the age ofeighty did Scholl begin carving such extensively ornate and fantastic sculptures as

the "Sunburst'? By the time he died of pneumonia in 1916, he had carved forty-five pieces of sculpture, fortytwo of which still survive. Since 1967 the Museum has been fortunate to have also in its permanent collection an original photographic portrait of John Scholl, his tool box and accompanying tools and a small, wooden sculpture entited, "Dove Chalice'? In his later years, Scholl opened the parlor of his home to the public as a museum to display his own works. He escorted visitors and explained the personal significance of each of his carefully carved pieces. Scholl produced four main types of work: small whittler's puzzles dubbed "Finials," flat

••••••••••••••••••••••••••••••••••••••••

•••••••••••••••••••••••••••••••••••••••• Photograph of John Scholl artist unknown Germania, Pennsylvania date unknown 18/ 1 2 x 12/ 1 2 " 1967.1.2 This photograph of John Scholl taken when he was approximately eighty years old shows him seated on a wood pile at his farmstead in Germania, Pennsylvania. Not until he reached the age of eighty in 1907 did Scholl begin to carve such intricate sculptures as the "Sunburst:'

Tools Owned by John Scholl Germania, Pennsylvania c. 1900 iron and wood 1134 x 9 x 67/8"deep

constructions representing conventional snowflakes, mechanized wooden toys and large,freestanding sculptures. For several years after his death, his family continued to conduct tours and to interest visitors in his work. Eventually, the pieces were stored in a barn and forgotten, until they were discovered by an antiques picker who contacted Mrs. Earnest and Miss Hamilton, owners of the Stony Point Folk Art Gallery. An exhibition and sale of Scholl's work was first held there in 1967. It was Miss Hamilton and Mrs. Earnest who christened Scholl's freestanding sculptures, "Celebrations'? While Scholl may have had no formal training as an artist, he was a

highly skilled carpenter. Instead of carving from a single, large piece of wood,he achieved a complex pattern in the "Sunburst" by joining together small, separately carved and turned design forms with glue, tacks and screws, to create an integrated image. The frequently recurring forms of arrows, leaves, balustrade rails, lyres and stars suggest that he might have used templates for guides. The complex patterns he developed from these pieces show a distinct resemblance to decorative architectural forms seen on Victorian domestic architecture of the mid and late 19th century. In view of the number of millwork catalogs and architectural pattern books available to craftsmen at

that time, Scholl may have been exposed to a wide variety of patterns of trim design similar to those appearing in some of his pieces of sculpture; however, no patterns, preliminary drawings or templates survive to confirm this theory. While many of his sculptures display abstract patterns, several recognizable images appear in his work. Sources for many of these motifs are probably derived from the wooden toys and mechanized clocks produced in Germany and Switzerland through the 19th century. Scholl's extensive use of such motifs as carved birds, tulip shapes and German crosses further reflects his heritage and childhood in Germany.

••••••••••••••••••••••• ••••••••••• ••• • • •

••••••••••••• Parlor of John Scholl House Germania, Pennsylvania c. 1915 Stony Point Folk Art Gallery Over the years, John Scholl carved 45 pieces of sculpture. Many ofthese can be seen in this photograph of his remarkable parlor.

Although composed of many detailed and intricately carved sections, the "Sunburst" is constructed so that primary attention is drawn to the sculpture as a whole. Contributing to its fanciful nature is the airiness of its carving which prompts the viewer to take into account the play of light and shadow on the piece, its parts and its surroundings. The overall rhythmic composition creates the impression of potential motion. All of these inherent features, taken together, serve to endow this sculpture with an illusion of animation. By her gift, Cordelia Hamilton has made a truly valuable contribution to the permanent collection of the Museum of American Folk Art. We are

pleased that visitors will have the opportunity to view and study this major work by John Scholl. FOOTNOTES 1. To date, the most extensive research on folk carver, John Scholl, has been completed by Katherine C. Grier, who has written a catalog about his life and work entitled, Celebrations in Wood, the Sculpture ofJohn Scholl, published in 1980 in conjunction with a major exhibition of his work at the William Penn Memorial Museum in Harrisburg, Pennsylvania. FURTHER READING Bishop, Robert C.American Folk Sculpture. New York: E.P. Dutton, & Co., 1974. Earnest, Adele."John Scholl Celebrations," New York: Willard Gallery, presented by the Stony Point Folk Art Gallery, November 28-December 30, 1967. Grier, Katherine C. Celebrations in Wood, the

Sculpture of John Scholl (1827-1916). Harrisburg, Pennsylvania: William Penn Memorial Museum, November 3, 1979March 23, 1980. Lipman, Jean, Ed."Made for the Season,"Art in America. New York: Art in America Company, November-December 1967, vol. 55, #6, pp. 128-129. Charlotte M.Emans is a Master's degree candidate in the Folk Art Studies program jointly sponsored by the Museum of American Folk Art and New York University. She also studied for six months with the Curator of Textiles at the Department of Collections in Colonial Williamsburg, as well as for a year with the Curator of the Abby Aldrich Rockefeller Folk Art Center in Williamsburg. During her first year at NYU,she was the registraria' intern for the Museum of American Folk Art, where she is presently working as the Assis tant Registrar/Assistant Exhibition Coordinator.

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••••••

II ••••••••••••••••••••••••• Dove Chalice John Scholl Germania, Pennsylvania c. 1900 polychromed wood 10/ 1 4 x 5/ 1 4 x 5/ 1 4" deep 1967.1.1a-f

Carousel of Birds and Men John Scholl Germania, Pennsylvania 1 4 x 14/ 1 4" c. 1900, wood, 25/ Collection ofIsobel and Harvey Kahn. Operated by a crank, this carousel is typical of the mechanized wooden toys that were carved by John Scholl. Through such mechanization, he was able to create many whimsical and animated scenes. Since.these toys were composed of very small and delicate parts, Scholl never really meantfor children to play with them. 59

Museum News

The Show is open from 12-10 PM daily and 12-6 PM on Sunday., Admission is $5. Refreshments will be available at a terrace cafe overlooking the water. There are free shuttle buses running between the Museum and the Pier continuously, from one-half hour prior to the Show's opening, to onehalf hour after closing.

WASHINGTON MEETING ON FOLK ART December 5-6, 1983

Co-chairwomen Karen Schuster (1.) and Cynthia Schaffner with Sanfitrd Smith opening night al last year's Fall Antiques Show at the Pier.

THE FALL ANTIQUES SHOW AT THE PIER OPENING NIGHT BENEFIT Wednesday, October 5, 1983 "Hurrah for the Red, White and Blue!" will resound across the waters as the theme of the gala opening night benefit'for the Museum, highlighted by a special exhibition, "Uncle Sam: An American Folk Hero,"curated by Jane Walentas. Preview evening for the fifth annual Fall Antiques Show will be held from 6 to 10 PM at the Passenger Terminal Pier (Berths 1 and 2), West 48th Street and the Hudson River. Cocktails and an American style picnic will be catered by The Silver Palate, well known for its distinctive cuisine. Tickets for the festivities are available through the Museum at $75 per person. Produced by Sanford Smith & Associates and co-chaired by Cynthia Schaffner and Karen Schuster, this year's opening night benefit promises to be the best ever. Thursday, October 6â&#x20AC;&#x201D;Sunday, October 9 Not only has the Fall Antiques Show at the Pier won accolades as one of the country's most important antique shows, but it has claimed a name as a consistent and vital 60

innovator. It was the first to emphasize folk art in 1979 and the art and artifacts of the American Indian in 1981. This year's displays will include the architecturally inspired designs of the 1920s through the 1940s. Exhibiting American furniture, paintings and decorative accessories from the 17th to the 20th centuries, the Fall Antiques Show features ninety distinguished dealers from across the country. SPECIAL EVENTS On Thursday morning, October 6, a walking tour preview will be offered from 11 AM until noon, when the Show opens to the public. Conducted by the Benefit Committee of the Museum, the tour will highlight the booths and trends of this year's show. A $20 fee includes catalog, beverage and pastry, and admission to the Show. Each day at 2 PM an autographing session will be held: authors of The Knopf Collectors' Guides to American Antiques, including Dr. Robert Bishop, Director of the Museum, will be present to sign copies oftheir books. Charles Muller, Editor of Ohio Antiques Review, will also be on hand along with co-author, Timothy Rieman to autograph copies of their new book Shaker Chairs.

The American Folklife Center at the Library of Congress and the Museum of American Folk Art will hold a two-day meeting on folk art at the Library of Congress on December 5-6,1983. With special public relations and advisory assistance provided by the Museum, the Center has launched The Washington Meeting on Folk Art with a program designed to address topics of concern to the broad range of researchers and collectors associated with the study and presentation of folk art. The Washington Meeting on Folk Art will bring together a host of participants representing field and museum research, administrative and curatorial concerns and private entrepreneurial interests in order to examine contemporary work in the field of folk art, reflect upon the impact of recent activities, and identify developments which help to determine the future of folk art research, collection and presentation. The Board of Trustees of the American Folklife Center has long sought to acknowledge the role of folk art specialists in conserving a vital component of America's historical and contemporary heritage. With the special encouragement and help of Board member and art historian Janet Anderson,the Center began planning this project nearly a year ago. The cooperation between the Museum and the Center has provided a means for highlighting areas of mutual interest and dedication, and both institutions hope the conference will serve to encourage the preservation, presentation and study of folk art. The program is organized in four major sessions: Session One,Folk Art Today, willfocus on the breadth and depth ofthefield offolk art, examine changing definitions within the

Each of the four sessions will feature a panel of distinguished respondents representing the diverse concerns and perspectives which have been the hallmark of folk art research for decades. In addition to formal papers the conference will reserve time for in-depth discussions among participants and registrants. Further announcements will be forthcoming. For additional information contact Peter Bartis at the American Folklife Center, Library of Congress, Washington, D.C. 20540, or Nancy Dorer at the Museum of American Folk Art, 49 West 53rd Street, New York, NY 10019-212/581-2474.

The generous support of Shearson/ American Express in underwriting the expenses of the evening and the kind donations of the Seamen's Bank for Savings, Simi Sonoma Winery,Hennessy Cognac, Paramount Brands, Inc., Freizenet, U.S.A. and Clairol, Inc., were deeply appreciated. The evening was beautifully catered by The Silver Palate and the magnificent flowers were by ZeZe. Jerry Smith carved the elegant swan decoys which were clustered throughout and the Lisa Goodman Ensemble provided the music. The Estee Lauder Design Department, through Trustee Ira Howard Levy, created the award-winning invitations and helped design the dinner tables. Thanks to Ira, Jim Gager, Pat Schneider and Roberto Maramba at Estee Lauder for all their efforts. The painting by Kathy Jacobsen, "Spring Gala Auction," specially commissioned by the Museum's Board of Trustees, and one of the auction highlights, was reproduced on the catalog cover, as well as on postcards printed by Danbury Printing and Litho,and posters produced by Evelyn Farland of Poster Originals, Ltd. The Sotheby's staff, especially Nancy Druckman,Hilary Cushing and Bill Stahl all helped far beyond their normal workload and we are most grateful for their efforts. Thanks, also, to Mara Kurtz, who photographed the objects for the catalog and

the Culbro Corporation for providing organizational assistance fOr the entire Committee. Space limitations prevent the listing of the more than 200 donors whose generosity and quality of goods and services were key factors in making this evening such a triumph. And finally, the Museum wishes to express its indebtedness to all the Auttion Committee Members who individually and collectively contributed their time and energy: Auction Committee Members Corice Arman, Bruce Bordelon, Priscilla Brandt, Nancy Brown, Mario Buatta, Mary Buchan, Dianne Butt, Lily Cates, Katie Calligar, Pamela Conrad, Lorraine Cook, David Davies, Davida Deutsch, Marie DiManno, Susan Donahue, Mithua Douglas, Mary Elliot, Ellen Ente, Kathy Epstein, Barbara Evans, Susan Flamm, Marilyn Glass, Kaaren Parker Gray, Richard Griffin, Doris Goldstein, Irene Goodkind, Lillian Grossman, Lisa Haber, Heather Hamilton, Caroline Hohenrath, Jackie Helder, Joyce Hill, Barbara Johnson, Mimi Judson, Margery Kahn, Dotty Kauffman, Shelia Kotur, Hedi Kravis, Jo Carole Lauder, Wendy Lavitt, Nadine Levy, Barbi Lindsay, Lee Lippe, Joan Lowenthal, Frances Martinson, Nancy Mead, Anne Minich, Susan Moore, Judy Opatrny, Virginia Saladino, Charles Salamey, Myra Shaskan, Diane Solomon, Judson Spencer, David Stein, Cecelia Toth, Barbara Testa, Fran Urlick, Jane Walentas, Meryl Weiss, Julia Weissman, Virginia Williams, Franny Zilkha. /Jinx enyi :oloyd

field and attempt to discover emerging issues relating to the study offolk art. Session Two,Folk Art and Its Makers, will explore approaches to historical and contemporary makers offolk art, the communities within which traditional arts thrive and interpretations of personal and community aesthetics. Session Three, The Affects and Effects of Collecting, will review the impact of collecting and presenting folk art on both the maker of the art and the public. Special attention will befocused on the significant role played by museums, collectors and dealers in preserving and promoting folk arts;and the session will provide an opportunity to consider increasing public interest and subsequent commercialization offolkart-inspired items. Session Four, Contemporary Studies, will present a selection of noteworthy papers representing the broad range ofcurrent research onfolk art.

GALA SPRING AUCTION TRIUMPHANT The Museum's Gala Spring Auction, on April 14th, was the single most successful fund raising event in the twenty-one year history of the institution. Trustee Jana Klauer chaired the event and Suzanne Feldman, Phyllis Haders, Bonnie Strauss; Trustees Lucy Danziger, Susan Klein, Cynthia Schaffner and Karen Schuster were the Committee Chairwomen. Their dedicated work throughout the year was rewarded by a splendid evening which resulted in proceeds to the Museum in excess of $200,000.

(1. to r). New Museum trustee, Ted Kesselman, Executive Vice President ofBankers Trust, and member of the Museum's Development Committee, welcomes Congressman Bill Green to the Corporate Luncheon hosted by Bankers Trust, February 7. 61

Our Increased Membership Contributions September 1982-April 1983

"We wish to thank the following members for their increased membership contributions and for their expression of confidence in the Museum:"

David Abbott, London, England M. Acuff, Riverside, CT Allan Albert, New York, NY Lewis Allen, New York, NY Nancy S. Ames, New York, NY Mr.& Mrs. John Angelo, New York, NY Mr. & Mrs. George Arden, New York, NY Mr. & Mrs. Ronald Atkins, Bedford, NY

Raymond Babtkis, New York, NY Louis Bachman, New York, NY Mr. & Mrs. Darwin M. Bahm, New York, NY Richard M. Barancik, Barrington Hills, IL Mr.& Mrs. Frank Barsalona, New York, NY Robert & Jut,Bergner, New Rochelle, NY Mrs. Robert Bernhard, New York, NY Ruth Bigel, New York, NY M. J. Biscontini, Kingston, PA Bill Blass, New York, NY Mrs. Percy E. Boas, New York, NY B. & R. Boekemeir, New York, NY Mr. & Mrs. Edwin C. Braman, St. Paul, MN Edward J. Brown, New York, NY William Buckett, Rochester, NY

Nancy & Jim Clokey, Pleasant Valley, NY Oscar Colchamiro, New York, NY Mr. & Mrs. Michael Coleman, Provo, UT Mr. & Mrs. Arthur Cowen, Jr., New York, NY Mr. & Mrs. Daniel Cowin, New York, NY Mrs. G. W. Cox, Galveston,TX Mr. & Mrs. Edgar Cullman, Jr., New York, NY

Mr. & Mrs. Richard Danziger, New York, NY Mrs. Frederick M. Danziger, New York, NY John K. Davenport,S. Yarmouth, MA Hal & Glenda Davidson, Boulder, CO Sarah De Beaumont, London, England James S. De Silva, Jr., Rancho Sante Fe, CA E. M.Donahue Ltd., New York, NY Norma Dorfman, Bridgehampton, NY Dorothy Dubno, Long Island City, NY Charlotte Duffy, Los Atlos, CA

Mary Jaene Edmonds,Long Beach,CA

Jay Eisenberg, Westfield, NJ Sharon Eisenstat, Summit, NJ Mrs. Lester Eisner, New York, NY Ellin Ente, Westport, CT John L. Ernst, New York, NY

Jane & Archie Faircloth, Louisville, KY Burton & Helaine Fendelman, Scarsdale, NY Suzanne Feldman, New York, NY Mr. & Mrs. J. G. Fenimore, Madison, NJ Hon. & Mrs. Guy W. Fiske, McLean, VA Richard B. Flagg, Milwaukee, WI Edson L. Foster, Wilton, CT Mr. & Mrs. Bruce Fowle, New York, NY Jacqueline Fowler, Stamford, CT Mrs. Hyla Fox, Downsview, Ontario, Canada Mr. & Mrs. Norman Freedman, Mamaroneck, NY Dr. & Mrs. Joseph French, Staten Island, NY Mr.& Mrs. Herbert B. Fried, Glencoe, IL Howard K. Friedman, Morristown, NJ Mrs. K. Evan Friedman, New York, NY

Ms. Gregor A. Gamble, Topsham, ME Mr. & Mrs. Edwin Gamson, Beverly Hills, CA Alex Gerrard, Esq., E. Sussex, England Elias Getz, New York, NY Marilyn Gevirtz, Montecito, CA David Goldberg, Huntington Woods, MI Mr.& Mrs. Arthur Goldstone, New York, NY Ellin B. & Baron J. Gordon, Purchase, NY Diana Goudy, Gainesville, TX Mr. & Mrs. Michael Goyda,E. Petersburg, PA Howard Graff, Townshend, VT John P Guttenberg, Jr., Alexandria, VA

Mr. & Mrs. Charles Hagler, Ypsilanti, MI George Hammon, Georgetown, OH Paul M. Hawkins, Atlanta, GA Renee L. Hertz, New York, NY Colleen Cowles Heslip, Oberlin, OH Mr.& Mrs. Barry Hirsch, New York, NY Mr. & Mrs. John C. Horvitz, New York, NY Michael Howard, Brooklyn, NY Mr.& Mrs. David Howe,New York, NY Mrs. Phillip Howlett, Greenwich, CT

Earl Jamison, Lahaska,PA Mr.& Mrs. Victor Johnson, Meadowbrook,PA

Mr.& Mrs. Gerald M. Kanne,St. Paul, MN Mrs. Theodore Kapnek, Elkins Park, PA Dr. & Mrs. Arthur B. Kern, Providence, RI Mr. & Mrs. Jerome Kern, New York, NY Theodore & Shirley Kesselman, Holliswood, NY

William Ketchum, New York, NY Jonathan King, Ridgewood, NJ E. Suzanne Klein, Albany, CA Albert Koren, New York, NY Mr. & Mrs. E. P Krulewitch, New York, NY Sibyll Kummer,Zurich, Switzerland

Mr.& Mrs. William Lassleben, Whittier, CA Mr. & Mrs. John Levin, New York, NY Peter A. Levy, New York, NY Mr.& Mrs. Kenneth Lewis, New York, NY Mrs. Grant Lewis, New York, NY Mrs. Richard M. Livingston, Scarsdale, NY Patricia C. Locke, Brooklyn, NY

Mrs. Patti MacLeod, Santa Monica, CA Mrs. Arthur Magill, Greenville, SC N. J. Maynard, London, Ontario, Canada Stephen Mazoh, New York, NY Nancy McElfresh, St. Paul, MN Barbara & Robert Meltzer, East Northport, NY George H. Meyer, Birmingham, MI James Meyer, Wyncote,PA

Mr. & Mrs. Robert E Nation, Elizabethrown, PA Mr. & Mrs. Robert Natkin, W. Redding, CT

Philip V. Oppenheimer, New York, NY

Nancy Picchi, S. Orange, NJ Anna Lou Plott, New York, NY Dr. & Mrs. R. L. Polak, Amsterdam, Holland Mr.& Mrs. Aaron S. Pope, Lake Worth, FL Mr. & Mrs. William Potter, New York, NY Helen R. Puntillo, Sands Point, NY

Elizabeth J. Rhodes, New York, NY Barbara Rogoff, New York, NY Jean R. Rorke, New Canaan, CT Joanna S. Rose, New York, NY Marjorie Rosenberg, Locust Valley, NY Richard H. Rovsek, Westport, CT

Israel Sack Inc., New York, NY Alexander Sacicton, Austin,TX Alice Sandler, New York, NY Coal Miner Jack Savitsky, Lansford,PA Robert & Ann Schumann, Mullica Hill, NJ Rev. & Mrs. Alfred Shands, Crestwood, KY Dr. Donald S. Shelley, Boyertown, PA Joanne & Frederick Siegmund, New York, NY Francisco E Sierra, New York, NY Dr. & Mrs. Robert Siffert, New York, NY

Our Increased Membership Contributions

Mrs. Linda Singer, Tenafly, NJ Jane Spitalny, Scarsdale, NY Paul Steck, Summit, NJ Katherine Steinberg, New York, NY Sheila Steinberg, New York, NY Dr. & Mrs. E. C. Sterling, Randolph, VT Carolyn E. Stewart, New York, NY Mr. & Mrs. Thomas, W. Strauss, New York, NY

Mr. & Mrs. Stanley Tananbaum, Harrison, NY Nicholas Tarrone, New York, NY Phyllis A. Tepper, Valley Stream, NY Maurice Thompson, Westport, CT Alexis G. Tibbs, Lexington, KY Judith R. Tishman, New York, NY Laura Torbet, New York, NY Arno Uhlhorn, Glen Ellyn, IL

Henry Van Ameringen, New York, NY Mr.& Mrs. Ilja Wachs, New York, NY Clune J. Walsh, Jr., Grosse Pt. Farms, MI Mr.& Mrs. Irwin Warren, New York, NY Robert Wehle, Jackson Heights, NY Dr. Lewis Wright, Richmond, VA Mr. & Mrs. John R. Young, Old Greenwich, CT Eugene & Nina Zagat, Jr., New York, NY

Our Growing Membership September 1982-April 1983

"The Museum Trustees and Staff extend a special welcome to these new members:"

Janice Abbott, Allendale, NJ Elizabeth G. Aberg, Dallas, TX Diane Ackley, New York, NY Jean Adelson, Washington, DC Mabel Alexander, New York, NY Theodore Alfond, Weston, MA Sandra Anderson, E. Longmeadow, MA Mr.& Mrs. Carlton R. Asher, Jr., New York, NY Dr. & Mrs. J. Burch Ault, Santa Fe, NM Nancy Axelrod, Woodcliff Lake, NJ Katherine B. Baer, Atlanta, GA Bradford C. Baker, Belfast, ME Morris Baker, Bloomfield Hills, MI Susan W. Baker, Colts Neck, NJ Ed Barlow, New York, NY Patricia N. Barnes, Evanston,IL Jackie Barrett, Asheville, NC

Ms. Lillian Bartok, New York, NY Mary Waters Bate, Essex Falls, NJ Katherine Beard, New York, NY Walter Beardshall, Brooklyn, NY Linda Beazley, Pottstown, PA Irving H. Becker, Rye, NY Carole Beckstein, New York, NY Barbara A. Beer, Ashland, OH J. Frederick Beineke, M.D., Litchfield, CT Elizabeth Berge, Staten Island, NY Mr. & Mrs. Arnold Bierman, New York, NY Carolyn Birnbaum, Corona Del Mar, CA Wanda Blanchard, Cedarhurst, NY Mrs. Eric Blecher, Cleveland Hts., OH Hilda Bluestone, Riverdale, NY Mary Boehn, New York, NY Robert E. Booth, Jr., M.D., Haddenfield, NJ Jeanne Bornstein, New York, NY Joan Bounds, Coral Gables, FL Doris M. Bowman, Alexandria, VA Caroline Brackenridge, New York, NY Marilyn & Milton Brechner, Sands Point, NY Susan M. Brennan, Plantsville, CT Bob Brown, Alexandria, VA Dr. L. N. Brown,Tampa, FL Stephen C. Brown, Oak Brook,IL Dr. Harris Brustein, New York, NY George P Burak, M.D., Nevada City, CA Mrs. Ruth B. Burlingame, Boulder, CO

Jayne Callahan, Stamford, CT M. Kathryn Callahan, La Jolla, CA Catharine D. Galligar, New York, NY Mrs. Richard Candler, Wilmette, IL Susan Cane, New York, NY Mr. Joseph Capele, New York, NY Lin Cargo, W. Bloomfield, MI Sheila Carlisle, Brooklyn, NY Blanche E. Came,Catskill, NY Ann Marie Carr, Newport News, VA Sandy & Jeffrey Ceppos, New York, NY Mrs. Robert Chabot, Cincinnati, OH James E. Challenger, Winnetka, IL Mrs. Bonnie Chalmers, Houston, TX Mary L. Chaplain, Maplewood, NJ Kerry Chick, Australia Elisabeth Clardy, Arlington, VA Michael B. Colglazier, Baltimore, MD Didi Conn, Sherman Oaks,CA Barbara Cotter, Long Beach, CA Lewis & Dorothy Cullman, New York, NY

John M. Darby, Longview, TX Mr.& Mrs. C. Edward Dasch, Wyckoff, NJ Mrs. Donald L. Davis, Friendship,IN Evelyn De Angelis, Melville, NY John M. DeCristofaro, Southampton, NY Richard DeVerter, Bird-In-Hand, PA

Our Growing Membership

Ms. Marjorie S. Deane, New York, NY Elsie & George Dentes, Brooklyn, NY John Dobricky, Washington, DC E. M. Donahue Ltd., New York, NY Ann-Marie Donovan, Framingham, MA Tom Dowling, APO New York, NY Joan Driscoll, New York, NY Ms. Mimi Dubin, New York, NY R. A. Dubin, New York, NY Ms. Sylvia Dudock, New York, NY Jane C. Duncan, Philadelphia, PA Norine Dunham, Hemet,CA Louise C. Dunlap, Washington, DC Margaret Durland, Greenwich, CT

Diane Easdon, New York, NY Mr.& Mrs. Henry Eckert, Westfield,IN Mrs. R. C. Elder, Annandale, VA K. Elghanayan, New York, NY Donna Elsberry, Tampa, FL Charlotte M. Emans, New York, NY G. Robert Emig, Reading, PA Stanley Englander, Racine, WI Rita Ertel, Cedarhurst, NY Eric Etheridge, New York, NY Nora Etheridge, Jackson, MS

Mr.& Mrs. Stephen Fenster, Oradell, NJ Mr. & Mrs. Richard Fields, New York, NY Mrs. Edith Fischer, Beverly Hills, CA Nathaniel Floyd, New York, NY Mrs. Rosemarie Rum,Potamac, MD Mr. & Mrs. Robert C. Foster, Cos Cob, CT Nancy Jo Fox, New York, NY Dr. & Mrs. Joseph French, Staten Island, NY Harriet E. From, Staten Island, NY Catherine N. Fuerst, Royal Oak, MI John Fusto, Lebanon, TN

Pie Galinat, New York, NY The Gallery of Folk Art, Marblehead, MA Mrs. Arnold Gallo, Manhasset, NY Mr. & Mrs. Edward Gardner, Larchmont, NY Mrs. John D. Gehrett, Franklin Lakes, NJ Dr. & Mrs. Gilbert, Jr., Ft. Lauderdale, FL Marcela T. Ginitewicz, Port Chester, NY Paul Glasgow, Woodmere, NY Mrs. Joy Goldman, Teaneck, NJ Gail Dane Gomberg, New York, NY Beatrice Goodman, Scarsdale, NY Linda L. Goodyear, Darien, CT Graham Gray, Houston, TX Susan Casserly Griffin, New York, NY

Mrs. Connie Haenggi, Houston, TX Allan Halpern, New York, NY Joyce Halpern, New York, NY 64

Mrs. Herbert Halpert, St. John's NE Canada Susan Hanna, Kirtland, OH Bonnie Hanson, Colts Neck, NJ Dr. Sandra Sellers Hanson, Brooklyn, NY Mrs. Nina Harding, Antrim, NH Marianne Harrison, New York, NY Mr. & Mrs. W. R. Hartman, Morristown, NJ Suzanne M. Hatch, W. Stockbridge, MA Anne Heaphy, Holland, MI Jackie Helder, New York, NY Judy Helterman, Gaithersbury, MD Janet Duncan HeIvey, Huntington Beach, CA Nancy Hemenway, Brookline, MA Mr. & Mrs. Dale Henriksen, Massapequa Park, NY Mary M. K. Hem,Jackson Hts., NY Nancy Sullivan Herrman, Sayville, NY Christine Hess, Short Hills, NY Irene K. Hoffman, Erie, PA Kathleen N. Hoffman, Okemos, MI James E. Hofmeister, Buffalo, NY Barbara Anne Holton, Charleston, SC Helen Honig, New York, NY Mrs. Richard Hoolaw, Oyster Bay, NY Eliot Hubbard, New York, NY Mrs. Paul Hubbard, Rumson,NJ Mrs. E W. Hubby, Niantic, CT N. K. Hutchinson, E. Thetford, VT

P Robert Kriendler, New York, NY Dr. & Mrs. Kulhman, New York, NY Susan Ely Kunzelmann, Fayetteville, NY Gretchen Kuyk,Chatham, NJ

Nancy lacomini, Arlington, VA

Mr. & Mrs. E. H. Macaulay, New York, NY Ruth McDonald, Pleasantville, NY Mrs. John Mack, Madison, WI Mardelle Madsen, Minneapolis, MN Margaret 0. Mahoney, Del Mar,CA John G. Maiden, Australia Bruce Maine, Bethel, CT Kathy Mandato, E. Norwalk, CT Edna Manning, Westport, CT Elisabeth Mansfield, New York, NY Mary Rosa Manzella, Kenmore, NY Norman 0. Mason, Westport, CT Thomas James Masterson, Trumbull, CT Lois Maturs, Louisville, KY Katherine McAndrews, Boalsburg, PA Bonnie McCable, Miami, FL Mr. & Mrs. Robert McCormick, Madison, NJ Jean McGinnis, Gates Mills, OH The Mclndoes, Ridgewood, NJ Jean McIntosh, Omaha, NE Neil & Nan McKay, Houston,TX McKissick Museums, Columbia, SC Mr. Amos Melamede, New York, NY Mr. & Mrs. Judd S. Meltzer, New York, NY Nancy Merrit, Glendale, CA Marilyn Mesh, Gainesville, FL Albert S. Messina, New York, NY Laurel & Herbert Messite, New York, NY Dr. & Mrs. John R. Metzen, E. Aurora, NY Pamela Miles, Anchorage, KY Donna & Harry Miller, E. Greenbush, NY

David Jaffee, Cambridge, MA Leigh R. Jones, Kingston, NY Mary Harrison Jones, Sacto, CA

Mrs. Jean Kaene, Middletown, NY Gloria Karp, Riverdale, NY Mrs. Grace Kasano, Syosset, NY Byron R. Kelley, Mechanicsville, PA Mrs. John C. Kenefick, Omaha, NE Mrs. Mary L. Kerry, New York, NY Jennifer W. Ketay, Boca Raton, FL Jacqueline Key, Greenwich, CT Isabella Kimelman, New York, NY Cynthia Kimmel, Grand Ledge, MI Scottie King, New York, NY Kittredge, Brimfield, MA Dorothy Sweeney Kleinlcnecht, Saddle River, NJ Anne S. Klemmer, Chappauqua, NY Marcella Klep, New York, NY Verena Kinser, West Germany Mrs. Dorothy Knapp, W. Nyack, NY Roni Kohen-Lemle, New York, NY Mrs. Anthony Kolleth, Frankenmuth, MI Barbara Koppel, New York, NY Dr. Shelley B. Kramer, San Diego, CA Mr.& Mrs. Peter Kriendler, New York, NY

Alla V. LaGrave, San Francisco, CA Linda LaPlaca, Hoboken, NJ Margaret N. LaGrotteria, Glencoe,IL Anton Langdon, New York, NY Laurel M. Lannen, Chicago, IL Robert Larribeau, Jr., Short Hills, NJ Dr. & Mrs. Lloyd Lateiner, Greenwich, CT C. Lawrence-Whitman, Baltimore, MD Nancy LeboIt, Highland Park, IL Audrey Lentz, Meitland, PL Mrs. Elaine Lesch, Des Moines,IA Barbara Levin, Pt. Washington, NY Jack M. Levin, Chicago, IL Raquel R. Levin, New York, NY Rhoda Levine, New York, NY W Lieberfaris, New York, NY Nancy Lindbloom, Poughkeepsie, NY Lee Lippe, New York, NY Mary Jo Lorenz, Newport Beach,CA Warren C. Lowe, Shreveport, LA Mrs. Joan Lowenthal, Rye, NY Dr. & Mrs. Milton Lowenthal, Yonkers, NY

Hisami Miller, New York, NY Mrs. Jean Miller, Charlestown, WV Sharon A. Miller, Riverside, CT Suzanne L. Miller, New Canaan, CT Jeffrey Millstern, Brooklyn, NY Mrs. David Milton, Houston,TX Dr. A. V Mincolla, Binghamton, NY Dr. & Mrs. Ward Allen Minge, Corrales, NM Norma L. Mitchell, Shaunee Mission, KS Marcia Ann Moore, Malibu, CA Randall & Shari Morris, New York, NY

Emmy Nash, New York, NY Diesner Whittemore Neely & Family, Stowe, VT Harold I. Nemuth, Md., Richmond, VA New Orleans Museum of Art, New Orleans, LA Diana Nichols, Los Angeles, CA William B. Nicholson, Short Hills, NJ Francx Nicole, Jamaica, NY Nightingale-Bambord School Library, New York, NY Astrid Becerra Nissley, Middle Village, NY Mrs. Richard W. Nobman,Oyster Bay, NY Joan Norman, Roslyn, NY

Marilyn O'Neill, New York, NY Lucille E. Ogle, New York, NY Mrs. H. Oppenheimer, South Africa Mrs. Yvonne Oppliger, Tucson, AZ Susan Orr, Carson City, NV Otis Art Institute Library, Los Angeles, CA

Laura Palmer, New York, NY Roxane M. Pandya, Westbury, NY Arlene Pannullo, Essex Fells, NJ Edward A. Parker IV, Hyannis, MA Mrs. Joe Peckham, Topeka, KS Mrs. Michael Penniman, New York, NY Mrs. Jeannine Perry, Larchmont, NY Mr. Milton Petrie, New York, NY Carolyn Petrus, State College, PA Rosine Pezzello, New York, NY Nancy D. Pluckhan, Dunwoody,GA Adrienne M. Potter, Hummelstown, PA L. Power & G. Rainey, Overland Park, KS Adrienne Pregno, Briarcliff Manor, NY Laura Preston, Wilmette, IL D. A. Price, Montreal, Canada

Linda Randall, Orange Park, FL Stephanie Rank, New York, NY Joe Ransohoff, New Haven,CT Mrs. Cheryl Raskas, Cherry Hill, NJ Emalou Rausen, Hewlett, NY Ginerva C. Reed, Eugene, OR Jack Reeves, Jr., Southampton, NY

Douglas Reinold, New York, NY Armin & Penny Rembe, Albuquerque, NM Mrs. R. Reunart, South Africa Carol Reynolds, Seattle, WA Mrs. Pete H. Rhymes, Houma,LA Norma Rinschler, Locust Valley, NY Scott D. Riviere, Washington, DC Jean Ries Robinson, Roswell, NM Mrs. Judith Rothchild, Northbrook,IL Mr. A. Rothstein, Travilah, MD Cynthia Rowley, Stonington, CT Elaine Rush, New York, NY Peter Russel, New York, NY

Susan Sabert, Floral Park, NY Judith Sagan, Westbury, NY Ms. Mollie Saltzman, New York, NY Anne Samstad, Leucadia, CA Leland D. Schaperkotter, Columbia, MO Sandra Schaps, Niles, IL Anne P Schelling, Charlotte, NC George Schoellkopf, New York, NY Merryellen Schultz, Omaha, NE Suzanne C. Selby, Essex Jct, VT Shelley Seldin-Bautista, Dover, DE Christopher Selser, New York, NY Noriko Sena, Maplewood, NJ Rev. & Mrs. Alfred R. Shands III, Lousiville, KY Barbara K. Shatter, Gates Mills, OH Audrae Shy, Medina, OH Mary Silbert, Ridgewood, NJ Beatrice Silverstone, Hopewell Jet, NY Roy Simmons, Fayetteville, NY Joan Simon, Pittsburgh, PA Anne Simpkinson, Chevy Chase, MD Ronald D. Sines, Ft. Lauderdale, FL Suzanne Single, Rochester, MN Alma Slade, Bridgeport, CT Anne & Andrew Smith, New York, NY Mrs. Ann B. Smith, Pittsford, VT Cathy Smith, Severna Park, MD Walter E. Smith, Augusta, GA Stephanie Snyder, Los Angeles, CA Mrs. Paul Sonnabend, Weston, MA Stacy D. Steele, New York, NY Roslyn Steinberg, New York, NY Marianne Stevens, Lexington, KY Michael L. Stevenson, Wheeling, IL Mrs. Lotta Stewart, Freeport, NY Mrs. Paul J. Stewart, Cincinnati, OH Hume R. Steyer, New York, NY Linda Stone, New York, NY Judith Stonehill, New York, NY Mr. & Mrs. N.P Stookey, Blue Hill Falls, ME Susan & Jim Strahom, Menlo Park, CA Frances A. &Teich, Old Greenwich, CT Mr.& Mrs. Lawrence Strickling, Chicago, IL Carol Strober, New York, NY Debbie Strongin, New York, NY

W. K. Synunes, Houston,TX Ruth S. Szalasny, Eden, NY

Robert N. Tanenbaum, New York, NY Gaylord Tate, Sycamore, IL Angela Taylor, New York, NY Dr. J. Caine Taylor, Nashville, TN Judy Templin, Dallas, TX Barbara Tenan, Los Angeles, CA Karen Lee Tenenbaum, Beverly Hills, CA Shirley M. Tenhover, Cincinnati, OH Tesords, Colorado Springs, CO David W. Thomas, Fairfield, PA Nancy Thomas, Yorktown, VA John & Helen Thompson, Lexington, KY Mrs. Joan Timbeas, New York, NY M. Elizabeth Titcomb, Virginia Beach, VA Mrs. Kendall S. Tomlinson, Lebabon, PA Eric Torgersen, Shepherd, MI E. Jane Townsend, Newburgh, NY Kathleen Treacy, Cedahurst, NY Kathleen H. Tripp, New York, NY Barbara Turner, New York, NY

Heather J. Urquhart, Alameda,CA

Mrs. A. E Van Winkle, Bethleham, CT Vivell-Kirk, New York, NY JeanneMarie Volk-McGowan,South Salem, NY

Denise Wachter, Phoenix, AZ Donna Wagner, Greenwood, MO Virginia Waldera, Golden, CO Mrs. Richard Ward, Lafayette, CA Carl E. Watt, Stratford, CT Mrs. Heather Waugh, Australia William Woys Weaver, Paoli, PA S. Webster, New York, NY Mrs. Jerome L. Weinberger, Cambridge, MA Rev. Frederick S. Weiser, New Oxford,PA Earl B. Whitcraft, Hopewell, NJ Whitney Museum of American Art, New York, NY Catherine Williams, Toronto, Canada Mary V. Williams, New York, NY Mr.& Mrs. R. N. Williams, New Canaan, CT Win Ann Winkler, New York, NY Lynn Worth, Westport, CT

Sharon Yenter, Seattle, WA

Helen Zaleski, Wilkes-Barre, PA Carole Zicklin, New York, NY Don Zornow, Bridgehampton, NY Sheila Zuhusky, Wantaugh, NY 65

It's in Your Hands

Marketplace for

Americana

All you need to start receiving Maine Antique Digest

every month is your telephone and your credit card. Call DATPTE 1-800-341-1522 In Maine call collect 236-2896. Weekdays 8 a.m. to 9 p.m. EST, Fridays till 5 p.m. 1011•0411.004=v041•0.1•41.1=01

One year - $23 Two years - $40 Add $5 per year for outside U.S. address.

We'llfoot the billfor the phone call. Maine Antique Digest Box 358 • Waldoboro, Maine 04572 66

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ROOSEVELT ROUGHRIDER

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Weathervane wooden directional in wonderful mustard paint on wrought iron rod inserted into original bulbus wooden roof mount. We found this treasure in Maine. 93 inches high overall. Provenance available to purchaser.

CANDLEWICK ANTIQUES czu Main Street Rte. 13 Mont Vernon, New Hampshire 03057 Telephone: 603-673-1941 Hours: Monday thru Friday, by chance or appnt. Saturday & Sunday 11(0 5

MILES B.CARPENTER

In 1971 a young sculptor discovered Miles B. Carpenter working at his ice house. Loaded on the back of his truck, parked next to his roadside ice business, was a breathtaking group of trade sign figures. This chance meeting soon led to the first exhibition of his art. Simply because the critic of his show suggested that his life story would make interesting reading, Miles secretly put pen to paper. In a few weeks time he produced Cutting The Mustard, the story of his life, times, and how and why he makes his art. A text of this nature is very rare indeed. Often books show us images of art or discuss art from the perspective of the critic. Miles' book provides a visual and written insight into the mak-

ing of his art. Further enhancing his story are one-hundred and forty photographs taken between 1895 and the present. Herbert W. Hemphill, Jr., Lester Van Winkle and Jeffrey Camp have also written introductions. Cutting The Mustard is a large format book, with eighty pages and lengthy text priced at $13.50 plus $1.50 postage and handling. There are also 600 signed and numbered copies (from the total of 5000 copies printed) for $25.00 each, inclusive of tax and postage. Please address book orders and inquiries for sculpture to: American Folk Art Company 310 Duke Street Tappahannock, Virginia 22560

THE CHEEVER CHILDREN by Edward Savage, Circa 1795. Fine art reproduction 28" x 22" only $20.00 shipped prepaid.

HEDGEROW HOUSE Publishers of quality fine art prints. Offering the finest collection of American folk art reproductions available today. For a free color brochure write to: HEDGEROW HOUSE,230 FIFTH AVE., NEW YORK, NY 10001 (212)679-2532 We welcome inquiries from museums, private collectors and owners of American folk art paintings.

Artist: Dave Marshall. Medium: Carved stream rocks. 3/ 1 2"x 8" tall (chin to crown).

The Ames Gallery features the work of contemporary California artists and American folk art & artifacts. Concurrent with the changing exhibits, our extensive collection of tramp art, cookware, quilts, contemporary folk painting, and sculpture are always on view. For current exhibit information, hours, or for an appointment, phone us or write to: Ames Gallery 2661 Cedar Street Berkeley, CA 94708 415 845-4949

AMES•GALLERY

TRUST YOUR Americana TO THE AMERICAN AUCTION HOUSE! In November of 1977, William Doyle Galleries offered its first Americana sale and it totaled $219,000. Five years later, in April of 1983, the Americana sales brought just short of a million dollars. In fact, in the last year, more than three million dollars worth of Americana has passed through our galleries. In ten years of business, William Doyle Galleries has become the largest and most successful American-owned auction house in the United States. As we've grown,so has the quality of our sales. However, world record prices have not changed our personal approach in dealing with our clients. We are presently accepting property for our major November Americana sales. William Doyle Galleries invites you to contact: Leigh Keno,American Furniture and Decorative Arts,Joseph P Keiffer, American Paintings and Glenn Martin, Decoys,for a personal consultation.(212)427-2730. This 18th-century portrait by Peter Vanderlyn of"A Young Lady of the Van Rensselaer Family" hung on the wall of a New York City apartment undetected as an important heirloom.Joseph K.eiffer, William Doyle Galleries' painting expert, researched the painting and in the April 1983 Americana sale museums,dealers and private collectors bid it up to a world record price of $126,500.

The Largest American Owned Auction House 175 East 87th Street • New York, New York 10028 • Telephone(212)427-2730 70

Admission: $2.00

ghe 째Teich/dela/.994. will feature the work of master craftsmen, each skilled in the individualized hand production of only the finest traditional Americana.

This exhibition and sale will be held on Saturday, October 22nd, 1983, from 10:00 a.m. to 5:00 p.m. in the Litchfield Inn, Litchfield, Connecticut. The Inn is located on Rt. 202, 1-3/4 miles west of Litchfield center.

TRADITIONAL CRAFTS AND FOLK ART

AMERICANA

Large scale opticians trade sign with exceptional painted surface. c.1900 length 49 inches

AMERICAN PRIMITIVE GALLERY Aarne Anton (212) 239-1345 Mon.-Fri. 10 a.m.-5:30 p.m. or by appt. 242 West 30th St., N.Y., N.Y. 10001

(allfus amencan-1) filkart gmemmi"NO bettie mintz

1 2x "Borders to a Square' Pennsylvania, 1850-1875, cotton, 73/ 72

p.o. box 5943 bethesda, maryland 20814 near Washington, D.C. 301-652-4626

Janet Munro

A Winter Day

JAY JOHNSON America's Folk Heritage Gallery

oil on canvas, 22" x 48"

1044 Madison Avenue, New York, N.Y. 10021 Tuesday thru Saturday 12 p.m. to6 p.m. (212)628-7280

Putumayo Folk Art Gallery 19th and 20th century European and American naive painting and folk sculpture. Masks, puppets, santos, antique textiles and ceramics from Europe, South America, Asia and the United States. Tuesday - Saturday, 12 p.m.- 6 p.m. Putumayo Folk Art Gallery 857 Lexington Ave., 2nd Fl. New York, NY 10021 Tel.(212)734-3111

U gene reed

country antiques contemporary folk art

am anxious to hear from different sources. 75 SOUTH BROADWAY NYACK, NEW YORK 10960 (914) 358-3750

19th and c) 0 20th Century American Folk Art Books and Catalogues

In Colonial America, the quaint figures of applique quilts were produced by metal stencils, forged by the local blacksmith, and hung on the wall when not in use.

EARLY AMERICAN QUILT STENCILS

Send for our special Folk Art list, $5. refundable with first purchase.

Olana CallerY

Drawer 9, Dept C, Brewster, New York 10509 By Appointment Only Telephone (914)279-8077

For modern day quilt-makers and collectors, we offer eleven high quality metal stencils, which can be used as decorative wall-hangings, or silhouetted against a bright window. COME QUILT WITH ME,INC. P.O. BOX 1063-C BROOKLYN, N.Y. 11202 (212) 377-3652 Send for complete catalog of quilters supplies, $1.50.

CAROUSEL FIGURE GALLOPING HORSE

carved and painted pine New York State, ca. 1860 2 inches high / 561

R.H. LOVE

FOLK MIT GALLIUM( 100 E. Ohio St. Chicago IL 60611 312/664-9620

Folk Art Nouveau An extremely rare hooked rug found in Pennsylvania, 19th Century. 1 2". 52" x 32/ Tan ground with shades of green, red, blue, yellow and lavender.

GREENLEAF ANTIQUES Jane R. Pollock Darien, Connecticut 06820

By appointment only

(203)655-2744 75

David A.Schorsch P.O. Box 413 South Salem,N.Y. 10590 Telephone: 914-234-9556 By appointment only

Molded copper and cast zinc "Index" horse weathervane. Stamped: Made 1 2 inches. by J. Howard & Co., West Bridgewater, Mass. Circa 1855, Length 26/

Corey Daniels

R.F.D. 2, BOX 3 77 it WELLS, MAINE

04090

By Appointment Only (207)646 - 53o1 76

CHARLES L. FLINT ANTIQUES, INC. Box 971 81 Church St. Lenox, Massachusetts 01240 413/637-1634 or 413/243-9835

This piece exemplifies the Shakers' belief that their furniture should be pleasing to the eye, utilitarian and undistracting to the creative mind.

A CONSUMMATE Shaker workcounter (possibly used in the kitchen), from Enfield, Connecticut, circa 1820-30. Size: 10 feet 10 inches long, 27 inches deep, 331 / 2 inches high. It is freestanding and in red paint with a scrub top. Provenance available upon request. We could find only two other examples of this caliber. One is in THE MAGAZINE ANTIQUES, July 1966, page 84, from the Charles and Helen Upton collection. The other is in RELIGION IN WOOD by Edward and Faith Andrews, page 90, and is part of the Andrews collection.

SCHIMMEL ROOSTER An outstanding Rooster by Wilheim Schimmel (1817 - 1890). Purchased in Charlisle, Pa. where Schimmel worked. Superb paint and quality. The largest of the known Roosters,9" tall. Provenance available. See: Treasures ofAmerican Folk Art, p. 60,for similar Rooster owned by Museum ofAmerican Folk Art. Exhibiting at the Fall Antique Show at the Pier.

Stephen & Carol Huber, Inc. 82 Plants Dam Road, East Lyme, CT 06333 (203) 739-0772 and needlework. furniture Specializing in fine quality American

Wind Spirit Farm

Cake Manaigo Cate's work most recently has been on view at the White House as part of the American Artist's Exhibit, and is now on permanent display at the Smithsonian Institute. Her graphic recollections of an era of innocence are captured in vivid detail and vibrant colors. The warmth of Cate's primitive paintings celebrate the joy and spirit of America's heritage. A brochure describing available originals and limited edition prints obtainable upon request.

12" x 16"

950 S/N

C.Q. Ltd. Dept. F, 21 Ridge St., Glens Falls, NY 12801 Telephone (518) 793-5610

HANDAINDS 37 Maple St. Summit, N.J. 07901 (201)273-0707

FINE COUNTRY CRAFTS • Antique Quilts • Redware • Decoys • Baskets • Handwoven Rugs• Dolls

PROPRIETOR: PEGGY McNAMARA CALL OR WRITE FOR INFORMATION

it ... :A .4, \..^...I:a...A...Al Za. As •*4.

e are wife and husband individually Wdesigning and hooking our country experiences and naïveté into rugs.

COUNTRY CURTAINS®

The City Curtain

Country Curtains are a tradition ... years of oldfashioned quality and conscientious service. Country Curtains have lent their special warmth to American homes from Nantucket to Nob Hill. This elegant curtain was inspired by the stately houses on Boston's Beacon Hill. The pearly white or ecru antique satin fabric, a silky rayon/ acetate blend by Waverly, is 4" / edged with an exquisite 21 tassel fringe. 90" wide per pair. Lengths of 54,$29 pr; 63" long, $32 pr; 72" long, $36 pr; 81" long, $38 pr; 90" long, $40 pr; 102" long, $45 pr. Tiebacks, $7 pr. Check, money order, Mastercard or Visa. Postage/ handling: under $100 add $3.50, over $100 add $4.50. Mass. res. add 5% tax. Free catalog. Phone: 413-243-1805. Satisfaction guaranteed.

COUNTRY CURTAINS Dept. 99A,Stockbridge, Mass.01262 Name Address City State

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ilART1-1%Offering heirloom holidag decor, these are our one of a kind Father Christmases. 21-x 21" - $250.00 Limited orders accepted until mid-October.

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The Aged Rain

BARBARA E. MILLS, MANAGER ROUTE 5

HARTLAND, VERMONT 05048

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The Bee Publishing Company Church Hill Road Newtown, CT 06470

Custom Made Stretchers for displaying Quilts 8( Hooked Rugs Rag Carpets sewn together for Area Rugs

Pie Galinat 230 w 10th St., n.y., n.y. 10014 (212) 741 - 3259

THE E.M.C. FRENCH

(GIoncord Mintiques Fairs New Hampshire Highway Hotel 1983 OCTOBER 16th NOVEMBER 20th DECEMBER 4th 1984 JANUARY 15th FEBRUARY 19th MARCH 18th APRIL 8th 8:00 a.m. to 3:00 p.m. Managed by S. K. FRENCH Box 62, Exeter, N. H.03833

THOMAS DALE LIETZAU ANTIQUES-FOLK ART 45 WEST 81st NEW YORK CITY 10024 BY APPOINTMENT 212-724-9683

ERWIN ROWLAND

QUILTS & COUNTERPANES Handmade American quilts crafted by Amish and Mennonite ladies in the finest tradition of patchwork, applique and handquilting. Quilts may also be custom ordered. Send $3 for full color booklet.

By mail or appointment Erwin Rowland 181 East 73rd Street New York, N.Y. 10021 212-249-1246

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sSILTELMANN GALLERIES

The Museum of American Folk Art and

2ntique Bout* invite you to make an important contribution to the Museum of American Folk Art America's Auction Specialists in fine rugs, textiles, tapestries, American Quilts and Coverlets. Mail or telephone inquiries welcomed.

523

East 73rd St. New York, N.Y. (212)628-1700

ciRt6fic Afice. 37-m CArf corfrais

While subscribing to Antique Monthly at a special, low members' rate. When you return the coupon below, MAFA will receive one-half of your subscription price as a donation in your name. Subscribe now! You save one-third off the regular single copy price and MAFA receives needed financial support for the upcoming season! Each month Antique Monthly, the nation's only fine antiques newspaper, will bring you the latest information you need to enjoy your antiques to the fullest. Take advantage of this fantastic opportunity to support the Museum of American Folk Art while enjoying a full year of Antique Monthly's comprehensive coverage of the international antiques scene—all for only $12!

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Yes, please enter my subscription to Antique Monthly at the low MAFA members' rate of $12 and donate $6 in my name to the Museum of American Folk Art. Name Address City State Zip CI New subscription CI Renewal CI Payment enclosed CI Bill me CI Charge CI Visa CI MasterCard El American Express Card number Exp. date Authorization Send this coupon with your check to: MAFA/Antique Monthly, P. 0. Drawer 2, Tuscaloosa, AL 35402.

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Inveterate collectors Incredible prices Published monthly except January in Worthington, Ohio

Let us send you a complimentary copy. Ohio Antique Review •P.O. Box 538• Worthington, Ohio 43085

Felicity Quilts and Patchwork

OLDE HOPE ANTIQUES Box 209, Rt. 202, New Hope, PA 18938 215 862-5055 Patrick Bell

Edwin HiId

A Painted & Decorated New England Yarn Windet; Early 19th c, Completely Original, Ht. 42"

Specializing in reproduction of museum quality quilts and family heirlooms. Contemporary folk art quilts and wall hangings.

Karen F. Berkenfeld 150 West 79 Street N.Y.C. 10024 (212) 799-3321

Exhibiting "Fall Antiques Show" October 6-9

The Museum is pleased to announce the opening of a second shop • 610 Fifth Avenue • Promenade Shop D • New York, NY 10020 •(212)247-5611 • Monday-Saturday 10:30-5:30

Nit'SR TN1( ANIERICliN

Rx.K.ARr Bcx mc AND (An'SHOP NEW YORK

golk Art Portraits Painting's done in 1800's costume. Submit 2 or 3 photos. One sombre please. Backgrounds may be plain, scenic, with pets, etc.

Arlene Strader 100 S. Montgomery St., Union, Ohio 45322 Phone (513) 836-6308 86

J.L. France, American impressionist, 3rd quarter ofthe 19th century, oil on canvas, Maine seascape, signed in lower left. Early Jackfield pitcher, circa 1730-1750, with original eggtempera chinoiserie decoration. Queen Anne brass candlestick, English, c. 1720, with scalloped bobeche. Queen Anne carved, tilt-top, mahogany candlestand, Boston, c. 1740-1760. Queen Anne Corner chair, c. 1720-1750, Rhode Island or Connecticut, maple. A nice example in original condition with fine early 19th century rosewood grain painting. Descended in the Leffingwell family.

Robert 0. Stuart Jo Joy Road, Limington, Maine 04049 207-793-2342/8533

WIGGINS BROTHERS - Itinerant Artists Fine Period Interiors - "The Best in the East" Box 420 Hale Road

Tilton, New Hampshire 03276 (603)286-3046 87

EPSTEIN/POWELL 22 Wooster St., New York,N.Y. 10013 By Appointment(212)226-7316

Victor Joseph Gatto 1890-1965 "New York Harbor", 1958 (oil on canvas,24x36)

Index to Advertisers 21 Patricia Adams 79 Aged Ram Industries 72 All of Us Americans 71 Americana Back Cover America Hurrah 68 American Folk Art Company 70 Ames Gallery 21 Marna Anderson 80 Antiques and the Arts Weekly 79 Center at Hartland Antiques 83 Antique Monthly 72 Aarne Anton 20 Bonner's Barn 23 Kenneth J. Butler 67 Candlewick Antiques 83 Betty Carrie 74 Come Quilt with Me 79 Country Curtains 12 Crane Gallery 78 C. Q. Ltd. 76 Corey Daniels 70 William Doyle Galleries 83 Edelmann Galleries Inc. 23 Leslie Eisenberg 88

16 E.M.D.L. Epstein/Powell 88 Ethnographic Arts Inc. 19 Inside Back Cover Fall Antiques Show 22 Suzanne Feldman Felicity 85 Charles Flint 77 81 S.K. French 81 Pie Galinat 22 Gasperi Folk Art Gallery Greenleaf Antiques 75 Phyllis Haders 20 Carl H. Hammer 6 Handmaids 78 Hedgerow House 69 Huntington T. Block 82 Carol & Stephen Huber 77 73 Jay Johnson Kelter-Malce 17 Kennedy Galleries 14 Thomas Dale Lietzau 81 Nathan Liverant & Son 2 R.H. Love Galleries 75 Made in America 3

66 Maine Antique Digest 13 Kenneth & Ida Manko 1 Steve Miller Museum of American Folk Art 86 Book & Gift Shop 84 Ohio Antiques Review 74 Olana Galleries 85 Olde Hope Antiques Putamayo Folk Art Gallery 73 74 Gene Reed Ricco-Johnson Gallery Inside Front Cover Erwin Roland/Quilts and Counterpanes 82 10 John Keith Russell 21 Schoolhouse Antiques 76 David Schorsch II Thomas G. Schwenke 7 Sotheby Parke Bernet 86 Arlene Strader 87 Robert O. Stuart 18 Yolanda Fine Arts 67 Whitely-Loy 87 Wiggins Brothers 4 Thomas K. Woodard

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1--fm fiti4 October 6-9,1983 zte-ct Passenger Terminal Pier West 48th Street at the Hudson River. Benefit Preview for the Museum of American Folk Art,October 5,1983-6-10 pm

Information:(212)581-2474 C; ,:i 1983 Sanford L. Smith

KATE AND JOEL KOPP

ERICA*HURRAH 766 MADISON AVENUE • NEW YORK, N.Y. 10021 • 212-535-1930

THE LARGEST AND FINEST COLLECTION OF ANTIQUE QUILTS IN AMERICA PLEASE VISIT US WHEN YOU ARE IN NEW YORK CITY OUR HOURS ARE TUESDAY-SATURDAY 11-6PM