The Clarion (Fall 1985)

THE CLARION AMERICA'S FOLK ART MAGAZINE The Museum of American Folk Art New York City FALL 1985

Photo by Schecter Lee

Baltimore album quilt top, signed and dated "Owen D. French May 5, 1847" & "Mary Orem 1847."

Note: Clipper Ship, Fountain of Life, Fountain of Health. 68"x70'. $5,900.

KELTER-MALCE A •N•T•I•Q•U•E•S 361 Bleecker Street / New York City 10014 212-989-6760 IN•GREENWICH•VILLAGE

We are always interested in purchasing exceptional quilts and textiles.

Exhibiting at the Pier Show, Oct. 24, 1985

STEVE MILLER • AMERICAN FOLK ART •

17 East 96th Street, New York, New York 10128.(212)348-5219

BY APPOINTMENT ONLY 1

American Folk Art

AMMI rnimps,rortrazt oJ Ruth Page Haynes(Palmer)ol Hoasick, New

York,circa 1818,oil on canvas,36 x 30 in.

Selections from the Collection of Peter Tillou, Litchfield, Connecticut Auction: Saturday, October 26 at 10:15 am.

For catalogues and information, please contact Nancy Druckman at(212)606-7225.

Sotheby's, 1334 York Avenue at 72nd Street, New York, N.Y. 10021.

SOTHEBY'S FOUNDED 1744

JUDI BOISSON Specializing in Antique American Quilts, Hooked & Rag Rugs,& American Folk Art

•

"Diagonal Bowties", Holmes County, Ohio,circa 1925,62 x 70 inches

New York City 10028 • 212-719-5188 • 212-734-5844 • By Appointment 28C Job's Lane • Southampton, NY 11968• 516-283-5466 Main Street • Westport • CT 06880

AMERICAN c_ANTIQUESG&QUILTS BLANCHE GREENSTEIN

TOM WOODARD

Cast iron horse Weathervane with sheet metal tail, in old mustard paint.

Mid-nineteenth century Length:36 inches.

WOODARD WEAVE Classic American Woven Rugs Catalog $5.CW71 We are always interested in purchasing exceptional quilts, collections or individual pieces.

Mail or telephone inquiries invited. Photos returned promptly.

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

THE CLA ION

ETM

Cover credit: Photograph by Solomon D. Butcher; Mike Sturm Farm, Kearney, Nebraska; 1905; Courtesy of Nebraska State Historical Society.

Hand tinting by Paula Hible.

FALL 1985

CONTENTS

by Milt Simpson

26

by John Davison

34

by Didi Barrett

39

by Jane E. Padwee

48

by Walter M. Ames and Dana W. Fiske

53

WINDMILL WEIGHTS Sculpture in the Midwestern Sky

The Clarion is published three times a year by the Museum of American Folk Art, 55 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 1985 Published and copyright 1985 by the Museum of American Folk Art. 55 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 not necessarily those of the Museum of American Folk Art. Unsolicited manuscripts or photographs should be accompanied by return postage. The Clarion assumes no responsiblity for the loss or damage of such materials.

Change of Address.

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

Advertising.

The Clarion accepts advertisements only from advertisers whose reputation is recognized in the trade, but despite the care with which the advertising department screens photographs and texts submitted by its advertisers, it cannot guarantee the unquestionable authenticity of objects 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.

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.

THE TREE OF LIFE

A TIME TO REAP Late Blooming Folk Artists

PAINTINGS FROM THE GARBISCH COLLECTION At The Sky Club

NOAH WEISS Pennsylvania Folk Whittler

Letter From the Director

17

Current Major Donors

20

Museum News

64

Membership

68

Index to Advertisers

72

5

MARTIN RAMIREZ in Philadelphia

Janet Fleisher GALLERY 211 South 17th Street PHILADELPHIA 1 9 1 0 3 215 窶｢ 545 窶｢ 7562

MASTERPIECES OF FOLK ART including: RAMIREZ TRAYLOR EDMONDSON HIRSH FIELD PIPPIN PICK ETT SEPTEMBER 710 SEPTEMBER 28 OPENING: SATURDAY SEPTEMBER 7, 1-5 PM

iiI111_1_11111111 -111111iin窶認1110 Deer crayon on paper 28 x 24" circa 1953

THE HEART OF CREATION:

SYMPOSIUM: The Heart of Creation: an examination of the art of Martin Ramirez within the context of

THE ART OF MARTIN RAMIREZ

isolate and mainstream contemporary art

SEPTEMBER 610 OCTOBER 18,1985 OPENING RECEPTION: FRIDAY SEPTEMBER 6,6-8 PM

PARTICIPANTS: Russell Bowman, Jonathan Feinberg,

GOLDIE PALEY GALLERY

Elka Spoerri

September 20,5-7 PM Moore College of Art Auditorium Michael Hall, Phyllis Kind, Steven A. Martin,

MOORE COLLEGE OF ART 20th and the Parkway Philadelphia, PA 19103 12151 568-4515

catalogue available: 48 pages, illustrated, color and black and white essays by: Russell Bowman, Steven A. Martin and Robert Smith

Four rare carved, painted and gessoed soldiers, Pennsylvania, circa 1785-1815.

To be sold in October,1985 at Christie's New York.

Christie's and American Folk Art Christie's sold an oil portrait of a girl in a red dress

by Ammi Phillips in January 1985 for $682,000 —a new world record for Folk Art. Our October 1985 sale will include several rare American folk portraits, an important 18th century New England bed rug, and other folk objects.

Whether you are considering buying or selling at auction, Christie's team of American Folk Art experts is ready to work for you. Christie's prides itself on personalized service for both the novice collector and the connoisseur.

Inquiries concerning the October 1985 sale or future consignments may be directed to Leigh Keno or Dean Failey, Jeanne Vibert and John Hays at 212/546-1182.

CHRISTIE'S 502 Park Avenue, New York, New York, 10022

7

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Casey ery ofin (- mationalfolk art Depot Plaza, Scarsdale, NY 10583,(914)723-4417 Tuesday through Saturday, 10:30-5:30 p.m.

8

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PHYLLIS HADERS (203)535-2585

By Appointment 152 Water Street, Stonington, Connecticut 06378

"Star Everlasting" Crib Quilt Pieced, cotton, Pennsylvania, circa 1890,41" x One crib quilt from my collection of fifty.

A NEW FIND IN AMERICAN FOLK ART

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

Shelly Zegart Fine quilts bought and sold Lectures Exhibits Appraisals 12-Z River Hill Road Louisville, KY 40207 (502) 897-7566 By appointment.

• For offices and corporate spaces • For city and country settings • For collecting

0.741 Exhibiting at the Fall Antiques Show at the Pier.

10

Quilts

REVEREND YOUNG loittft-cfre sniol;cr

30":;

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c titre Ltrtvtikj4 ),`Trt5yttitt*ttet, Tiro rv

I)Arre Ot. , tc crit lc C6c ,â&#x20AC;˘

watercolor on paper

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inscribed and dated,October 1850

2x 7 inches / 91

FRAKTUR BIRTH AND BAPTISMAL CERTIFICATE FOR MR. ALFRED STOBER Provenance: Abby Aldrich Rockefeller Folk Art Center Reverend Young was active in Centre County,Pennsylvania in the mid-nineteenth century.

As a painter offrakturs, he followed in the footsteps of Henry Young,who is believed to have been Reverend Young's father. Henry Young developed several compositions which he used repeatedly, one of which is typified by the piece illustrated above. Like his father, Reverend Young frequently exploited this now well-known format, executing works which were similar in composition while varying the inscription which indicated the particular occasion or person(s)to whom it was dedicated. The detail ofrepetition was extended not only to the objects or elements in the composition and their placement but even to the fabric designs and the types of flowers in the bouquet which the male figure holds. Today, Reverend Young is one of America's highly regarded folk artists ofa century gone by.

R.H.LOVE GALLERIES,INc. 100 EAST OHIO,CHICAGO,IL 312/664-9620

1)E-LVNE LEI4,5011

,IMERKL4111" POI ART

Pieced and aplique Blue polka dot stars and bars on finely quilted background.

Ohio, 19th century. 871 / 2"x 1933 Peachtree Road N E

Atlanta Georgia 30309 404 355-0106 Hours Mondav-Saturday 10a m -4 p m

Horace Pippin (1888-1946) Untitled c. 1946 16" x 20"

CAVIN-MORRIS GALLERY (ETHNOGRAPHIC ARTS INC)

55 Hudson Street New York, NY 10012 (212)334-9381 by appointment

ROBERT F NICHOLS Santa Fe Americana—Decorative Art—Indian Art

Sewer tile eagle Bufflehead decoy Zuni 01la water jar.

Exhibiting at the San Francisco Fall Antiques Show, Fort Mason Center, San Francisco, California, Oct. 31—Noy. 3 Los Angeles Antiques Show, Ambassador Hotel, Los Angeles, California, Nov. 8-10

652 Canyon Road (Across from the Compound Restaurant) Santa Fe, New Mexico 87501 (505)982-2145 Associate: John C. Newcomer, Route I, Box 35A, Keedysoille, Maryland

13

WILLIAM MATTHEW

PRIOR 1806 - 1873 oil on board 1 4 x 10 inches 13/ one of a pair in untouched condition (one signed verso Wm. M. Prior, 1843) retaining original veneered mahogany frames

WHISTLER GALLERY INC. P.0, Box 362, Basking Ridge, New Jersey 07920

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6

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CARL HAMMER GALLERY

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200 We,,i Iiiperior Sti(,H,( Hi( ,r,;(), Illinois 60610 14111k ....

1312)266-8512 Indian t Ivad with Dart Board on reverse side. Panned wood, ,01

14

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Appealing American portrait of a small boy with drum; probably New England, 19th century, 2" (sight).

1 pastel, 28½ "x 20/

SHEILA &EDWIN RIDEOUT Summer Street, Wiscasset, Maine 04578 12

(207)-882-6420

PAINTED ANGEL HEAD WITH WINGS - H 9" W16 1/2" D2" Exceptionally carved and polychrome painted. Cottonwood, 18th century, Southern States.

Ruth

Bigel

743 Madison Avenue, New York, N.Y. 10021 /Telephone: (212) 988-3116 Always a good selection of American country furniture, Canton, weathervanes and quilts.

Antiques

15

SHELDON PECK (1797-1868)

Portrait of two brothers, New York State, Circa 1830. Oil on poplar panel, 24 x 191 / 2 inches. Original frame.

Related to a pair of portraitâ&#x20AC;&#x201D;s in the Munson-Williams-Proctor Institute, Litica, N.Y., illustrated as figs. 24-25, i01The Flowering of American Folk Art. To our knowledge, this is the only known double portrait of children by Sheldon Peck.

We are interested in acquiring American folk art of this quality. CTCCiall orks by Sheldon Peck.

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

Letter from the Director Dr. Robert Bishop

Without question, Edgar William and Bernice Chrysler Garbisch were major forces in the development of appreciation for American folk art on the part of the American public. Their vast collection of extraordinary naive paintings provided the material for the creation of several exhibitions that toured nationally and internationally, and their substantial contributions to the permanent collections of many of America's most important national and regional museums established the criteria by which art historians and collectors could judge and evaluate American non-academic art.

I first met Colonel Garbisch nearly twenty years ago when, as a young man, I earned my living as a folk art dealer. As a visitor, one year, to the annual Winter Antiques Show at the Park Avenue Armory in New York, I stood by and watched him acquire two paintings by the remarkable New Hampshire artist, Dana Smith for $14,000 â&#x20AC;&#x201D; paintings that I had originally sold to another dealer weeks earlier for $285 each. The paintings were part ofa collection of Smith's work that I had acquired in Philadelphia on Germantown Avenue and subsequently sold to several dealers while exhibiting at the Philadelphia Antiques Show at the Sheraton Center. The paintings had obviously changed hands many times before they reached the dealer who sold them to the Garbisches, but the price was still staggering to me.

As the Garbisches were leaving the dealer's booth, I hesitantly identified myself and indicated that I still had paintings by Dana Smith which I had decided to keep for myself. I suggested that they might like to see them. This was the beginning of a business relationship that in time blossomed into a personal friendship as well.

The Garbisches were insatiable collectors and began to assemble their holdings in the days when a few hun-

dred dollars would buy virtually anything in the marketplace. I remember one time in particular, after having met the Garbisches, when I was visiting a small auction house in Greenwich Village to preview a collection of art from a forthcoming sale. I was astonished to discover an extraordinary lifesize portrait, Mrs. Ostrander and her Son, Titus by Ammi Phillips. I promptly called the Garbisches, who were on vacation in Florida, told them about the painting and suggested that they authorize me to acquire it for their collection. The Colonel asked me what I thought the hammer price might be. I indicated that somewhere between $800 and $1000 would bring the picture home. The Colonel barked in reply, "Phillips is not really that interesting as a painter. We have several examples in our collection, and I would never consider paying that kind of money for a picture by that artist': The painting was acquired by Alice Kaplan, a trustee of the Museum of American Folk Art, and remains today one of the unchallenged masterpieces of American naive art. Everyone who has ever dealt with a collector has a story to tell.

The Garbisches were, indeed, colorful collectors and the folklore of the folk art field abounds with the personal experiences of those whose paths crossed with these two remarkable individuals over the years.

There are countless unsung heroes in the history of the Garbisch Collection.

Dr. Donald Shelley, one-time curator, brought an important vision and perception to the field of folk art. He opened new vistas for the Garbisches, who never ceased to be intrigued by innovative ideas and developing scholarship. Thurston Thatcher, a "dealer's dealer" from the Hudson Valley provided the Garbisches with an extraordinary number of major works for their collection. His influence on the collection cannot be underestimated.

When I first became associated with the Museum of American Folk Art, there was an ongoing disagreement between the Museum and the Garbisches.

They were immensely unhappy about the Museum using the term "folk art" to describe itself and the field of art that was collected and exhibited. They preferred the term, "naive:' as opposed to either "folk" or "primitive': and all of the exhibitions that they organized or aided were titled to reflect this bias. In fact, the Colonel was so adamant about this terminology, that he declined to loan the Museum pieces for exhibitions, and when he and Mrs. Garbisch decided to give museums across the country miniature collections, the Museum of American Folk Art was not one of the institutions selected for this honor. Today, major collections from the Garbisches are at the National Gallery of Art, the Metropolitan Museum of Art, the Philadelphia Museum, and many others.

The Museum of American Folk Art will be hosting a special three-day symposium, from November 15 to November 17, 1985, dealing with the Garbisches and their many collecting interests. Museum directors, whose institutions have Garbisch holdings, will present illustrated lectures highlighting the pieces in their collections. Curators, writers and auction house personnel will also add their special knowledge about these two great American folk art collectors. A special feature of the seminar will be a private viewing of paintings from the original Garbisch collection at the Sky Club situated atop the Pan Am building in New York City. (See article on page 48.)

I hope that you will join us for this three-day event, one of the many that we at the Museum are developing to inform and enrich the folk art enthusiast and the world of American art as well.

17

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

Cast iron dog. circa 1880's height 18 inches IN ADDITION TO OUR GALLERY OF EARLY AMERICAN FOLK ART WE OFFER COMPLETE SERVICES IN THE DISPLAY AND MOUNTING OF FOLK AND PRIMITIVE SCULPTURE. BASES IN METAL, WOOD AND LUCITE ARE INDIVIDUALLY DESIGNED TO DISPLAY YOUR WORKS OF ART. SERVING DEALERS, COLLECTORS, AND MUSEUMS. WE SHIP NATIONWIDE. 18

Museum of American Folk Art

1 A American FolkArt Sidney Gecker 226 West 21st Street New York, N. Y 10011

(212)929-8769 Appointment suggested

Administration Dr. Robert Bishop, Director Gerard C. Wertkin, Assistant Director Charles Salamey, Controller Alexander Tosto, Accountant Lillian Grossman, Assistant to the Director Jeanne Bornstein, Administrative Assistant Richard Griffin, Clerk Jerry Torrens, Assistant Clerk

Collections & Exhibitions Elizabeth Warren, Curator Claire Hartman Schadler, Director ofExhibitions Francine Flynn, Registrar Mary Ann Demos, Associate Curator Joyce Hill, Consulting Research Curator Mary Black, Consulting Curator Joseph Minus, Gallery Assistant Howard Lanser and Joseph D'Agostino, Installations

Departments Anne Minich, Director ofDevelopment Didi Barrett, Director ofPublications Marie S. DiManno, Director ofMuseum Shops Nancy Darer, Curator ofEducation Susan Flamm, Director ofPublic Information Edith Wise, Librarian Daniel N. Pagano, Development Associate Karen Lanham, Membership Coordinator Nancy Mead, Museum Shops Coordinator Carleton Palmer, StaffPhotographer Norbert Wills, Security Head Charles Elliot, Guard Raymond Scott, Guard

Programs Dennis Duke, Director of The Great American Quilt Festival Irene Goodkind, Nancy Brown, Co-Chairwomen Friends Conunittee Dr. Marilynn Karp, Director, New York University Master's Program in Folk Art Studies Dr. Judith Reiter Weissman, New York University Program Coordinator Lucy Danziger, Susan Klein, Docent Program Consultants Kennetha Stewart, Exhibitions Previews Coordinator Sallie Nelson, Junior League Liaison Nancy Higgerson, Outreach Coordinator

The Clarion Joan G. Lowenthal, Editor Faye Eng, Anthony Yee, Art Directors Ira Howard Levy, Design Consultant Craftsmen Litho, Printers Ace Typographers, Typesetters

Museum Shop Staff Beth Stanley-Brown, Diane Browning, Sheila Carlisle, Elizabeth Cassidy, Rick Conant, Sharon Cortell, Camilla Crist, Anne DeCamp, Jean Dingman, Lucy Fagot, Irene Feuerstein, Lisa Haber, Roz Hochberg, Caroline Hohenrath, Claire Hulton, Elena Gordon, Annette Levande, Nancy Mayer, Sally O'Day, Pat Pancer, Marie Peluso, Rita Pollitt, Ellen Renck, Eleanor Seymour, Myra Shaskan, Claire Spiezio, Caroline Smith, Mary Wamsley, Doris Wolfson

Santos carving ofSan Jose: Taos, New Mexico.

Circa 1860-1870. Height, 16 inches.

19

Museum of American Folk Art BOARD OF TRUSTEES

Executive Committee Ralph Esmerian President Frances Sirota Martinson, Esq. Executive Vice President Lucy C. Danziger Vice President Karen S. Schuster Secretary George F. Shaskan, Jr. Treasurer Judith A. Jedlicka Margery G. Kahn Theodore L. Kesselman Susan Klein

Members Mabel H. Brandon Catherine G. Cahill Karen D. Cohen Barbara Johnson, Esq. Alice M. Kaplan Jana Klauer William I. Leffler Ira Howard Levy Cyril I. Nelson Cynthia V.A. Schaffner Kathryn Steinberg Bonnie Strauss

Maureen Taylor Helene von Danun-Guertler Robert N. Wilson Trustees Emeritus Mary Allis Adele Earnest Cordelia Hamilton Herbert W. Hemphill, Jr. Marian W Johnson Louis C. Jones Jean Lipman

NATIONAL ADVISORY COUNCIL Frances S. Martinson Chairman Mary Black Gray Boone David Davies Howard M. Graff

Lewis I. Haber Phyllis Haders Barbara Kaufman Anne Baxter Klee Robert Meltzer

George Meyer Paul Oppenheimer Alfred R. Shands, III Hume R. Steyer

DEVELOPMENT ADVISORY COMMITTEE Jeanne R. Kerr, Vice President, Corporate Contributions, Time Inc. Robert M. Meltzer, Chairman of the Board, Miami-Carey Corporation

Marian Z. Stern, Assistant Vice President, Community Programming, Chemical Bank

Dee Topol, Manager, ShearsonlLehman American Express Inc. Contributions Program

CURRENT MAJOR DONORS The Museum of American Folk Art thanks its current major donors for their generous support: Over $20,000 Mr. & Mrs. Frederick M. Danziger *Ethan Allen Inc. Mrs. Eva Feld Estate of Morris Feld Margery G. Kahn Foundation Krikor Foundation Tarex *General Mills Toy Group Institute of Museum Services *IBM Corporation Japan-United States Friendship Commission Mary Kettaneh

20

Jean and Howard Lipman Joseph Martinson Memorial Fund National Endowment for the Arts New York State Council on the Arts *Philip Morris Incorporated *Shearson/Lehman American Express Inc. *United Technologies Corporation Estate of Jeannette B. Virgin

$10,000—$19,999 Adele Earnest Margery & Harry Kahn Philanthropic Fund J.M. Kaplan Fund, Inc. Ira Howard Levy Frances Sirota Martinson, Esq. National Endowment for the Humanities New York Council for the Humanities Rockefeller Brothers Fund

Mr. & Mrs. George Shaskan Barbara and Thomas W Strauss Fund

$4,000—$9,999 Amicus Foundation *Bankers Trust Company Bernhill Fund *Campbell Soup Company *Chase Manhattan Bank, N.A. Mr. & Mrs. James D. Clokey, III Mr. & Mrs. Edgar M. Cullman *Federal Document Retrieval Colonel Alexander W Gentleman *International Paper Company Barbara Johnson, Esq. *Kallir, Philips, Ross, Inc. Mrs. Ruth Kapnek Mr. & Mrs. Robert Klein

CURRENT MAJOR DONORS

Larsen Fund, Inc. *Mobil Corporation *Seligman & Latz, Inc. Herbert and Nell Singer Foundation, Inc. Swedish Council of America *3M Company *Smith Barney, Harris Upham & Co., Inc. *Time Inc. Norman & Rosita Winston Foundation $2,000—$3,999 *Bristol-Myers Fund Catherine G. Cahill *Chemical Bank *Coach Leatherware Joseph F. Cullman 3rd *Exxon Corporation *Grace Foundation *Gulf+Western Foundation *E.E Hutton Foundation *Institutional Investor *Johnson & Johnson Family of Companies Patricia & Richard Locke *Manufacturers Hanover Trust *Marsh & McLennan Companies Christopher & Linda Mayer Helen R. & Harold C. Mayer Foundation *Metropolitan Life Foundation *Morgan Guaranty Trust Company of New York *Morgan Stanley & Co., Incorporated *New York Telephone Company *Ortho Pharmaceutical Corporation *The Rockefeller Group, Inc. Robert T. & Cynthia V. Schaffner *Schlumberger Foundation, Inc. Mrs. Richard T Taylor *Warner Communications Inc. William Wiltshire III Robert N. Wilson *Xerox Corporation $1,000—$1,999 *American Stock Exchange *American Broadcasting Companies, Inc. Anonymous *Arthur Anderson & Co. Babtkis Foundation *The Bank of New York *Bill Blass, Ltd. *Bloomingdale's *Boll & Jacobs *Bunge Corporation *Chesebrough-Pond's Inc. *Citibank, N.A. Mr. & Mrs. Peter Cohen *Con Edison The Joyce & Daniel Cowin Foundation Inc. *Culbro Corporation *Daily News John K. Davenport *Echo Scarfs Mr. & Mrs. Walter B. Ford II

*General Foods Corporation Emanuel Gerard Justus Heijmans Foundation *Hilton International Judith A. Jedlicka Theodore L. Kesselman The Kriendler-Berns Foundation Susan Kudlow *Lever Brothers Company *Lord & Taylor *Macy's New York Mr. & Mrs. Christopher Mayer Estate of Myron L. Mayer Meryl & Robert Meltzer *The NL Industries Foundation, Inc. *The New York Times Company Foundation, Inc. *Polo/Ralph Lauren *R C A *The Reader's Digest Association, Inc. *Reliance Group Holdings, Inc. *Restaurant Associates Industries, Inc. Mrs. Dorothy H. Roberts Mrs. John D. Rockefeller III Jon and Sue Rotenstreich Foundation Rev. & Mrs. Alfred R. Shands Ill Mrs. Joel Simon Arman & Louise Simone Foundation Mr. & Mrs. Robert & Kathryn Steinberg H. van Ameringen Foundation David & Jane Walentas Robert N. & Anne Wright Wilson $500-999 The Bachmann Foundation, Inc. Mr. & Mrs. Frank Barsalona David C. Batten B.E.A. Associates Robert & Judith Boies Edward J. Brown Robert & Judith Burger Colgate-Palmolive Company Cowen & Company The Dammann Fund, Inc. Mr. & Mrs. Richard Danziger Mr. & Mrs. James DeSilva, Jr. Mr. & Mrs. Alvin Deutsch Count & Countess R.M. Douglas Doyle Dane Bernbach, Inc. John L. Ernst Richard C. & Susan B. Ernst Foundation Evelyn W. Frank Mr. & Mrs. Edward Gardner James Havard Joyce & Stephen Hill Victor & Joan Johnson Theodore & Shirley Kesselman Jana K. Klauer Mr. & Mrs. Ronald Lauder Wendy & Mel Lavin Manhattan Life Insurance Robert & Betty Marcus Foundation, Inc.

Robin & William Mayer Mr. & Mrs. Murray Mondschein Louis Newman—in Memory of Paul Roberts Pandick Press, Inc. Richard Ravitch Foundation Mr. & Mrs. Moe Rosenman Mrs. Vera W Simmons Smith Gallery Sotheby's Robert C. & Patricia A. Stempel Carolyn E. Stewart Mrs. Elizabeth Farrar Wecter Robert W. & Marillyn B. Wilson

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

The Museum also thanks the following donors for their recent gifts to the Permanent Collection and Library: Anonymous Gift Robert Bishop Stanley Burns Mr. and Mrs. James D. Clokey III Mr. and Mrs. Leonard Feist Abby and B.H. Friedman General Foods Corporation General and Mrs. Sherman V. Hasbrouck Mr. and Mrs. James 0. Keene Harry 0. Lee Jean Lipman Ken and Asa Miller Mr. George Meyer Cyril Irwin Nelson Dorothy and Leo Rabkin Mrs. Charlotte Friedman Safir Sanford L. Smith Nancy and Gary Stass Mr. & Mrs. William B. Wigton

*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, and with public funds from the New York State Council on the Arts.

21

ANTIQUES AND ACCESSORIES FOR THE KITCHEN AND KEEPING ROOM from America,England and the Continent

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Bruce Brice David Butler Rev. Howard Finster Clementine Hunter O.W. "Pappy" Kitchens John Landry Sr. Gertrude Morgan Popeye Reed Nellie Mae Rowe James "Son Ford" Thomas Mose Tolliver Bill Traylor Chief Willey Estate of Charles Hutson and others

"HANDS OF FIRE," mixed media on paper

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By appointment 212.645.2755/212.673-1078 Tin Cookie Cutter,Pennsylvania origin, h 18", c. mid-19th cent.

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Portrait of Child with Rockinghorse Oil/Canvas; c. 1840;19/ 1 2w x 25" h

Molded Three Dimensional Cockrel Weathervane English; c. 1840; 22w x 21" h (overall)

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Come and visit us when you're in London. It will be worth your time.

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Associated with Crane Kalman Gallery, 178 Brompton Road, London, SW3 Tel:01-584 7566 Important C19 and C20sculpture and painting.

Exceptional needlework with figural profiles incorporated in the urn.

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MARNA ANDERSON GALLERY 40 east 69th street, new york 10021 (212) 249-8484 appointment suggested Photo: © Schecter Lee 1984

NEW ENGLAND SPONGE DECORATED PINE BOX WITH LUSH COLORING OF DEEP PUMPKIN AND CARAMEL, MID 19TH CENTURY,SUPERB CONDITION. H. 7", W. 131 / 2", D.63/4"

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• The next time you hear that guns won the West, don't you believe it. Most historians agree that the windmill was much more important. In that land where the water flows underground and the wind never stops, the windmill made it possible for ranchers and farmers to settle the semi-arid expanse stretching from the Mississippi River to the Rocky Mountains.

26

By the 1880s hardly a farm or ranch Was without a windmill. Town houses and urban buildings employed them too. Indeed, they became so popular in the late 19th century that towns as far away as San Andreas, California and Gettysburg, Pennsylvania, relied on wind-powered mills for their municipal water supply. Even in New York City, a windmill supplied the water for fire

protection in a lower Manhattan commercial building.

One hundred years later, windmills are largely obsolete, but it is windmill weights — the functional, but fanciful decorative weights used only on American windmills —that are winning the hearts of collectors and finding their way into our country's folk heritage.

Like other forms of folk art, wind-

NvEs TERNS 4Ailtps141pso:

Wet Moon; Fairbanks Morse and Company; Chicago, IL; cast iron; 63/4" x 10" x 5"; This governor weight hung on the popular Eclipse mill. The upward curve represents a new moon r

a mill weights were conceiv- I for strictly utilitarian purposes. The smaller governor or regulator weights helped control the speed in both sectional wheel and solid wheel mills, the two basic kinds of windmills manufactured in this country between 1870 and the early 20th century. The larger counterbalance weights, used only on vaneless sectional mills, balanced the mill's

e wind easily and whee — caused by the relieve a weight of the wheel — off the main casting. Counterbalance weights, which increased in direct proportion to the size of the mill's wheel, often measured up to two and a half feet and weighed from nine to over 100 pounds.

The compulsion to enrich and embellish the commonplace—which has

given birth to so much American o art—led manufacturers of windmills to create weights in a variety of charming shapes and vivid colors. In recent years, these symbols of the rural Midwest have become highly collectible objects.

Combining aesthetic as well as historic merit, windmill weights, prized for their whimsical forms as well as their weatherworn surface quality, fit corn27

was The spear x 3112''; earlier model 291/f x An iron; 14"over the years. cast changed BataVia, IL; Company; design Challenge forty years but the spear; for Challenge's motif latticewotk. elaborate featured

fortably under the folk art umbrella.

Among the most popular shapes of windmill weights were roosters, bulls, horses, buffalo, stars, and crescent moons. Letters of the alphabet were also used, usually to represent the maker's name or the location of the mill. Some weights, such as the eagle or the shield, were patriotic symbols.

Others, the horseshoe or a crescent 28

stamped with "SUCCESS:' for example, suggested luck and good fortune.

Generally the weights doubled as trade signs. Certain animals or motifs came to represent specific manufacturers. Roosters usually identified a windmill made by the Elgin Wind Power and Pump Company, a crescent quarter moon weighted the Eclipse brand of the Fairbanks Morse Com-

pany, and a star graced the Halladay.

The Bell Vaneless windmill had a bellshaped weight and the weight on the Monitor mill made by Baker Manufacturing Company was cast to resemble the famous Civil War ironclad. Dempster Mill Manufacturing Company of Beatrice, Nebraska, used the long and short, or bob, tailed horses for their Dempster Vaneless mill, while an off-

shoot, the Dempster Manufacturing Company of Des Moines,Iowa, made a three-dimensional hollow bull with "BOSS" cast in relief on both sides for their Boss Vaneless mill. Of the letters, "0" came to represent the Ozark Vaneless Mill and "W" the Waupan, Wisconsin firm Althouse-Wheeler.

Two other companies used the bull for their weight, as well. Simpson

Wind-Mill Company made a three-dimensional figure similar to Dempster's â&#x20AC;&#x201D; but unmarked â&#x20AC;&#x201D; for their Hanchett Vaneless Mill. And the Fairbury Windmill Company of Fairbury, Nebraska, used a flat bull weight for all their windmills. Many of them were stamped with "FAIRBURY NEBR:'on both sides of the bull's body.

While most of the windmill weight

forms proved to be success promotional items for the mill manufacturers, a couple of designs ran afoul offarming folklore and had to be discontinued.

While Elgin is largely identified with the rooster, the company did at one time, make a squirrel weight as well.

The squirrel, however, was considered a destructive animal by many farmers, and proved such an unsuccessful 29

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weight that Elgin stopped production and relied exclusively on the popular rooster. Elgin's slogan from the 1880's through World War II was"The rooster always faces the wind'? (Interestingly, the unfortunate squirrel was the only animal weight that did not face into the wind.)

The crescent-shaped governor weight was another that ran into trouble 30

with farmers. At first it was cast with its open end facing down. According to legend that position represents a new moon which, because it will not hold water,-causes drought. After a devastating dry spell in 1894, midwestern farmers pressured manufacturers to turn the crescent so that the open end tipped up â&#x20AC;&#x201D;the sign of a new moon that provides rain for crops.

Counterbalance weights were generally painted by the manufacturer in the same color as the other metal parts of the windmill. Black was the most common, but red, green and blue were also used. Some weights have been decoratively repainted by the farmers, and others have developed interesting patinas over the years.

Most of the weights were made in

ico..,to14:v3o;%11 cas' • h wo• ote rice.s ,hic 0; eGt •ght at

re cast in one piece. Some,howev"` two hollow mated sections so that sand, rocks, buckshot or small weights could be added for ballast. Some models were mounted on the cast iron lid of a galvanized metal weight box. One old catalog instructs the buyer: "Galvanized box should be filled with sand or scrap iron to balance mill:' In many of the windmill weights

words and numerals are cast 1 design. These markings usually indicated the wheel size, windmill model, location of the maker, name of the mill, or the casting identification. Most weights were made completely of cast iron. Only two models, the ellipsoid and the warship, both made for the Monitor mill by Baker Manufacturing Company,combined concrete with cast

ale ur n iron. ese models World War I and concrete was probably substituted to save metal for the war effort.

The first successful, self-regulating, factory-made windmill was designed and patented in 1854 by Daniel Halladay. Manufacturers had to face up to one of the windmill's basic requirements —maintaining a somewhat uni31

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form speed in winds of varying force.

Otherwise the windmill would run wild in violent storms, overflowing tanks and possibly even destroying itself.

Halladay solved this problem by dividing the wheel into hinged sections that folded under the pressure of high winds. The wheel then resembled a basket without a bottom through which 32

a strong wind could pass without turning the wheel.

In 1867, Leonard Wheeler patented a solid wheel windmill with a side vane that, under high winds, slowed the wheel down by swinging it until it turned edgewise to the gusts. The Wheeler design soon joined the Halladay as one of the two leading types of

windmills made in this country.

By the 1930s, the golden age of the American windmill was just about over. Electricity had been slowly taking over the job of pumping water, and the New Deal's Rural Electrification Act brought power lines to even the remotest farms. Windmill after windmill was dismantled or abandoned to

vines and bird's nests. Many windmill weights joined the scrap iron drives of World War II. Windmills, long a part of the midwestern landscape, remain a romantic symbol of this country's rural past.

They were once the first thing a visitor would see when approaching a farm.

Now they survive largely in the pho-

tographs of Solorndn D. Butcher and the paintings of regional artists such as Grant Wood, John Stewart Curry, and Thomas Hart Benton â&#x20AC;&#x201D; as well as in mind's eye of older Americans.

Windmill weights, like weathervanes and quilts, are collected today mostly for their pleasing aesthetics.

But in saving and displaying these en-

gaging pieces of rural folk art, collectors are, at the same time, preserving a piece of America's past.

Milt Simpson is a graphic designer and collector.

He is the author of Windmill Weights, published

by Johnson & Simpson Graphic Designers, Newark, N.J., in association with the Museum of American Folk Art. 33

by John Davison

Documentation of nineteenth-century rural cabinetmakers' work is rare.

Rare, too, is the occasion when information and extant object provide a tangible statement of a man, his craft and his place in history. Such is the case with the recently discovered "Tree of Life" stand, the work of Henry Orndorf, a Centre County, Pennsylvania, cabinetmaker. Orndorf's is the only American representation of the tree of life in furniture form known to the author. The symbol exists as surface embellishment on several types of furniture, but nowhere else is it interpreted as a structure.

Intricately constructed of cherry, maple, walnut and mahogany primary woods, the "Tree of Life" stand takes its form from the rural Empire fashion of the mid-nineteenth century, and its inspiration from the popular tree of life print published by Nathaniel Currier in the 1840s. The tree of life print attached to the inside of the top of the stand is one of several popularized versions the company produced and was probably in print from 1838 to 1848.

Currier's is a Christian form ofthe symbol, incorporating visual representa34

tions of birth, life, death, good and evil and so on, and was part of Henry Orndorf's Christian (Reformed Church) upbringing.

Henry Orndorf is recorded as a cabinetmaker and builder in Linn's' History of Centre and Clinton Counties. It is also revealed that he was the second resident of the village of Jacksonville, in Marion Township. In 1828,he moved to Jacksonville in Nittany Valley from Penns Valley and purchased a one-acre lot at the intersection of the Great Road from Bellefonte to the Great Island (now Lock Haven)and the Snydertown Road. In the same year he married Elizabeth Hoy of Marion Township. He built a log cabin on that site, and practiced his trade there. Additional information on Orndorf is sketchy at best.

He eventually became estranged from Elizabeth, possibly by 1840. Tax records list Orndorf for several years between 1840 and 1845, but without occupation or tax collection. Where Orndorfresided or what he did between 1845 and 1870 is still unknown,though a forthcoming state-wide index for the 1860 census may provide a clue. The 1870 Census lists Henry as a carpenter

living with his son-in-law, Samuel Vonada, and daughter, Anna Mary.

Henry died in 1873,leaving no will. In 1883, Samuel Vonada's will includes a personal property inventory, listing a parlor stand valued at four dollars, which was a high figure compared with the other items listed.' Elizabeth Orndorf left a will administered by Samuel Vonada in 1877 that included a number of pieces of furniture, but made no mention of any stands. It is reasonable to assume that Henry kept the stand from the time it was made until his death, when it was given to his daughter Anna Mary. She died in 1880, bequeathing the stand to her husband, Samuel. Not long afterwards, it was passed on to their son James Justice Vonada, whose wife, Emma,gave it to her son, Henry Orndorf Vonada. Henry Vonada owned the stand until his retirement auction in September, 1979.

While some essential information about the "Tree ofLife" stand has been uncovered, more difficult questions remain. Why did Henry Orndorf make the stand, in rural Pennsylvania, in the mid-nineteenth century? What was its intended use? A look at some of the

The "Tree of Life" Stand by Henry Orndorf Designed to be viewedfrom all sides, the stand measures 28/ 1 2inches high by 19/ 1 2inches square in the case. It contains62 drawers(opposite sides are identical in layout) and 72 post inlays. The drawers graduate down and to the center. The smallest drawers measure 9/I6 inch by 106 inch at the opening and are 2/ 1 2inches deep, barely space to accommodate the tip of one's littlefinger. The exterior retains the original varnish, now crackled and cloudy, shrouding the bright highly figured light and dark woods. Curiously, the piece is designed to lock internally by using wood and metal pins with a single screw to fasten the top. The pedestal is capped in the center with walnut, inlaid with cherry bands, topped with cherry and curly maple steps and supported by a cherry platform base on scrollfeet. The secondary woods are pine, poplar, walnut and cherry.

The drawer pulls are brass.

35

influences upon life in Centre County may reveal some clues to these questions.

First of all, immigration to the United States in the eighteenth and nineteenth centuries, offered people a new life: an improved standard ofliving in many cases, as well as religious and spiritual freedom. Germanic traditions grown from a rich mythology crossed the Atlantic with their advocates and found a welcome home in Pennsylvania. The tree of life was one symbol from this iconography,though the association of trees with life and death was an even older idea. With respect to the deep-rooted symbol of the tree of life found on tombstones, Preston Barba has remarked:"After the sun nothing so engaged the mind of primitive man as the processes of life itself—the seed, birth, growth, florescence, fruition, decay and death, and out ofdeath a new life—a constant dying and becoming— an eternal cycle:" Barba goes on to note the widespread Teutonic worship of trees in sacred groves, and he mentions several attempts by the early Christians to eliminate tree worship, including the confrontation between Charlemagne and the Saxons in 772 A.D., in which 36

Interior of the "Tree of Life" Stand This overhead view of the stand shows the many small drawers inside it, some of which contain gold dust or hair clippings. When the top is lifted, the Currier print which was Orndmfs inspiration for the "Tree of Life" stand is revealed.

Charlemagne attempted to convert the heathens and to destroy the world-tree, a major symbol in Saxon and Norse mythology.

By the eighteenth century Germanic tree symbolism found itself incorporated into the Christian concept of the tree of life and the Tree of Knowledge in Genesis. The Christian church itself became instrumental in maintaining the ancient Germanic tree cult in its holiday customs. The decoration of the church and home with boughs of hemlock or birches on such festive occasions as Christmas and Easter remains important to this day. Thus, Germanic tree symbolism found its way into central Pennsylvania through the cultural and religious traditions of the immigrants. The tree of life with its variants was the most widely used image on dower chests of the Pennsylvania-Germans. It was also a decorative device embellishing birth and marriage certificates; carved on tombstones; stitched onto bedcovers, wall hangings and quilts; and painted on pottery or incorporated in paintings and prints. Now, with the "Tree of Life" stand, we see it represented

structurally as a piece of furniture.

Another cultural phenomenon of rural Pennsylvania bears attention at this point. Tolerated, but not generally endorsed by the church, which was in this case the German Reformed Church, powwowing or faith healing prospered in the eighteenth and nineteenth centuries. To some extent, it is still practiced today. The exorcism of an evil spirit or the medieval alchemist's herbal potion for gout were available in print under such unassuming titles as John C. Hoheman's The Long LostFriend or Faithful and Christian Instructions (1820) or its twentieth-century counterpart, "Secrets of Sympathy" (1938). The most popular occult practice in Pennsylvania at that time was faith healing, including potions and ritual chants conveyed in written form: house blessings, recipes, books and astrological charts. With the exception of the house blessing, which was often framed and hung on the wall, such writings were not highly visible.

The materials of powwowing tended to be "make do" and easily obtainable: a rat's tail, a frog's warts, a piece of charcoal, a full moon,a table leg and soon.

Powwowing required no house, altar nor crystal ball. Certain facts about the "Tree of Life" stand suggest that not only was Onidorf familiar with occult practices and beliefs, but that he could have been a practitioner or believer to some degree himself.

Within this cultural and historical context, the "Tree of Life" stand, though unique, was not necessarily a radical departure from the norm, even if it left a few heads shaking. Some of the drawers of the stand are too small for conventional storage purposes. A number of drawers contain gold dust; others hold hair clippings. Both are ingredients of the practice of magic.

Gold is generally considered the highest element in magic, as it is thought to enhance the effectiveness of a wish or to have the power to bring about a cure.

The fact that these objects were found in the stand is interesting, though it is by no means conclusive in offering evidence that Orndorf created the stand (or used it) in order to practice magic.

An air of secrecy surrounds the "Tree of Life" stand, however. The Currier print pasted on the underside of the top of the stand is concealed. The 37

locking system is complicated in that one must begin by removing the two top tiers of drawers, inserting the locking pins in the bottom tier first, then the middle tier. Finally, the top tier must be locked with the top lifted. The number of drawers provides food for thought, as well. There are 62 drawers, with 16 on front and back, 15 on each side. The Currier print of the tree of life shows 31 fruits: exactly half the number of drawers. There is no way to ascertain the meaning of these numbers, if indeed they do have significance.

Two of the fruits in the print, alms and self denial, have been removed rather roughly, as if they were shaved off with a pen knife or other such instrument. Their removal can be easily overlooked by the casual observer, and they would be of little consequence to someone not actively involved with the stand's symbols. So the likelihood that anyone other than Henry Orndorf removed them is slim. Indeed, Orndorfs marital and financial problems are suggested in the tax and census records.

On that basis it's possible that he scraped off those fruits as a way of disassociating himself from both the notion of charitable acts and the virtues 38

Birth Drawer The birth drawer is located immediately above the death drawer and contains the record ofbirth and baptism for Henry Orndorf In German the slate reads: "I was born on April 23, 1806, in Penn Township, Centre County, and was baptized Heinrich Orndorf by Heinrich Fries:' Orndorf was baptized by Yost Heinrich Fries, a circuit preacher for the German Reformed Church for Union and Centre Counties. Though the stand is not dated, it is most probable that it was made after 1844 because Penn Township, Orndorfs recorded place of birth, was createdfrom Haines Township in that year.

Death Drawer Hollowed out ofpoplar, this drawer is inset with marble and capped with walnut in the shape ofa coffin. It is the largest drawer and is embellished with additional carved banding.

of self-denial. In fact, the creation of the stand itselfindicates a departure,on Orndorf's part, from the conventional religious doctrine of the day.

The inquisitive twentieth century mind would like more conclusive information about this puzzle, but the nineteenth century "Tree of Life" stand does not readily reveal its secrets and history to us. When locked,the stand is a solid, but curious, piece of carpentry.

When opened, it reveals symbols of one man's unique and personal vision.

It also presents questions about Orndorf, about religion, and about life in 19th century America that have yet to be answered.

NOTES 1. History of Centre and Clinton Counties, Pennsylvania, 1883.

2. Furniture finished on all sides tended to be placed away from a wall or be freestanding, the fancier furnishings reserved for the parlor.

Hence the designation of "parlor stand': in Samuel Vonada's inventory.

3. Preston Barba, "Pennsylvania German Tombstones: Pennsylvania German Folklore Society, Vol. 18, 1953, pp. 13-17.

John B. Davison is a researcher and writer on Americana.

A

to Re4fr:

LAte•Em4 Foek A4.t44 D:4 &watt

Well into her nineties, Clementine Hunter, plantation worker turned folk artist, is frail of body. Her flowered frock hangs from bony shoulders. Her stockings are knotted above fleshless knees. Her speech is slow and raspy.

And when she paints—which she still does—her hand moves tentatively.

But her eyes are piercing and her mind is clear. When asked if she'd like to visit New Orleans to see her paintings in a one-woman museum show,the lady is quick to reply. "No7 she says adamantly, but with a twinkle. "I've

already seen them enough': Clementine Hunter is one of some fifty artists included this fall in the Seton Hall University exhibition A Time to Reap:Late Blooming Folk Artists, an exploration of the work of painters and sculptors who discovered their artistic expression later in life. It is a phenomenon of20th century American society that artists can and do bloom in their older years—after lifetimes in the fields, factories or home— and that appreciation of their work goes beyond the patient humoring of family

Old Man's Beard Flowing in the Wind; Miles Carpenter; 1980; Painted wood and fur;16¼"x 21"x5/ 1 2"; Courtesy ofEthnographicArts,Inc., NYC. Miles Carpenter, who died last spring at the age of96, is one ofthe most celebrated ofthe late-bloomingfolk artists. His work rangesfrom watermelon slices tofanciful root monsters, but he is at his best when inspired by the wood itself.

39

and friends to reach the open and receptive marketplace. Indeed, many of these aged artists have won, in their seventies, eighties and even nineties, a national recognition and celebrity they often cannot understand. One elderly artist, sensitive to the stream of visitors that interrupt his solitude these days, threw up his hands when asked to paint

Man and Large Dog; Bill Traylor; 1939-42; pencil and gouache on paper;285/ 8"x 22/ 1 2"; Collection ofLuise Ross. Born a slave, Bill Traylor worked first as a field hand and then in a shoe factory. Crippled by rheumatism hefound himself on welfare, but it Wasn't until he was 85 that he began to draw to pass the time. The result was extraordinarily strong but simple images ofanimals and man that have been compared in their purity to the ancient cave paintings.

40

a wooden egg for the White House Easter Egg Hunt."Now the president's after me too!" he cried.

Under a variety of circumstancesâ&#x20AC;&#x201D; forced retirement,injury, illness, death of a spouse, or facing their own mortality â&#x20AC;&#x201D; these untrained artists have been moved to pick up paints, pens, knives and chisels and express them-

selves in a remarkably broad range of ways. For some,it's painting on canvas or board supplied by a senior citizen center; for others it's working with objects found around them. Miles Carpenter made monsters from tree roots; Sanford Darling painted on his refrigerator; and Grandma Prisbrey and Fred Smith created whole environments in

Klumpp's voluptuous nudes. Or it may be abstract — witness David Butler's whimsical sea creatures.

By the same token, the subject matter is richly varied. It may be blatantly sexual — such as Mose Tolliver's explicit fantasies—or it may illustrate the Bible—exemplified by the lyrical work of Harry Lieberman and Sister Ger-

trude Morgan. Often, as in the paintings of Alex Maldonado, Jon Serl, Bill Traylor and others, the art reveals the artist's innermost visions and dreams.

The many voices that make up the chorus of A Time to Reap: Late Blooming FolkArtists tell us that art by the aged is not necessarily in the same vein as the work of Grandma Moses. Although she

I.

which to live out their remaining years.

There is diversity in the nature of the work, as well. Some is narrative — Clementine Hunter's chronicle of daily life on the plantation, for example.

Other work is symbolic — William Hawkins' proud beasts that embody the artist's self-assured, masculine mien. It may be figurative — such as Gustav

Wishing Well; Tressa Prisbrey; Bottles and mixed media. "Grandma" Prisbrey started her Bottle Village in Simi Valley, CA, in 1953 as a place to store her collection of17,000 pencils. Discovering that building materials were very costly, she began to collect bottles to employ as building blocks. Prisbrey's bottle collection led to other collections—dolls, seashells, books and other items—which in turn needed to be housed. Today, Bottle Village, a fanciful assembly of buildings, shrines, wishing wells and walkways, is a remarkable testament to the spirit and determination ofone elderly woman.

41

was the first, and remains the most famous late-blooming artist, her much imitated brand of memory painting is only one type of artistic expression.

The phenomenon of late-starting folk artists is probably unique to the 20th century. In the early 1800's life expectancy was little over 50 years.

The agrarian economic structure re-

quired most people to work for the duration of their lives. During the 19th century the rare elderly folk artist was likely a painter by profession. Erastus Salisbury Field, for example, began painting as a youth and continued until his death at the age of 95.

The Industrial Revolution, however, changed the nature of work, and by the

end of the 19th century mandatory retirement had become common in most occupations. At the same time, medical advancements were increasing life expectancy. A growing elderly population in search of leisure activities emerged.

More recently, with the development of gerontology as an area of research, there has been increasing

Sanford Darling in his home in Santa Barbara. CA. To recapture a six month sojourn to Thailand and Singapore. Darling began to paint every flat surface in his homeâ&#x20AC;&#x201D;walls, chairs, refrigeratorâ&#x20AC;&#x201D;with images of the Orient. The result was afanciful environment covered with palm trees, sacred cows and grass houses on stilts. Darling died in 1973 and the home was dismantled.

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interest in creative work by the elderly.

Art is used therapeutically in nursing homes and as a social activity in senior centers. While many older artists, particularly those isolated in remote, rural locations, are self-starters who work alone, others prefer the camaraderie and convenience of a senior citizen center. The most interesting art to come

out of these centers, however, is produced when the teacher provides more encouragement than technical assistance.

In addition, work by older artists has begun to be looked at by some scholars as part of a process called "life review:' The eminent gerontologist Dr. Robert N. Butler, in an essay in the 1969 book New Thoughts on Old Age, coined the

term "life review" to describe "a naturally-occuring universal mental process characterized by the progressive return to consciousness of past experiences, and particularly the resurgence of unresolved conflicts...Although the process is initiated internally by the perception of approaching death, it is further shaped by contemporaneous

Construction; Rodney Rosebrook; c 1980; iron and mixed media;411 / 2 "x 34"; Collection ofHerbert Waide Hemphill, Jr A retired cowboy and blacksmithfrom Oregon, Rodney Rosebrook collected old tools and metal objects for over 30 years before he began to integrate them into a welded fence around his property. Each construction reflects Rosebrook's whimsical viewpoint, as well as his elegant sense ofdesign.

43

perience: Untutored Older Artists,"we can look at these paintings as a life review â&#x20AC;&#x201D; giving form and color to the life review process!'

Memory painting, a term describing a genre of 20th century folk expression that captures and often romanticizes personal recollections, may be the most obvious form oflife review. It may

be, however, that the experience many other elderly artists go through when they paint is life review, too. Any folk or fine artist comes to his or her subject with a unique point of view. The elderly are no exception. Queena Stovall, a wife and mother, may reminisce with detailed paintings of family and friends; but Pat Annunziato, whose

Photo: Tracy R. Cate

experiences and its nature and outcome are affected by the lifelong unfolding of character!'

Though life review has usually referred to verbal recollections, Butler did suggest in his essay that it could be a visual experience as well. "Perhaps:' says Amy Brook Snider,co-curator ofa 1982 exhibition entitled Images ofEx-

Bird; Felipe Archuleta; 1981;painted wood; 19" x 23/ 1 2"; Collection ofHerbert Waide Hemphill, Jr Archuleta, who was raised in a small town in the Sangre de Christo Mountains of New Mexico, is heir to the santero or saint carving tradition of the Hispanic Southwest. Claiming he was unworthy of carving holy images, he chose, instead, to whittle animals, often with anthropomorphic qualities.

44

out of productive society by retirement laws and age biases. The boldness, vibrancy and powerful imagery that characterizes much of their work may, for some, reflect the frustrations and fears of old age. For others it may be a scream to be heard.

Another unfortunate aspect of this phenomenon is that the naive and prim-

Photo: Tracy R. Cate

youth was spent going back and forth to Italy symbolizes his life with big bold drawings of ships.

For many older people, art becomes a form of expression at a time when they feel no one listens to them anymore. The dark side of A Time to Reap comes from the fact that most older people who turn to art have been forced

Combing Her Hair; Clementine Hunter; 1945; oil on paper; 113A" x 15"; Private Collection. An early painting by the Louisianafolk artist, Clementine Hunter, Combing Her Hair, like most ofHunter's work, captures daily life among Southern plantation workers. Hunter's art is significant not only for its primitive charm and engaging composition, but also as afirst hand record ofa nowfading We.

Captain Harry S. Truman; Jim Colclough, 2"x / 1970-80; redwood and mixed material;411 4"; Collection ofDavid L. Davies. Born at the 1 13/ turn ofthe century, Jim Coklough, a resident of Northern California, began to carve in 1969 at the time of his wife's death. A former carnival barker, Colclough's largefigurative carvings represent a kind of personal reminiscence for the artist. Some reflect memories ofhis carnival days and others, such as Captain Harry S. Truman, come out ofColclough'sfascination with his own family history. The artist's genealogical research revealed that the 33rd President was, in fact, a distant cousin.

45

itive style of many elderly artists tends to reinforce the stereotypical notion that old people should be treated like children. Indeed, it is often an adult child who encourages an aged parent to paintâ&#x20AC;&#x201D;much as that parent once encouraged his or her young children years before.

In the end, however, what's most sig-

nificant about this body of work is that it's truly good artâ&#x20AC;&#x201D;art that can hold its own with quality work of other schools, styles and periods. It is art that reflects extraordinary design quality and color sense, yet it has been achieved intuitively, without formal training or concern for the tenets of academic art.

Three Heads; William Dawson;1982; oil on paper;10/ 1 2 "x 13"; Courtesy ofEpstein-Powell American Primitives, NYC. William Dawson, who works as both painter and sculptor, turned to art after retirement from a Chicago produce plant. The white-rimmed, wide-set eyes and clown-like mouths of Three Heads are characteristic ofDawson'sfaces whether painted or carved.

The Band Master; Jon Serl; ND; oil on board; 69/ 1 2" x 22"; Collection of Herbert Waide Hemphill, Jr. The paintings of the 90-year-old artist Jon Serl are recollections, not so much of events or activities, but of the times of his life.

When Serl paints men they are usually self- portraits. The Band Master may well be a reminiscence of his years spent in vaudeville.

46

This is art that grows out ofa lifetime ofexperience. However,in an art world that thrives on what's shocking and new, experience has not always been a valued commodity. In fact, only in the last few years has work by older selftaught artists been looked at seriously by the larger art community. It is evidence, perhaps, of a growing plu-

I

ralistic attitude in the contemporary art world, as well as the emergence of the 20th century folk and outsider artists in the modern art market.

This exhibition should be viewed not only as a celebration of the work of the elderly self-taught artist; it should be viewed as part of a larger context. It is art of the 20th century and it is art of

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Crown Cathedral; Alex Maldonado; 1984; oil on canvas; 16" x 20"; Courtesy of Ames Gallery, Berkeley, CA. Born in Mexico, Alex Maldonado moved with hisfamily to California at the age 0110. He recalls, as a young boy, having seen Haley's Comet; an event which led to a lifetime curiosity aboutspace and astronomy. Maldonado's painting—marked by futuristic structures and imaginary scenes—reflects thisfascination.

America. But mostly it is simply good art. The integration of the work of selftaught artists into the larger world of art is an idea whose time has come.

Didi Barrett has completed the Master's degree program in Folk Art Studies sponsored by the Museum of American Folk Art and New York University. She is Director ofPublications for the Museum.

A Time to Reap: Late Blooming Folk Artists is co-sponsored by Seton Hall University and the Museum of American Folk Art. It was conceived by Barbara Kaufman and is curated by Barbara Kaufman and Didi Barrett. Herbert W. Hemphill, Jr. is consultant to the exhibition which was funded in part by the New Jersey Committee for the Humanities and the New Jersey Council on the Arts. The exhibition will be on view at Seton Hall University in South Orange, N.J., from November 9 to December 7, 1985; at Monmouth County Historical Association, Freehold, N.J., from December 13, 1985 to February 28, 1986; and at the Noyes Museum, Oceanville, N.J., from March 10 to May 31, 1986.

A symposium will be held on Saturday, November 9, 1985 at Seton Hall University.

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47 A

Paintincsfrom the GarDisch 6-1

Collection at the Sky Club

by Jane E. Padwee

Ferryboat "Alanson Sumner" M. Mahony; Circa 1865; Oil on canvas;185/8"x273/4";Found in New York; Courtesy of The Sky Club, New York City. The Shelburne Museum in Vermont has a similar painting of "The Ontario:' signed M. Mahony on the front, and M. Mahony Oswego, NY, on the reverse. These are the only known written references to Mahony; it is likely that both works are by the same artist.

High above midtown Manhattan on the 56th floor of the Pan Am Building is a private dining establishment called The Sky Club. In contrast to the bustling city below, The Sky Club is a quiet, elegant refuge, appointed with fine examples of 18th and 19th century American antiques.

On the dining club's walls are 41 early American paintings acquired from the collection of Colonel Edgar William Garbisch, one of the club's founding members, and his wife, Bernice Chrysler Garbisch, daughter ofthe automotive pioneer Walter P Chrysler.

The Garbischs were major collectors of American naive art and much oftheir collection â&#x20AC;&#x201D; over 300 pieces â&#x20AC;&#x201D; was given to The National Gallery in Washington, D.C. An exhibition of 60 folk art masterpieces, "American Naive Paintings from the National Gallery of Art:' organized by the International Exhibitions Foundation and The National Gallery begins a national tour of nine museums at the Museum of American Folk Art from September 10 to December 1, 1985. A catalogue, with an introduction by Mary Black, consulting curator ofthe Museum of American Folk Art, will be available. (See the Museum News section for information about a three day symposium in connection with the exhibition.)

In conjunction with this important exhibition, The Clarion offers, on the following pages, a rare glimpse of The Sky Club's paintings from the Garbisch Collection.

Jane Padwee started her art career as an enamelist. She is currently a Master's degree candidate in the Folk Art Studies Programjointly sponsored by the Museum of American Folk Art and New York University.

Man Wearing Yellow Vest Possibly Robert Peckham; Circa 1840; 30" x 25"; Found in Massachusetts; Courtesy ofThe Sky Club, New York City. This portrait contains typicalPeckham characteristics, such as the wide clear forehead and the strong nose. The herringbone patterned ribbon on the man's white shirt matches the ribbons in the hair of Woman Wearing Yellow Dress.

Woman Wearing Yellow Dress Possibly Robert Peckham; Circa 1840;Oil on canvas;30"x25";Found in Massachusetts; Courtesy of The Sky Club, New York City. Typical of Peckham's subjects is this woman's extraordinarily high hairline;full, pale lower lip; prominent, turned-down nose and slightly shaded cheekbone.

The ribbon in her hair matches the ribbon on the shirt of Man Wearing Yellow Vest.

Little Girl of Drew Family with Bird Artist unknown; Circa 1840;273hd'x 4"; Found in Philadelphia; Cour1 23/ tesy of The Sky Club, New York City.

Most striking in this painting are the child's enormous blue eyes and her elongated, almost distorted torso.

The double row ofunpolished coral at her neck and on her sleeves were believed to ward offevil spirits.

Woman in Black Dress seated on Red Settee Attributed to John Blunt; Oil on can4";Found 1 vas; Circa 1845;33/8"x 28/ in New York; Courtesy of The Sky Club, New York City. The shadow box frame in the background of this portrait is not visible in other known Blunt paintings, but the size, palette and costume are characteristic of his work. The dot and dash on the nailheads of the chair, and the detail on the arm ofthe settee have beenfound in other paintings by John Blunt.

Man Seated on Red Settee (detail) Attributed to John Blunt; Oil on can21;Found 1 vas;Circa 1843;333/8"x28/ in New York; Courtesy of The Sky Club, New York City. A companion portrait to the Woman in Black Dress seated on Red Settee, this painting has additional characteristics that link it to John Blunt, particularly the smudgy "D" shaped inner ear.

51

Boy with Baby Sister in High Chair (Cat and dog on floor) Artist unknown;1845;Oil on bed ticking;42/ 1 2"x 333/4"; Found in Vermont; Courtesy of The Sky Club, New York City. Children with their animals is one of the most appealing subjects in 19th century American folk art.

Fireboard with Seascape Possibly Rufus Porter; Circa 1850; Oil on canvas;37/ 1 4"x 45/ 1 2"; Found in Maine; Courtesy of The Sky Club, New York City. Rufus Porter painted interiors and miniatures, as well as fireboards. Many stylistic elements suggest this piece is his work.

Jack and Jill Studios

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BY WALTIR M. AMES & DANA W. HSKE Pennsylvania has produced some ofthe best-known folk artists in America, though the name Noah Weiss (1842 â&#x20AC;&#x201D; 1907)is not widely known to collectors in the field. Weiss is known, however, to scholars and has been mentioned, either briefly or at length, in their studies.

In his Treasury of American Design Clarence Hornung describes Weiss as one of four Pennsylvania whittlers who were "above the ordinary!" John Stoudt

says, in Early Pennsylvania Arts and Crafts,"The most ambitious carving in Pennsylvania was quite late, the best of it being the group of patriotic and religious figures done by Noah Weiss!'

Stoudt and others have often included a picture of a barn decorated by Weiss when he was twenty years old.'

Other major descriptions of Weiss and his work come from Earl Robacher and Francis Lichten. Both inform us that Weiss' first carving was a toy for

Carved and varnished (Detail of Fig. 1)Couriers Hunting Wolves in Siberia;Noah Weiss;Northampton, Pennsylvania;Date unknown; pine; 10(1' H. x 61" W.; Collection Northampton, Pennsylvania Historical Society, Easton, Pennsylvania.

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his sick child, and Lichten explains that from that moment on,he "left no workable piece of wood untouched if it was possible to embellish it!" He was an innkeeper, we are told, who worked in the early morning hours on large, elaborate creations with only one tool, his pocketknife, that he "colored his carvings as realistically as possible:" and that while he was self-taught, his works were executed with "great gusto"' and "vigor:" Lichten specifically mentions "the life-size hunter and his spotted hound dog, a covey of quail, his old home ... a stage coach drawn by six horses ... the great George Washington, who, seated on a horse, dominated the office of mine host:'..and "panel after panel of Bible subjects"' —all of which decorated the walls of Weiss' inn and an adjoining outbuilding. Both writers tell us that Weiss' carvings were widely appreciated in their time. Francis Lichten concludes his description in Folk Art of Rural Pennsylvania by declaring that he was "probably one of the last craftsmen to work for the sheer love of it," while in Old Stuffin Up Country Pennsylvania, Earl Robacher ends his chapter on the whittlers with "Jackpot; an attested piece of the work of Noah Weiss:"°

(Fig. 1) This massive, fanciful piece, is without finish, though the eight-foot easel is varnished to look like walnut. The easel's carved decorations include antelope, an owl, Prussian soldiers, quail and a stork. Just below the diorama is a panel which opens, and may have been intended as a book rack.

Further information is gleaned from biographical material on Weiss published just two years before his death.

All manner of personal detail is included in this study by John Jordan. It had been thought, for instance, that Weiss' father was a farmer who impeded his son's education. Jordan reveals that Abraham Weiss was a school teacher who later turned to cigar making. It also provides Noah Weiss' entire employment history, including the fact that he was, for four years, proprietor of the Allen House in Northampton, which still stands. There is also a description of the Mount Vernon Inn which Weiss built in 1897 as a replica of Washington's home: "Its dimensions are eighty-by-one-hundred and it stands on a lot one hundred by one hundred and fifty feet. The hotel contains twenty-eight sleeping rooms in addition to the parlors, office, dining room, kitchen and storerooms:'11 Of Weiss himself, his contemporary biographer says the following: He has made a close study of the needs and wishes of the public, and as a hotel proprietor he has won favor with his guests, putting forth every effort in his power to promote their comfort and convenience.

Mr. Weiss possesses marked mechanical ingenuity and artistic skill. He is one of the most expert hand carvers in wood known to the public, and carves out life-size figures which he afterwards paints, doing all the work himself. His masterpieces are the Crucifixion and the Lord's Supper.'2 Weiss was a warm, gentle family man who built and maintained a large and active business, and who had only one quirk: every day at dawn he endlessly attacked huge pieces of pine with a jackknife and successfully turned them into objects that were both useful and decorative, regarded by his contemporaries as art.

Taken as a whole, a relatively large body of knowledge exists on this nineteenth-century whittler. But it is when

one searches for examples of the carvings that the mystery evolves.

One might expect that so widely known a Pennsylvania artist would have been eagerly sought by those first collectors who scoured the back roads.

And, in fact, the North Hampton County Guide —Work Project Administration-1939 tells us "the carvings have attracted national attention and in 1937 many of them were sold at public auction to Henry Ford, the automobile magnate, and other private collectors and museums:"3 Unfortunately, the Henry Ford Museum does not have any examples. Other major museums know little or nothing about Weiss.

The first example of Weiss' work to come to light is the majestic and graceful lion carving. (Fig.2) He embodies all that is leonine; his face is stern yet peaceful, but his upturned paws reveal that he has no claws. Written in pencil on the back is, "Carved with pocket knife by Noah Weiss in 1881, Son of Abraham Weiss'? This privately-owned example of the artist's work was found in Connecticut, and is one of the earliest known carvings. It is also the only signed carving; perhaps it will prove valuable in solving some of the mysteries of Weiss' work.

A second piece was discovered at the Northampton County Historical Society. It is a magnificent diorama in unpainted pine; a team of plunging horses pulls a sleigh of armed men through a forest. (Fig.!) Equally as arresting is the great Black Forest style easel in which the carving is mounted.

Wrought from heavily varnished and carved pine, the stand is ornately embellished with heavy scrollwork, rabbits, a partridge and an owl, among other wildlife. Standing nearly eight feet tall, the easel with its central woodland scene reveals a highly developed design scheme and a singular animation.

The curator of the historical society, Ann Rahn,is well aware ofthe mystery 55

of the whereabouts of Weiss' carvings, and provides a fascinating statement made in 1973 by Alice Schaffer of Weaversville, Pennsylvania.

bleachers and then one by one the life-sized religious carvings would be lit up and a narration given ... I don't know what became of the religious carvings.

When I was about eight years old, around 1926,our Sunday school class visited an old barn behind the Mount Vernon Inn on the corner of Twenty-first and Main Streets, Northampton, Pennsylvania (where the Gulf Station is today). All the lights were out, and it was pretty dark. We sat on

Also on display in the historical society is a postcard of Weiss' Mount Vernon Inn. The caption underneath the picture of the three story building reads, "Mr. Noah Weiss' famous wood carvings are on display in this hotel:' The library in the town of Northampton is not large, but oral tradition recalls the Mount Vernon Inn. Arlene Kooh remembers it as the "Curio Hall" and recalls that it cost five cents to view the carvings. Microfilm records of the local paper, The Cement News, provide a wealth of information. Weiss' obituary,for instance, reveals that he died of a "stroke of apoplexy" and that "the popularity of the deceased did not only rest on the fact that he was a very accommodating and genial landlord, but because of his talent of woodcarving:'''' The article goes on to say that Weiss was "called the 'untaught Sculptor' and worked without a model, with a penknife as his only tool:' and that "His fame extends far although he never sold a single product of his handicraft!'

Other details, such as his burial in Fairview Cemetery in Allentown, Pennsylvania, and the fact that he was survived by an only son, Howard, are also included. After the death of his father, Howard Weiss continued to display the carvings. One newspaper story in particular bears repeating in its entirety.

(Fig. 2)Lion; Noah Weiss; Northampton, Pennsylvania; 1881; Carved and painted pine;34"H. x 25" W;Private collection.

Weiss' lion is one ofhis earliest works. It is made oftwo pine boardsfastened in such a way that the head may swivel on the body. The mouth has a red slash painted behind it. It is thought to be the only known signed carving and is now privately owned.

A descriptive brochure of the famous carvings of the late Noah Weiss, arranged and grouped for intelligent viewing in the Curio Hall, is now under preparation. A thorough inspection has disclosed many rare productions that will be recognized masterpieces in the World of Art. It is especially interesting to know as a fact that this collection of carvings is not only "America's Greatest Wonder' but that it is second to none in existence.

The carvings have been harmoniously ar-

56

ranged for exhibit, and the lighting effect of itself, shows the respect entertained by the son of the craftsman, who regards the Curio Hall, with its inimitable creations, as a memorial to his father.

Northampton should feel as highly honored in this fine collection as other places are of less worthy possessions. You will confer a favor upon your guests by bringing them to the Curio Hall!'

Four years later, on April 23, 1937, the Cement News headline reads, "Mount Vernon Inn Hostelry and Wonderful Carvings on Auction Block Sat:' Howard was dead, and the executors of his estate, according to the paper, were putting the entire contents of the Inn, including the "religious group of life size carvingsâ&#x20AC;&#x201D;the Crucifixion, the Ascension, the Nativity, the Lord's Supper and the Garden of Eden:' up for public auction. The writer is truly prophetic in saying that "What thousands of people from this and far flung sections have admired is apparently disappearing from our sight:''6 The following week the News reported that the entire group of carvings was withdrawn from the sale, because the "executor of the will is of the opinion that a fairer price may be realized from a private sale or from some institution that would appreciate their value:'"7 This is the last mention of Weiss' carvings by the Cement News.

Interestingly enough, the owner of the diorama in the County Historical Society has a different first hand account. On auction day he was a young man making seven dollars for a six-day week and was only able to attend the sale on his lunch hour. The auction, he says, was held as scheduled; he purchased his diorama as the auctioneer stood beside it on the porch of the Inn. He tantalizes by reporting that the entire contents of the barn, including the life-sized Biblical panels, sold for fifty dollars. A twenty-foot long alligator and a full-sized cow giving real milk

were removed from the barn and sold separately. The cow was apparently purchased by an antique dealer named Pennypacker who used it as a shop sign at his place of business near Sellersville.

The man who gives this account, Leroy Persons, laughs easily and reveals a taste for things beautiful and unusual even in the way he wears his work clothes. Sitting in his nineteenth-

century brick farmhouse amid the treasures of collecting, Mr. Persons vividly recalls standing on the front porch of the Mount Vernon Inn one cold November day while watching a parade in celebration ofthe election of Warren G. Harding. Howard Weiss appeared and asked the teenager if he would like a cup of hot chocolate and a tour of Curio Hall. Persons returned many times to see the collection, and clearly

(Fig. 3) Untitled; Noah Weiss, Northampton, Pennsylvania; Date unknown; Carved and 'x 2 1 painted pine mounted on painted canvas;6/ 2'; Collection Merritts Museum, Douglasville, 1 7/ Pennsylvania.

This panel may be the most spectacular ofall the folk-carved Washingtons, and is reputed to have stood in the office of Weiss' Mount Vernon Inn. It is certainly the piece most often mentioned by those who wrote about Weiss.

57

(Fig. 4) Untitled; Noah Weiss, Northampton, Pennsylvania; Date unknown; Carved and painted pine mounted on painted canvas; 7/ 1 2 'x 9/ 1 2'; Collection Merritts Museum, Douglasville, Pennsylvania.

Like all of Weiss' work, this was carved with a pocket knife in the early morning hours. Whether he was involved in the Civil War is not known.

remembers the full effect of the assembled carvings. He also mentioned several carvings not previously known to have existed: two were dioramas, one ofthe Conestoga Inn and one ofthe Red Lion Inn. Both depicted people, and at least one included a stagecoach and horses. Two others were fully three-dimensionally carved and varnished animal heads, one a bison and one an elk, each bearing a set of real horns. Apparently Weiss also carved at least two grandfather clock cases and one or more bears with cub hall trees.

In support of Francis Lichten's claim that Weiss could leave no piece of fur58

niture untouched, Persons described four massive dragons covering the cellmg of a dining room and converging at the center with their heads hanging down, wooden chains hanging from them. Most important is the fact that he is aware of the location of two more of Weiss' carvings.

Merritt's Museum on Route 422 near Douglasville, Pennsylvania is a treasure trove of eighteenth- and nineteenth-century American art of all kinds. Indian artifacts, papier nulche and wax mannequins, challcware and huge cast iron lawn ornaments are only a few ofthe objects on view. Here is the

powerful "great George Washington" of which Lichten and Robacher wrote.

(Fig. 3) Measuring six-and-a-half by seven-and-a-half feet, it is carved in a manner "that can only be described as a kind of double faced bas relief.'The nearly life-sized man and horse are mounted on painted canvas, as is the carved foreground. The horse, in particular, with its leather harness and conflicting perspectives and textures, creates an illusion of overwhelming vitality and spirit.

Next to Washington is a seven-and-ahalf by nine-and-a-half foot panel on which a strong, flag-bearing Civil War

parison between Weiss and Schimmel is interesting in many ways. First, the two artists could not have led more divergent lives. While Weiss appears to have been well-liked, stable and successful, Schimmel was a solitary itinerant who created his art in payment for drink. His carvings were not considered particularly valuable during his lifetime.

Schimmel's carvings were generally small,and wrought with an economy of stroke. Weiss: on the other hand, were "as large as possible;'"9 never sold during his lifetime, and not created as a means of earning a living.

Wilhelm Schimmel is a household word in American folk art circles, while Weiss has been almost forgotten, leading one to wonder how he fell into oblivion, especially when Weiss has been written about so often and in such positive terms. It seems that the reason stems from the fact that so few of the carvings have been verified as his.

Most of his carvings were not signed, as they were not meant to be sold. Unlike Schimmel's often pocket-sized objects which needed little room for storage, Weiss' huge creations could not languish on a shelf. It is feared that some may have been destroyed for this reason.

Conflicting accounts of the auction also throw Weiss's work into shadow.

The local paper contends that the carvgeneral(thought to be Sheridan)rides a were not sold, or at least were not ings black flying maned, wild snorting, steed at the head of a column of auctioned off. The W.P.A. writerfor the mounted soldiers, as cheering com- county says that they were indeed sold at public auction, to Henry Ford and patriots and glum-faced confederates Persons states that Ford was not others. his and general The (Fig.4) on. look horse are made of painted,carved pine, present, though they were sold at aucand are mounted on a painted canvas. It tion. He goes on to add that Ford had come to Northampton when Howard is in his portrayal of animals, even Weiss was still alive, and made a purmore than people, that Weiss excels.

The physical strength and personality, chase offer on the carvings which was refused. too, of the creatures are rendered with Lastly, Schimmel carved the same sensitivity and conviction.

In any discussion of Pennsylvania types of objects time and time again— whittlers, Wilhelm Schimmel will in- parrots, eagles, tigers and dogs — making identification of his work relaevitably be mentioned. The com-

tively simple. Weiss, in contrast, carved many different themes for the embellishment of his Inn; his carvings are therefore less easily attributed.

Though questions remain, so does the magic of this remarkable carver.

The search continues for more examples of Noah Weiss' art, and if one can imagine the thrill of entering the strange and dramatic Curio Hall, then the excitement of Noah Weiss' works lives yet today.

Walter M. Ames is an artist, part-time writer and enthusiastic collector. Dana W. Fiske is an artist, musician and student of art history.

NOTES 1. Clarence Hornung, Treasury of American Design (New York: Harry N. Abrams Inc., 1950), p. 681.

2. John Joseph Stoudt, Early Pennsylvania Arts and Crafts(New York: A.S. Barnes & Co., 1964), p. 221.

3. John Joseph Stoudt, Decorated Barns of Eastern Pennsylvania (Plymouth Meeting, Pennsylvania: Mrs. C. Naaman Keyser, 1945), p. 27.

4. Francis Lichten, Folk Art of Rural Pennsylvania(New York: Charles Scribner and Son, 1946), pp. 87-88.

5. Ibid.

6. Ibid.

7. Earl Robacher, Old Stuffin Up Country Pennsylvania(Cranbury, New Jersey: A.S. Barnes & Co., 1973), pp. 232, 234.

8. Lichten, pp. 87-88.

9. Ibid.

10. Robacher, pp. 232, 234.

11. John W. Jordan, Historic Homes and Institutions and Genealogical and Personal Memoirs of the Lehigh Valley, Pennsylvania (New York: Lewis Publishing Co., 1905), p.

414.

12. Ibid.

13. Federal Writers Project—Work Project Administration, Commonwealth of Pennsylvania, Northampton County Guide (Easton, Pennsylvania: sponsored by Northampton County Historical and Genealogical Society, 1939), p. 112.

14. The Cement News, Northampton, Pennsylvania, September 3, 1907, p. 1.

15. Ibid., July 7, 1933, p. 1.

16. Ibid., April 23, 1937, p. 1.

17. Ibid., April 30, 1937, p. 1.

18. Lichten, pp. 87-88.

19. Ibid.

59

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Personal vignettes of folk artists, topical news, calendar, commentary, new finds and new directions in 20th century folk art.

0_ "La Catrina Calavera"by Pedro and Felipe Linares.

From the engraving by Jose Guadalupe Posada, 1852-1913. Papier Macho. 74" O.H. Mexico, 1984.

HOURS. WED. - SAT. 11 A.M. - 6 P.M. & BY APPOINTMENT 75 UNIVERSITY PLACE•NEW YORK, NEW YORK 10003•505-7272

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Amply illustrated. Five issues per year.

Standing Mustached Man, John Vivolo, 1976. Painted wood, height 291 / 2".

Send $9 to Folk Art Finder, 117 North Main, Essex, CT. 06426, Phone 203-767-0313

EIN/POWELL EPSTSt., New York, N.Y. 10013 22 Wooster

By Appointment(212)226-7316 Jesse Aaron Steve Ashby Peter Charlie William Dawson Uncle Jack Dey Antonio Esteves Howard Finster Victor Joseph Gatto S.L. Jones Justin McCarthy Sister Gertrude Morgan Inez Nathaniel Old Ironsides Pry Nellie Mae Rowe Jack Savitsky Mose Tolliver Luster Willis and others

Clementine Hunter 18 x 24 "Baptising", 1970

Photo: Benjamin Ades°

Alex A. Maldonado Ames Gallery features 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:

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Ames Gallery 2661 Cedar Street Berkeley, CA 94708 415 845-4949

AMES-GALLERY

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

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(319)643-2065 110 West Main,Box 340 West Branch,Iowa 52358 On Interstate 80

Send a self-addressed stamped envelope for our monthly Folk Art and Americana price list

An early 20th C.polychrome painted whirligig (30"x 18"x 18")

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Museum News

FALL ANTIQUES SHOW BENEFIT The seventh annual Opening Night Preview of the Fall Antiques show to benefit the Museum of American Folk Art will be held Wednesday evening, October 23,from 6 to 10 PM at the Passenger Terminal Pier, Berths 1 and 2 at West 50th Street and the Hudson River. The gala opening is being underwritten by THE AMERICAN EXPRESS COMPANY on behalfofAmerican Express Travel Related Services Company Inc., American Express Bank Ltd., Shearson Lehman Brothers Inc., IDS Financial Services Inc., and Fireman's Fund Insurance Corporation.

The theme for the 1985 Fall Antique Show, produced by Sanford L.Smith and Associates is "In Celebration/The American Frontier!' Highlighting the show is the exhibition "Windmill Weights: A Folk Art Frontier:' curated by Milt Simpson,collector and authority on windmill weights.

In keeping with the show's theme, the caterer for the evening gala, David Ziff Cooking, Inc., has explored the history of American frontier food and devised a menu drawn from the many ethnic groups who settled the midwest. Madderlake will recreate the wildflower fields of the prairie where windmills once dotted the land.

The Benefit Committee Co-chairmen are Cynthia V. A. Schaffner and Karen S. Schuster; Walking Tour Chairmen are Davida Deutsch and Helaine Fendelman; and other Benefit Committee Members include: Karen Cohen,Nancy Brown,Lucy Danziger, Suzanne Feldman, Irene Goodkind, Jana Mauer, Susan Klein, Barbara Johnson, Myra Shaskan, Kathy Steinberg and Maureen Taylor.

For the first time this year the Museum and THE AMERICAN EXPRESS COMPANY will sponsor a spectacular five-day trip to New York, "An American Celebration Travel Tour:' from October 23 â&#x20AC;&#x201D; 27, 1985. Included in the tour package are invitations to the preview benefit; tours of the show, Sotheby's, folk art galleries and collections; and special events at New York restaurants.

Tickets for the preview benefit are $85 per person; Patron tickets are $175 and include the benefit, a copy of Milt Simpson's book, Windmill Weights, a catalogue, and admission throughout the show. Tickets 64

may be purchased at the administrative offices of the Museum, 55 West 53rd Street, New York, NY 10019, 212/581-2474.

For information about THE AMERICAN EXPRESS COMPANY tour call 1/800/544-3200.

SYMPOSIUM The Education Department is offering a special three-day tribute to the early folk art collectors, Colonel Edgar William and Bernice Chrysler Garbisch.It will be held in conjunction with the exhibition "Naive Paintings From the National Gallery of Art!' a portion of the Garbisches' collection.

The weekend symposium, to be held November 15 to 17, 1985 will include indepth curatorial analyses of many works of art collected by Colonel and Mrs. Garbisch.

It will reveal the Garbisches through their home, Pokety Farms on the Eastern Shore of Maryland, and through personal anecdotes related by museum directors and curators, dealers and friends. The symposium will also provide insight and information on the holdings of various museums that have benefited from their generosity, including the Chrysler Museum, the Metropolitan Museum of Art and the National Gallery of Art;the course of many oftheir works of art through auction; and some favorite objects now owned by private individuals. There will be an opening night reception, illustrated lectures and a curatorial tour of the Museum's exhibition.

FOLK ART INSTITUTE The Museum of American Folk Art announces the establishment of the Folk Art Institute which will offer new opportunities to develop connoisseurship in the field of American folk art. The institute, administered by Barbara Kaufman,Assistant Professor of Art History at Seton Hall University, will offer an unprecedented series of lectures covering the fields of folk art, folklore, material culture, and folk life, as they relate to the broader American art experience.

Open to the public at large, these lectures will be offered on an individual basis or as part of a formal 36-credit course of study leading to a museum certificate in American folk art. Four three-credit courses will be offered each semester. Courses will be rotated to allow a student to earn a certificate within an 18 month period.

Tuition for the institute is $75 per credit.

Individual lectures are $8 each. Tuition will be waived for a select group of docents prepared to commit themselves to a work/ study program at the museum. A scholarship fund in memory of Bruce Johnson, former director of the museum, has been established through the generosity of Barbara Johnson, a member of the Board of Trustees.

For a complete listing of lectures, or more information, please contact the Museum at 212/581-2474.

SPRING DANCE

Still Life: Fruit, Bird and Dwarf Pear 'free; Charles V Bond;1856; oil on canvas;25" x 30"; Collection ofthe National Gallery ofArt, Gft of Edgar William and Bernice Chrysler Garbisch.

George the Tortoise had to wait 184 years for his coming out party, but what a splendid affair it was. On May 20, 1985, under the stars at the Summer Garden of the American Festival Cafe in Rockefeller Center, friends of the Museum danced to the tunes of Blackwater, dined on the culinary creations of Restaurant Associates, and cheered the entertainment provided by choreographer Geoffrey Holder and his dancers.

George the Tortoise, a former member of Queen Victoria's court who now resides in New Jersey with Trustee Barbara Johnson, was feted to celebrate the opening of "Terrapins, Tortoises and Turtles!' a loan exhibition of 19th and 20th century folk turtles and

BURT MARTINSON GALLERY DEDICATION This spring the Museum dedicated the Burt Martinson Gallery,its firstendowed gallery.

The following remarks were taken from Paul Martinson's welcoming address:

Choreographer Geoffrey Holder and Museum Trustee Barbara Johnson. related creatures from the collections of George H. Meyer of Birmingham, Michigan and Herbert W. Hemphill, Jr., Trustee Emeritus of the Museum of American Folk Art. Chairman for the gala benefit was Trustee Susan Klein, aided by Trustees Karen Cohen, Cynthia V. A. Schaffner, Karen Schuster and Bonnie Strauss.

"I would like to take you on a briefretrospective to 1960, 25 years ago, when an entirely different cultural and aesthetic climate prevailed. It was then that my cousin and dear friend Burt, together with Adele Earnest, decided to establish in New York City a—ofallthings—Museum ofAmerican Folk Art. "Burt had already given vital sponsorship to the New York Shakespeare Festival, the New York City Ballet, the City Centre, and the Dance Theatre ofHarlem— organizations well suited to the sophisticated Sixties. But the naive, spontaneous charm which we call folk art had not yet

attained general acceptance.

"However, in the ensuing years Burt's dream and vision have materialized to a degree which he never remotely anticipated. And this miracle has been accomplished by you, Burt's successors—many of whom he did not even know!

"It is with great pleasure and pride that we dedicate this Gallery of the Museum of American Folk Art to the memory of Burt Martinson, who made it all possible:'

CORRECTION In the checklist of the Benjamin Greenleaf article in the Spring/Summer 1985 Clarion, the ownership of number 8 should read "Private Collection!' In number 9,the date of Elizabeth Clement Wiggin's death should read "May 24, 1782, aged 317 Sarah Holt Wiggin died October 31, 1824, aged 65

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67

Our Increased Membership Contributions January—April 1985

We wish to thank the following members for their increased membership contributions and for their expression of confidence in the Museum: Paul Anbinder, New York, NY Jo Rutan Ashby, Columbus, OH Mr. & Mrs. Ronald Atkins, Bedford, NY Linda Beazley, Pottstown, PA Judith Boles, New York, NY M.J. Biscontini, New Tripoli, PA Ronald Bourgeault, Hampton, NH Mr. & Mrs. Edwin C. Braman, St. Paul, MN Priscilla Brandt, New York, NY Michael Braun, New York, NY Edward J. Brown, New York, NY Don F Carlson, Bloomfield Hills, MI Lillian Ahrens Carver, New York, NY Leslie & Paul Cooper, New York, NY Stephen H. Cooper, New York, NY

Pie Galinat, New York, NY Mr. & Mrs. Merle H. Glick, Pekin, IL Mrs. Robert Goodkind, New York, NY Margaret Casey Gould, Scarsdale, NY Carole M. Guyton, Tampa, FL George E. Hammon, Georgetown, OH John Heminway, New York, NY Travis L. Hemlepp, Brooklyn, NY Renee L. Hertz, New York, NY Robert M. Hicklin, Jr., Spartanburg, SC Anne I. Hills, Stockton, NJ Mrs. Phillip Howlett, Greenwich, CT Anne & Fred Kantrowitz, Dover, MA Sunny Sue Kaynor, Bellevue, WA Mr. & Mrs. Steven Kellogg, Sandy Hook, CI' Mr. & Mrs. Jerome H. Kern, New York, NY Mr. & Mrs. David Krashes, Princeton, MA

Heidi England, Kingwood, TX

Mr. & Mrs. H. Levine, Goshen, NY Stanley A. Lewis, New York, NY Mr. & Mrs. James Lieu, Jamaica Estates, NY

Burton & Helaine Fendelman, Scarsdale, NY Diane Fogg, New York, NY William Frantz, Malden Bridge, NY Mr. & Mrs. Herbert B. Fried, Glencoe, IL Mr. & Mrs. James Frink, Nacogdoches, TX

Mr. & Mrs. Robert Marcus, Palm Beach, FL Mrs. Wilson McConnell, Westmount, Canada Mrs. Mark McGrath, Winnetka, IL James Meyer, Wyncote, PA Penny Murphree, Houston, TX

Mrs. Charles P Neldig, Haverford, PA Mr. & Mrs. Donal C. O'Brien, Jr., New York, NY Mrs. H. Oppenheimer, Johannesburg, South Africa Geraldine M. Parker, Mayville, NY Donna Penyak, New York, NY Nancy D. Pluckhan, Dunwoody, GA Mr. & Mrs. EE Randolph, Jr., New York, NY Mr. & Mrs. Richard Ravitch, New York, NY Mrs. R. Reunart, Johannesburg, South Africa Joseph B. Rosenblatt, New York, NY Willa Rosenberg, New York, NY Leslie & Ronald Rosenweig, Short Hills, NJ Frederick G. Ruffner, Jr., Detroit, MI Mary Jane Rybum, Dallas, TX Mrs. Joel Simon, Montclair, NJ Cynthia Sinclair, New York, NY Robert C. & Patricia A. Stempel, Bloomfield Hills, MI Joan Sutherland, Westmount, Canada Phyllis Tepper, Valley Stream, NY Mary W. Williams, Rutherford, NJ

Our Growing Membership January—April 1985

The Museum trustees and staff extend a special welcome to these new members: Judi Acre, Arvada, CO Marshall Acuff, Riverside, CT Linda Adams, New York, NY Michael Adams, Jamaica, NY Edward G. Albee, Easton, PA Adrienne Albert, New York, NY Jean Rill Alberto, West Nyack, NY Mary Aldridge, Fairview, NJ Elizabeth S. Allen, New York, NY Dorothy Anderson, Brooklyn, NY Malcolm Andrew, New York, NY Marie T. Annoual, New York, NY Jane G. Aprill, New Orleans, LA Barbara Archer, Atlanta, GA Barbara & Michael Axel, New York, NY Mary Bagley, Columbus, OH Linda Sue Bailey, Morrill, KS Cynthia D. Baker, Niles, MI Linda Z. Bamforth, Norfolk, VA Mrs. Paul Banning, Modoc, IN Roslyn Barnes, New York, NY Bonnie Jean Barrett, Scottsdale, AZ 68

Charlene L. Barringer, East Grand Rapids, MI Robert N. Bartlett, S. Newbury, VT David C. Batten, Locust Valley, NY Kathryn Bauer, Chatham, NJ Mr. Francis Bealey, Essex, CT Carol Ann Bender & Yasuo Kubota, South Salem, NY Susan Benton, Palo Alto, CA Vilma E Bergane, New York, NY Melvin J. Berman, Alexandria, VA Beverly Bemson, Waban, MA Rakhel Biller-Klein, Alberta, Canada Sarah Black, Northampton, MA John W. Blair, Granville, OH Mr. & Mrs. A. Bleviss, Short Hills, NJ Barbara Blumenthal, Northampton, MA Mr. & Mrs. Duncan E. Boeckman, Dallas, TX Tim J. Bookout, Atlanta, GA Maureen C. Bordiuk, Maplewood, NJ Mrs. Gary L. Boshears, Lake Oswego, OR Marianne Bosshart, New York, NY Mr. Louis W. Bowen, New York, NY Mr. & Mrs. Terrance J. Boylan, Marblehead, MA Judith A. Bradshaw, Chatham, NJ Mrs. Konrad Braun, Kingston, RI Karey Bresenhan & Nancy B. Puentes,

Houston, TX Mrs. Bruce A. Brickley, Hudson, OH Dr. D. Lydia Bronte, New York, NY Anne & Peter Brookes, Millington, NJ Brenda A. Brown, Jackson Heights, NY Frances Currey Brown, Berryville, AR Patricia Lucy Brown, Saddle River, NJ Jacque Browning, Brooklyn, NY Mrs. John A. Bryant, Grosse Pointe City, MI Audrey P Burdick, Briarcliff Manor, NY Cipe Pineles Burtin, Stony Point, NY Mr. & Mrs. Robert Bush, Morristown, NJ Jane Butterfield, Hancock, NH Elizabeth L. Cabot, New York, NY Joseph J. Cacciatore, Leonia, NJ Mrs. Patty Cadwgan, Acton, MA Richard W. Carlson, Salem, MA Frances Carnahan, Harrisburg, PA Mrs. James W. Carr, Whippany, NJ Catherine A. Carroll, Oceanside, NY Bob Carter, West Middletown, PA Deborah Cass, Ontario, Canada R.E. Cassell, Jr., West Columbia, SC Peter P Cecere, New York, NY Dora C. Chaffin, Virginia Beach, VA Francis Chen, Taipei, Taiwan

Our Growing Membership

Suse Cioffi, Bogota, NJ Janis L. Clark, Houston, TX Callie Coburn, Chicago, IL Carolyn J. Cohen, New York, NY Theodore H. Cohen, Oakland, CA Mr. & Mrs. Lewis G. Cole, New York, NY Joan M. Comanor, Springfield, VA Laura H. Conley, Birmingham, AL Helen S. Connelly, Littleton, CO Michael Connors, New York, NY Ms. Caroline Considine, Lexington, MA Kacey Constable, Brooklyn, NY Kathy Cooper, Brooklyn, NY Country Things, Ltd., Ann Arbor, MI Verda Cousineau, Wood Ridge, NJ Maggie Cox, South Bend, IN P.L. Crafts, Jr., Morristown, NJ Margaret W & Robert B. Craig, Wyckoff, NJ Douglas Creighton, Southold, NY B. Claire Crouch, New York, NY Bonnie M. Cullen, New York, NY Dr. & Mrs. Burke Cunha, Garden City, NY Nancy Dahlstrom, Oak Park, IL Cecilia W. David, Maplewood, NJ Mrs. Anna E. Day, Chatham, NJ Tomie De Paola, New London, NH Sharon Dell Eaton, Fresno, CA Jean B. & Mark S. DeVito, Stamford, CT Dorothy DeWaters, Staten Island, NY Mary Dickinson, Redondo Beach, CA Barbara W Disston, Stamford, CT June S. Dolberg, Bronx, NY Mrs. E. Jeanne Donovan, Framingham, MA Lisa Domfeld, Oakland, NJ Peggy & Catherine Downer, Westfield, NJ Anne Downing, Eagle Pass, TX Alan Dubin, New York, NY Frank Durfey-Chalon, Staten Island, NY Alan & Gayle Eckstein, Scarsdale, NY Ms. Gloria Elliott, Westbrook, CT Doris Walton Epner, Brooklyn Heights, NY Ada Reif Esser, New City, NY Arlene & Stanley Fader, Woodcliff Lake, NJ Alice Fahs, Brooklyn, NY Jacqueline M. & Stephen Fenton, New York, NY Daryl Cheryl & H. Terry Ferber, Upper Saddle River, NJ Irene M. Feuerstein, New York, NY Dr. & Mrs. A. Figur, New Rochelle, NY Charlotte A. Fisher, New York, NY Christine Flaherty, Darien, CT Laura M. Flanigan, Secaucus, NJ Peggy Flaum & Steve Steigman, New York, NY Kathie Florsheim, Providence, RI Robert J. Flynn, M.D., Clifton Park, NY Theresa Forsman, New York, NY Dr. James L. & Judith Fosshage, Demarest, NJ Catherine A. Foster, Arlington, VA Marcia G. Fuchs, Old Lyme, CT

Mavis Fulton, Portland, OR Frederick M. Gallagher, Hackettstown, NJ Ann M. Gallop, New York, NY Daniel M. Gantt & Suesanna K. Voorhees, New York, NY George & Sandra Garfunkel, Great Neck, NY Dr. Annette M. Gero, Cremome, Australia Louise A. & Ann Dawson Gilmore, Gwynedd Valley, PA Mrs. Maria Giuliano, Middletown, CT Dr. & Mrs. Marvin L. Gliedman, Atlantic Beach, NY Mrs. Ruth R. Goddard, New York, NY Marilyn Gold, Providence, RI R.J. & Karen B. Goldberger, Pittsburgh, PA Ms. Gloria Goldstein, Greenwich, CI' Harriet Wohl Goldstein, New York, NY Joel Goldstein, Ringwood, NJ Mary Kay Good, Magma, UT Marie Gottshall, Womelsdorf, PA Mrs. George G. Grattan IV, Earlysville, VA Thomas E. Graves, Minersville, PA Claire Prager Greeley, Middleburg, VA Sarah A. Green, Hopkinton, MA Theodore S. Green, New York, NY Susanne Greenblatt, Hoboken, NJ Mary R. Guettel, New York, NY Mimi Gunn, Chatham, NJ Mr. & Mrs. Irwin Guttag, Mamaroneck, NY Larry Hackley, North Middletown, KY Melissa Halpern, New York, NY Robin Halpren-Ruder, Providence, RI Sandra Handloser, New York, NY Ingrid E. Hanzer, Los Angeles, CA Harcomm Associates, Inc., Cambridge, MA Lila Harnett, New York, NY Barbara Hathcock, Fort Smith, AR Patricia E. Hatter, Parlin, NJ Bettie R. Hawkins, Signal Mountain, TN William P. & Connie H. Hayes, Belleville, PA Elaine Heifetz, New York, NY Catherine Henderson, Ontario, Canada Bibiana & Nicholas Heymann, New York, NY Mr. & Mrs. Burdin H. Hickok, New York, NY Sharon C. Hicks, Miami Springs, FL Margaret C. Higgins, Del Mar, CA Reid Higgins, Cotuit, MA Mr. & Mrs. A. Holden, Brooklyn, NY Beatrice L. Hole, Dallas, TX Stacy C. Hollander, New York, NY Barbara Horvath, Muntelier, Switzerland Mrs. Jacob R. Hostetter, Basking Ridge, NJ Mrs. Ellen D. Houck, New York, NY Teri L. Howard, Glendale, CA Anne Howden, Westport, CT Lois Howe, East Northport, NY Doris E Hughen, Little Rock, AR Ann S. & Earl M. Hughes, Jr., Woodstock, IL Asta Ingle, City of Commerce, CA Ms. Joseph Irenas, Princeton, NJ Margaret C. hey, Boyertown, PA

Laura N. Israel, Kings Point, NY Janis Ito, Berkeley, CA Alice L. Johnson, New Providence, NJ Mrs. B.E Kahn, Bethesda, MD Mrs. Lorraine Kallman, Ridgewood, NJ Lois Kay, South Orange, NJ George Potter Kegler, Barto, PA Ken Kercheval, Los Angeles, CA Mrs. David L. King, Akron, OH Jon E. King, San Francisco, CA Melanie E. King, Englewood, NJ Ms. Jean Klarich, San Francisco, CA Beth Kneisel & Ed Krumeich, Greenwich, CT Mrs. F.C. ICniesler, Jr., Rumson, NJ Robert W. Knox & Associates, Los Gatos, CA Howard & Deborah Kohn, Silver Spring, MD Anne Konig, Hudson, NY Lori A. Korsmo, New Haven, CT Douglas Krienke, Basking Ridge, NJ Richard Krinsky, Boston, MA Brenda Kuhn, Cape Neddick, ME Kevin Landers, New City, NY Ms. Ann C. Lapham, New York, NY Mr. Mateo Lettunich, New York, NY Sanford Levin, New York, NY Howard & Suzanne Levime, New York, NY Mary E. Ley, Austin, TX Susan Liebling, Mount Vernon, ME Betty H. Lilienthal, Los Alamos, NM Mrs. Cynthia Lindsay, Malibu, CA Mr. Jeffrey Long, Winnetka, IL Patricia Z. Long, Lutherville, MD Susan E. Lowenberg, Chicago, IL Mr. & Mrs. McNeil Lowry, New York, NY Beverly Ludwig, Wyckoff, NJ Dr. Lawrence R. Ludwig, Haddonfield, NJ Patricia Ann Lundak, Lincoln, NE Edie Lysaght, Fairfax, VA Barbara C. & David MacDonald, Chicopee, MA Carol Ann Mackay, Excelsior, MN Mr. Robert Madden, Nantucket, MA Jane Made11, Yonkers, NY Lynne M. Maguire & William I. Miller, Columbus, IN Ms. Jean Mann, New York, NY Karlene Margolis, New York, NY Mrs. Nancy Markezin, Cincinnati, OH Mary Ann Marrone, Bronxville, NY Carol L. Martin, Cohasset, MA Jean P Martin, Richmond, VA Jacqueline Martine, Florence, NJ Oveda Maurer, Ross, CA Ruth Rothbart Mayer, New York, NY Judy Mayeux, Arlington, VA Mrs. Patrick J. McAward, Jr., Bedford Hills, NY Joan McCabe, Chicago, IL Miss Patricia McCabe, New York, NY Frasier W.& Holly R. McCann, New York, NY 69

Our Growing Membership

Kristina McCormack, Brooklyn, NY Sam McDowell, Carmel, CA Mia McEldowney, Seattle, WA Carol McGurin, Franconia, NH Elizabeth L. McKeever, Staten Island, NY Mr. & Mrs. Tom & Peggy McNutt, Orlando, FL Mr. & Mrs. Edward McSweeney III, New York, NY Alan M. Meekler, New York, NY Donna Mega, Iselin, NJ Lynn Meiners, East Lansing, MI Ms. Jean Mellanby, Cambridgeshire, England Latona G. Merchant, Chicago, IL Lawrence Merkle, Pasadena, CA Laura Metty, South Attleboro, MA Kim Meyer, Guilford, CT Conrad C. Miller, Jr., Hilton Head, SC David Miller, Jr., Marietta, GA James G. Miller, Tuckahoe, NY Nancy Miller, Essex Junction, VT Yaroslava S. Mills, West Nyack, NY Jennifer E. Mischner, Princeton, NJ Elizabeth B. Mochel, Storrs, CT Catherine Molleck, Golden, CO Margaret & Anthony Mondoro, South Plainfield, NJ Douglas E. Moran, New York, NY Phyllis Moriarty, Pleasant Valley, NY Erik Moskowitz, Lake Forest, IL Elizabeth Mumford, Hyannis Port, MA Pamela Myers, Watsonville, CA Margery Nathanson, New York, NY Lee Niedringhaus, New York, NY Mr. Lee Nordness, New York, NY Mary M. Norrish, Groton, MA Rosemarie Terry Norton, Oradell, NJ Patricia J. Novak, Ocean City, NJ Mary K. O'Hem, San Francisco, CA Mr. James O'Shea, Abbeyfeale, Ireland Helen L. Offner, New York, NY Barbara J. Olsen, Pleasanton, CA Mr. William Orr, Maitland, FL Lyman Orton, Manchester Center, VT John D. Owen, Garden City, NY Nellie Park, New York, NY Carol A. Paul, Edmond, OK B. Diane Ulmer Pedersen, Philadelphia, PA Marsha Pence, Louisville, KY Luis Perelman, Carlisle, MA Sue A. Perfett, Sharpsville, PA Patricia Perito, Harrison, NY Marguerite Phillips, Inc., New York, NY Robert L. Phillips, Mamaroneck, NY Paul Pilgrim & Gerald Roy, San Francisco, CA Nancy C. Pitcairn, Larchmont, NY Bernard G. Plomp, Richland, MI Deborah Plotz-Pierce, New York, NY Joyce Poffenroth, Edmonds, WA Maude Prall, Cedarburg, WI Mary Ann Putnam, Syosset, NY

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Linda Quinn, Los Angeles, CA Richard M. Rasnick, Madison, WI Marilyn Redfield, New York, NY Marjorie G. Redpath, Summit, NJ Mr. F Michael Reilly, New York, NY Ruth E. Richter, Denver, CO Lynda Johnson Robb, Richmond, VA Malcolm A. Rogers, Jr., Riverhead, NY Deborah Ronnen, Rochester, NY Cordelia Rose, New York, NY Pamela Ross, New York, NY Anne Elizabeth Rowe, Danbury, NH Rowe Pottery Works, Inc., Cambridge, WI Phyllis Rowley, New York, NY Ann Martha Rubin, Washington, DC Mrs. Frances E. Rushton, Haddonfield, NJ Joyce & Joseph Russo, New York, NY Bo Sabaneta, Mercedita, PR Terri Salvatore, Oakland, CA Barbara J. Sammons, Mesa, AZ Thea Sanborn, St. Paul, MN Mr. & Mrs. Edward F Sanderson, Providence, RI Susanne S. & Robert W. Sanderson, Mountainside, NJ Herman & Carol Sue Sandler, New York, NY Jill S. Sandler, New York, NY Mrs. Madeline Sandner, Hasbrouck Heights, NJ Carol Ann Santosus, New Canaan, CT Mr. & Mrs. John Schadler, Jr., Short Hills, NJ Mr. & Mrs. Bernard Schaefer, New York, NY Bertram Schaffner, M.D., New York, NY Jane R. Schafrann, Croton-on-Hudson, NY Alma Scher, New York, NY Peter B. Schiffer, Exton, PA Judy & Otto Schmid, Morristown, NJ Beverly A. Schmidt, New York, NY Carolyn Schmidt, Plymouth, MN Irving & Anne K. Schneider, New York, NY Mary & Steve Schneider, New York, NY Gloria Schofner, New York, NY Mrs. Joseph H. Schubert, Upper Montclair, NJ Jill M. Schuck, Saddle River, NJ Bernard Schulak, West Bloomfield, MI Mr. Martin B. Schulter, San Jose, CA Mrs. Eve Susan & Robert Thomas Schwartz, Maspeth, NY Liz Shearer, Rancho Mirage, CA Christina Shmigel, Brooklyn, NY Janet Shure, Chicago, IL Katharine D. Siege, San Antonio, TX Mr. Randy Siegel, Atlanta, GA Eleanor PH. Sienkiewicz, Washington, DC Alan Silverstone, Orinda, CA Monica Singer, New York, NY Pat Haynes Sislen, Wood-Ridge, NJ Dr. L.H. Sitwell, Vineyard Haven, MA Avis W. Skinner, New York, NY Margaret Smeal, Allendale, NJ Elaine D. Smith, Brooklyn, NY Joyce B. Smith, Gray, TN Mrs. Linda Smyth, Elizabethtown, NY

Yvonne Snell, Toledo, OH Sandra L. Snoke, Elkhart, IN Richard L. & Stephanie Solar, New York, NY Mr. & Mrs. William R. Soons, Cresskill, NJ Nancy Spencer, Cuttingsville, VT Christopher Stapleton, Brooklyn, NY Helene R. Steinhauer, New York, NY Mr. & Mrs. Burt Stern, Brooklyn, NY Mr. & Mrs. Paul Sternbach, New York, NY Janet E. Stetson, Corrales, NM Pamela Stevenson, New York, NY Margery N. Striegler, Sherman Oaks, CA Sally K. Stroker, Allendale, NJ John Stunner, New Rochelle, NY Mr. & Mrs. Thomas P. Sullivan, Westlake Village, CA Jean Sulzberger, New York, NY Evelyn K. Swartz, Dumont, NJ Deborah G. Szarka, Concord, MA Myrna Tatar, Cleveland Heights, OH Frederic I. Thaler, Cornwall Bridge, CT Camilla Thayer, Bedford, NY Larry B. Thomas, Atlanta, GA Kathleen Thompson, New York, NY Holly Tigard, Albany, CA Carol Timpanelli, Trumbull, CT The Toy Shop of Concord, Concord, MA Patricia Tucker, Wellesley Hills, MA Sharron G. Uhler, Kansas City, MO Gary R. Ulmer, Troy, PA Lynn VanMatre, Chicago, IL Mrs. Virginia V. VanRees, Chappaqua, NY Susan Vik, Mound, MN Beverly Voytko, Ramsey, NJ Dee Wagner, Brookfield Center, CT Ruth Ann Waite, New York, NY Sharon Walker, Beverly Hills, CA Martin A. Wall, Washington, DC Alexandra Wallner, Woodstock, NY Mrs. J. Marshall Weaver, Atlanta, GA Mark J. Weiss, M.D., Tulsa, OK Lillian S. Weller, Charlotte, NC Mrs. H.H. Werner, Lincoln, NE Mr. & Mrs. John Wezmar, New York, NY Hazel F Wharton, Grand Rapids, MI Madeline J. Williams, Stockton, NJ David Wixson, Alamo, CA Meg Wolf, New York, NY Kay H. Wolfe, Minneapolis, MN Mrs. William E. Woodroof, Sherman Oaks, CA Anne W. Worthington, Tequesta, FL Judith L. Wynbrandt, New York, NY Mrs. Robert L. Young, Carmel, IN Susan S. Zabriskie, Watertown, NY Alice A. Zaccarello, Mesquite, TX Patricia A. Zagarino, Forest Hills, NY Edith Zamost, Highland Park, NJ Jon Zoler, Ridgewood, NJ

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JAY JOHNSON America's Folk I kritage Gallery

1044 Madison Avenue New Ibrk, N.Y 10021 Thesday through Sat urdm; noon-6 p.

(212)628-7280

Brooklyn Bridge 1983

by Milton Bond Reverse painting on glass 25"x 31"

"American Folk Art ofthe Twentieth Century" providing biographical and artistic information for over 100 artists illustrated in color.

Price $45.00 + $3.00 shipping.

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Susan Niles 71 E. G. H. Peter 25 Random House 71 Ricco-Maresca 23 Sheila & Edwin Rideout 15 Rowe Pottery Works 67 John Keith Russell Inside Back Cover The Scarlet Letter 67 David A. Schorsch 16 Sotheby's 2 Sturbridge Antiques 63 Sweet Nellie 67 Whistler Gallery 14 Thos. K. Woodard 4 Shelly Zegart 10

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A selection of painted woodenware and pottery from our current inventory of 18th and 19th Century American furniture, Shaker, and the Decorative Arts.

utside, the snow is falling, soft, white flakes blanketing the ground. The children tumble in, rosycheeked, to warm themselves at the fire.

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Tomorrow there will be reindeer hoof prints on the snowy roof.

The Liberty Tree is located at 128 Spring Street, Newport, Rhode Island;(401) 847-5925.