The Clarion (Spring 1980)

THE CLARION AMERICAS FOLK ART MAGAZINE

The Museum of American Folk Art New York City

SPRING I Q80

woodstock, n.y. 12498

by appt.

(914) 679-8696

edmund I. fuller

19 East 76th Street, New York, N.Y. 10021 ALLAN L. DANIEL DOROTHY J. KAUFMAN 212-794-9169 • Tues.-Fri. 11-6 Sat. 12-5

AMERICAN FOLK ART GALLERY

AMERICAN ANTIQUES6&QUILTS 1022 LEXINGTON

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AVENUE, NEW YORK, N.Y.10021 PH0NE:(212)YU 8-2906

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.411,400‘74-vvy

We wish to purchase rare and unusual pictorial quilts and textiles. Photographs promptly returned.

THE CLARION

ET411 CONTENTS / Spring 1980 Cover Illustration: The identity cf the subject (this painting is in question. Originally believed to be a portrait o"Eliza Anthony Brownell, current research indicates that the subject more probably is Rebecca Delano.

Circa 1829. Oil on Canvas. 3210.1" x 281/e.

The Clarion, America's Folk Art Magazine, Spring 1980. Published quarterly and copyright 1980 by the Museum of American Folk Art, 49 West 53rd Street, New York, New York 10019. The cover and contents of The Clarion are fully protected by copyright and may not be reproduced in any manner without written consent. Unsolicited manuscripts or photographs should be accompanied by return postage. The Clarion assumes no responsibility for the loss or damage of such material.

Change of Address.

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

Advertising.

The Clarion accepts advertisements only from advertisers whose reputation is recognized in the trade, but despite the care with which the advertising department screens photographs and texts submitted by its advertisers, it cannot guarantee the unquestionable authenticity of objects or quality of services advertised in its pages or offered for sale by its advertisers, nor can it accept responsibility for misunderstandings that may arise from the purchase or sale of objects or services advertised in its pages.

Letter from the Director

Dr. Robert Bishop

5

John Blunt: The Man, The Artist, and his Times American Baskets

Judith A. Jedlicka

Gentlemen Carvers of Connecticut

Dr. Robert Bishop

20

40

Dixon Merkt

A Good Friend of the Museum—Effie Thixton Arthur

46 Jean Lipman

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European Folk Art Museums Folk Arts in Norway: Focus on Norsk Folke museum in Oslo Marsha MacDowell, C. Kurt Dewhurst 54 Noteworthy Items

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Colonial Williamsburg Given Furnishings of Basset Hall Old Sturbridge in an "Experiment in History" Fires 19th-Century Brick Kiln Greenfield Village and Henry Ford Museum Announces Publication of 50th Anniversary History The Library of Congress Releases "Songs of Death and Tragedy," The Final Volume of Folk Music in America Request for Aid in Identifying Table Folk Art Calendar Across the Country Exhibitions at the Museum

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Upcoming Events at the Museum

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The Museum of American Folk Art's Annual House Tour Gala 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.

English Naive Painting, First American Tour of the Kalman Collection Report on the Docent Committee Book Reviews

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66

Report on the Friends Committee

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Recent Additions to Museum Collections Our Growing Membership Index to Advertisers

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71

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Museum of American Folk Art

BOARD OF TRUSTEES

MUSEUM STAFF

Officers Ralph Esmerian, President Alice M. Kaplan (Mrs. Jacob M.), Executive Vice- President Lucy Danziger (Mrs. Frederick M.), Vice-President Jo Lauder (Mrs. Ronald), Vice-President Maureen Taylor(Mrs. Richard), Vice-President Frances Sirota Martinson, Esq., Vice-President and Secretary William I. Leffler, Treasurer Karen S. Schuster(Mrs. Derek)

Dr. Robert Bishop, Director Patricia L. Coblentz, Assistant Director Laura Byers, Exhibition Coordinator Susan Flamm, Publicity Coordinator Lillian Grossman, Secretary Nora Lucas, Managing Editor, Publications Anne Minich, Development Coordinator Dia Stolnitz, Museum Coordinator Oscar Brown, Jr., Clerk Marilyn Glass, Chairman Friends Committee

Members Alice Burke (Mrs. James E.) Catherine G. Cahill Phyllis Collins Adele Earnest Barbara Johnson, Esq. Margery G. Kahn (Mrs. Harry) Theodore H. Kapnek Jana Klauer(Mrs. Gerold EL.) Susan Klein (Mrs. Robert) Ira Howard Levy Elizabeth J. McCormack Cyril I. Nelson Kenneth R. Page, Esq. Diane Ravitch (Mrs. Richard) Thomas G. Rizzo Andy Warhol William E. Wiltshire III Trustees Emeritus Mary Allis Marian W. Johnson (Mrs. Dan R.) Louis C. Jones Jean Lipman (Mrs. Howard)

EDUCATION PROGRAM Suzanne Stern, Education Coordinator Susan Klein and Dorothy Kaufman, Docent Training Coordinators Phyllis Tepper, Marie DiManno, and Heather Hamilton, Outreach Coordinators Cynthia V.A. Schaffner, Correspondence Coordinator Priscilla Brandt, Field Trips and Seminars Lucy Danziger, Docent Program Consultant THE MUSEUM SHOP STAFF Elizabeth Tobin, Manager Kevin Bueche Sally Gerbrick Kay Mahootian Phillida Mirk Ashey Durham Osman Nancy Scaia Edwin Trent, Intern THE CLARION STAFF Patricia L. Coblentz, Editor Nora Lucas, Managing Editor Helaine Fendelman, Advertising Manager David Gordon, Art Director Ira Howard Levy, Design Consultant Ace Typographers, Inc., Typesetting Topp Litho, Printers

1. From bottom. Museum member Joyce Cowin, Trustee Lucy Danziger, and member Daniel Cowin on our new stairs at gathering on acquisition day.

2. Trustee Frances S. Martinson in our new home.

4

Letter from The Director The Museum of American Folk Art continues its development of long range plans in numerous ways. On November 16, 1979, the Board of Trustees completed the acquisition of 45 and 47 West 53rd Street—a dramatic move which is a major step toward a permanent home for the Museum.

Feasibility studies are being conducted for the use of the newly acquired space. 'frustees, staff, docents, and members of the Friends Committee celebrated at an impromptu gathering on the day of the acquisition of the buildings. We will announce further plans as soon as they are formalized. Visitors to the Museum should plan a few moments to drop by the temporary administrative offices immediately adjacent to the exhibition facilities.

The staff will be delighted to welcome you to their new accommodations.

Folk art enthusiasts were saddened to hear of the deaths of Col. Edgar William Garbisch and Bernice Chrysler Garbisch, pioneer collectors in the field. The couple had gathered nearly 3,000 early American paintings and numerous other examples of folk art since the 1930s when Mrs. Garbisch first became interested in the field. Though partial disbursement of the collection, through gifts to major national museums and through sales at auction, has occurred, their collection holdings at the time of death were extensive and impressive. The Garbisch collection is earmarked for the National Gallery of Art where it will augment holdings of some 200 paintings given by the Garbisches in 1954.

Long-time Museum friend and supporter, Effie Thixton Arthur, recently passed away.

Her generosity to the Museum of American Folk Art in the form of a bequest is detailed in an article by Jean Lipman, Trustee Emeritus and the woman responsible for suggesting to Mrs. Arthur that our Museum

be the repository of her collection. Additional information about this important gift is included elsewhere in The Clarion in an article by Exhibition Coordinator, Laura Byers.

In spite of our tight space, exhibitions continue to inspire enthusiastic response from the visiting public. "The Shakers in New York State:' which closed on November 21, 1979, and "The Art of the Weathervane:' which closed on February 24, 1980, were both huge critical successes and attracted large numbers of viewers.

Educational activities continue to expand in many ways. Plans for the graduate program presented in conjunction with New York University have been formalized.

Those wishing registration information should contact Professor Paul Baker, Associate Professor of History, New York University, 19 University Plaza, New York, New York 10003, at 598-3322. Efforts to reach the community-at-large have led to several new programs. The docents organized a lecture series at Cooper-Hewitt presenting talks on various aspects of the folk art world. The Museum achieved new visibility on an international basis through a special lecture series for the wives of diplomats at the United Nations. This program by Museum- Docent Pilar Zuleta was initiated on January 16, 1980 with a presentation, "Folk Art; The Heart of America." Subsequent lectures were: "The Woman Folk Artist and Her Contributions to Society:" "To While Away the Time: Marine Folk Art:" "An Act of Love: Toys for Children:" and "American Folk Sculpture: The Influence of Folk Art on the Modem Artist."

The enthusiastic support for the Museum on the part of the countless dedicated volunteers cannot be overemphasized. The contributions of Susan Flamm, press coor-

Photos— Dia StoItutz

dinator, have been outstanding. Her fine efforts to bring the Museum's activities to a national audience have been immensely successful.

Another volunteer, Mrs. Viola Nieman who works in the Museum shop, was recently asked by a potential member from outside the United States, why membership in the Museum would be worthwhile to her.

Mrs. Nieman, who assists Elizabeth Tobin, our book store manager, wrote a reply which I would like to share with you: "We are delighted with your question—'Would there be an advantagefor me to join your museum even thoughf never get a chance to see it?'

"Your question is both a challenge and an inspiration to us. We are well aware that not everyone interested in American Folk Art can visit us in person therefore we try our best to reach these people in a number of tangible ways so that our services and our offerings can create for lovers of Folk Art, even those who live in the smallest villages, towns and hamlets in this broad land of ours, an Almost Visit.

"We are sending you a descriptive brochure which will give you an idea of our services so that while you may be thousands of miles away you will feel that you are always with us.

"From your question we feel that our museum has a special appeal for you and this is most heartwarming.

"If we can help you in any other way to make you feel at home please write us again:' I hope you will follow Mrs. Nieman's example and tell your friends and acquaintances about the Museum as well. An expanded membership leads to an expanded Museum.

New additions to the staff include Nora Lucas, who will serve as Managing Editor of The Clarion,and Anne Minich, who will coordinate development programs.

Don't forget to save May 3, for Trustee Jana Klauer has once again pulled the rabbit out of the hat and organized an absolutely smashing Manhattan House Tour. This much heralded event is certain to be the fun thing to do during the Spring season. Your invitation should be arriving soon. For further information, please contact the Museum office.

Thank you for your continued endorsement of our activities and for demonstrating your desire to be part of our ever-expanding Museum family.

Robert Bishop Director 2.

5

JOEL and KATE KOPP

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316 EAST 70th St

NEW YORK,10021

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kS'A(11 1141'4 ' IPT1 'S“$ilmli )1W0Yr4erhi (41mti khi Applique Quilt, New York State, C. 1860

Although we are best known for our Quilts and Textiles, our shop and gallery always offer a choice selection of WEATHERVANES, FOLK SCULPTURE, PRIMITIVE PAINTINGS, BASKETS, SAMPLERS, HOOKED RUGS,SPONGEWARE AND COUNTRY ACCESSORIES. Please visit us when you are in New York City.

6

THE WORLD OFANTIQUES,ART,AND ARCHITECTURE IN VICTORIAN AMERICA This extraordinary and fascinating book centers on the Victorian home in America: the home that was "everyman's castle;" the home that was the important center of family life; the home that in many cases was stuffed to overflowing with furniture and objects and art—often beautiful, often exotic, and sometimes fantastic.

Written by the Director and Assistant Director of the Museum of American Folk Art in New York City, this invaluable guide is certainly the most comprehensive overview of this era ever published. Divided into sixteen chapters and illustrated with over 600 halftones and 45 color plates, The World of Antiques, Art, and Architecture in Victorian America provides a feast of material for all to learn from: architecture, the Victorian house, heating, lighting, furniture, glass, ceramics, clocks, metals, pictorial art, sculpture, and country style. Of special interest are the delightful chapters devoted to man's world, woman's world, children's world, and pleasures and pastimes, for they provide access to the particular quality of life in this period.

icTIR WORLD OF ART

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VICTORL4N aishop400d fttrioi

A landmark book celebrating the beauty of American Victorian antiques At bookstores, or use the coupon to order today.

E.P. DUTTON, Dept. C 2 Park Avenue, N.Y. 10016 Please send me THE WORLD OF ANTIQUES, ART, AND ARCHITECTURE IN VICTORIAN AMERICA as follows: copies hardbound, (a $19.95 (12912X); copies paperbound, (a $12.95 (474307); plus $1.00 postage and handling per copy. I enclose check or money order.

NAME ADDRESS STATE CITY (Add sales tax where applicable)

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4T684 Directions: Spring St. is located just off Rt. 35, 7.5 miles east of 1-684 From Merritt Parkway, take exit 38(Rte. 123) north to Rte. 35.

Turn left. Spring St. is 3rd road on right. Opposite big church.

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Winterthur Portfolio

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A JOURNAL OF AMERICAN MATERIAL CULTURE Edited by Ian M.C. Quimby and Catherine E. Hutchins "Material culture is the study of the man-made environment. It deals with all the tangible products of human ingenuity. . . . Its purpose is to interpret objects in their cultural context."—Ian M.G. Quimby

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Appearing since 1964 as an annual collection of essays on the arts in early American • 1 life, Winterthur Portfolio began publication in Spring 1979 as a quarterly journal with a broadened scope that includes the entire man-made environment in America.

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Superbly illustrated articles

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I on sculpture: Lois Goldreich Marcus, The Shaw Memorial by Augustus Saint-Gaudens: 0 Painting in Bronze A History on architecture: Richard I. Betts, The Woodlands on photography: James M. Curtis and Sheila Grannen, Let Us Now Appraise Famous Photographs: Walker Evans and Documentary Photography furniture: Benno M. Forman, Delaware Valley "Crookt Foot" and Slat-Back Chairs 1 on I • The Fussell-Savery Connection on collecting: Donald C. Peirce, Luke Vincent Lockwood and the Brooklyn Museum : : on art history methodology: Jules D. Prown, Style as Evidence O

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as well as on painting, ceramics, decorative arts, and social history Published for The Henry Francis du Pont Winterthur Museum

ONO THE UNIVERSITY OF CHICAGO PRESS01100

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Published quarterly

Winterthur Portfolio

H Two-year charter subscription, beginning with the Spring 1979 issue (vol. 14, no. 1) at the 25% discount rate of: H Institutions $36.00 E Individuals $27.00 El Students $24.00 Add $4.00 for subscriptions mailed outside the USA and its possessions.

Li One-year subscription, to begin with the current issue: IE Institutions $24.00 El Individuals $18.00 CI Students $14.40 Add $2.00 for subscriptions mailed outside the USA and its possessions.

Name Address City

State/Country

Zip

Master Charge or Visa accepted. Please enclose account number. Interbank number (Master Charge only), expiration date, and signature. Or mail with your check, money order, or purchase order to The University of Chicago Press, 11030 Langley Avenue, Chicago, Illinois 60628.

11/79

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Clan,"1 II .m..ff•=ffibm...agaiimimmiwm.r..imuimmi • ir •

Channel Thirteen invites the public to bid on an outstanding collection of art and antiques to be auctioned live on THIRTEEN April 30-May 4

TH3RtIllCOLLECTi011 will offer more than 1700 items including folk art, paintings, sculpture, photographs,furniture and decorative arts, prints, silver, jewelry,stamps,coins, rare books and maps,autographs and much, much more — as auctioneers and celebrity guests from the art and antiques world take you through the fascinating world of collecting.

WEDNESDAY, THURSDAY, AND FRIDAY 5 p.m.-1 a.m.

SATURDAY AND SUNDAY 1 p.m.-1 a.m.

Preview Exhibition Friday, March 28 through Tuesday, April 1 Sotheby Parke Bernet Inc. 980 Madison Avenue,New York City

Chairmen: Lawrence A. Fleischman, Kennedy Galleries, Inc. John L. Marion, Sotheby Parke Bernet Inc. Harold Sack, Israel Sack, Inc.

Catalogues available free of charge. Sealed bids accepted.

To receive the catalogue (send S2 to cover postage and handling) or to make your art/antique donation write:

hittEn CoLLEcTion

TH3

356 West 58th Street, NYC 10019 or call:(212)560-2700

ALL PROCEEDS FOR THE BENEFIT OF lfilitin 10

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01,1P5POra Keep up with it by

subscribing to

ANTI UES

It's a world of • fine furniture, rugs, and tapestries. A world of porcelain and jade, of bronze and silver. It's made more beautiful with exquisite jewelry, paintings and sculpture and fine wood carvings.

It's heirlooms from fine homes, treasures from attics, fairs and flea markets. It's beauty from the past with a very beautiful future.

Month after month, it all comes together in ANTIQUES WORLD. Brought to life with dazzling color photography and art.With informative articles on important trends, changing values, opportunities and pitfalls. ANTIQUES WORLD

leo lets you browse through the great public and private collections in all parts of the world. It stimulates your own creativity with ideas on how to decorate with antiques, how to make your own collection distinctive and interesting.

ANTIQUES WORLD gives you an opportunity to get more enjoyment, more practical information, new ideas about your own special interest.

Make ANTIQUES WORLD your world. Subscribe now for a full year(10 issues)for just $18 by mailing this coupon today.

ANTI UES Subscription Service, P.O. Box 990, Farmingdale, N.Y. 11737

Please enter a one-year subscription (10 issues) to ANTIQUES WORLD for: NAME

(please print)

ADDRESS CITY

0 Payment of $18 is enclosed.

0 Please bill me.

STATE

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(Foreign/Canadian subscriptions: $4 additional.)

(Please allow 6 weeks for your first copy to be mailed.)

CL80_1 11

Loan Exhibit THE BATTLE OF THE BLAZE A tribute to America's early volunteerfire companies.

Exhibitors

Thefollowing distinguished group ofexhibitors will offer antiques ofquality and interest within a wide price range.

Jane Alper Antiques W. Graham Arader, III Leonard Balish John Bihler & Henry Coger William Blair, Ltd. Jerome Blum Ronald Bourgeault Irvin & Dolores Boyd Philip H.Bradley Alfred Bullard, Inc. Robert Burkhardt Childs Gallery Circa Antiques Ed Clerk Gordon S. Converse & Co. Katherine Denny Cynthia Fehr Antiques E.&J. Frankel, Ltd. Malcolm Franklin, Inc. Georgian Manor Antiques, Inc. Price Glover, Inc. Good & Hutchinson, Assoc.

Elinor Gordon Greenwood Book Shop Kenneth Hammitt Antiques Harry B. Hartman Antiques Hastings House Antiques Hayestock House Hobart House William D. Hocker, Inc. Valdemar F. Jacobsen Bernard & S. Dean Levy, Inc. The Lion Mark Marine Arts Gallery Fred B. Nadler Antiques, Inc. John C. Newcomer Nimmo & Hart Antiques Jack Partridge Maze Pottinger C. L. Prickett Herbert Schiffer Antiques George E. Schoellkopf Matthew & Elisabeth Sharpe Kenneth & Stephen Snow Joseph Stanley Ltd. Leon F. S. Stark Antiques, Inc. David Stockwell, Inc. The Stradlings Philip Suval, Inc. Ruth Troiani Earle D. Vandekar of Knightsbridge Vose Galleries of Boston, Inc. Thomas D.& Constance R. Williams Jane Wilson Ricks Wilson Ltd. Thomas K. Woodard Manager Mr.John G. Fifield 12

441f6N\ Fla

1

I I UNIVERSITY HOSPITAL

ANTIQUES SHOW April 15 through 19,1980 Tuesday through Friday, Noon-9:30 p.m.

Saturday, 10 a.m.-4 p.m.

103rd ENGINEERS ARMORY 33rd Street Just north of Market Street (Two blocks west of 30th Street Station)

PHILADELPHIA PENNSYLVANIA

Preview Reception & Dinner MONDAY, APRIL 14, 5:30-9:30 p.m.

Tickets, $80.00 per person ($55.00 tax deductible) Make checks payable to: Board of Women Visitors and mail to: University Hospital Antiques Show, 265 Cheswold Lane, Haverford, Pennsylvania 19041 Symposiums 11:00 AM TUESDAY, APRIL 15 — ENGLISH SILVER, PORCELAIN AND POTTERY WEDNESDAY, APRIL 16 — ENGLISH FURNITURE THURSDAY, APRIL 17 — ENGLISH METALWARE. PAINTINGS & PRINTS Round table discussions by selected exhibitors, with examples. Panels moderated by Lita Solis-Cohen, nationally syndicated columnist. $6.00(includes admission) Special Gallery Tours & Symposiums WEDNESDAY, APRIL 16, 10 a.m.

THURSDAY, APRIL 17, 10 a.m. $10.00(includes admission) Supper at the Show FRIDAY, APRIL 18, 6:15; 7:15; 8:15 $15.00(includes admission) Lectures FRIDAY, APRIL 18,6 p.m.

-GEORGIAN GRACE AND REPUBLICAN REFINEMENT" Wendell Garrett, Editor and Publisher, The Magazine Antiques $7.50(includes admission) Lecture, Supper at the Show and Admission: $18.00 SATURDAY, APRIL 19, 11 a.m.

"GREAT FIRES OF PHILADELPHIA" Slide-lecture. by Kenneth Finkel. Curator of Prints, The Library Co. of Philadelphia $5.00(includes admission) Gallery Tours WEDNESDAY, APRIL 16 and THURSDAY, APRIL 17 at 11 a.m.

FRIDAY, APRIL 18 at 10:30 a.m.

Smallgroups escorted through the show by Philadelphia Museum ofArt guides. $7.50(includes admission) Gourmet Luncheon TUESDAY, WEDNESDAY,THURSDAY, FRIDAY, noon-2 p.m. $6.00(admission not included) Reservations necessary.

Catalogue $4.00(by mail $5.50)

Admission $3.00

A Beimfit for she Hospital of she University of Pennsylvania

Tickets & Information Please make checks payable to: University Hospital Antiques Show 3803 The Oak Road, Philadelphia, Pennsylvania 19129 Telephone:(215)687-6441 During the show call(215)EV7-3500

Pennsylvania Spectacular: red border against bright blue ground; center in pink, white and green; c. 1890; 82" x 84"

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Court Ave. hi.

J & S Schneider 299 N. Court Ave. • Tucson. Arizona 85701 (602)622-3607.Appointment Advised

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The Phoenix Building Pittsford, Monroe County, N.Y. Circa 1812 On the old Erie Canal

AN INVITATION TO COLLECTORS ...

For years, some of the most interesting antiques anywhere have been found in upstate New York: folk art, glass, textiles, indigenous country furniture and sophisticated pieces brought in by canal packetboats from New England and New York City.

An increasing number of antiquers across the country are getting to know another important upstate product, THE NEW YORK-PENNSYLVANIA COLLECTOR, published eleven times a year from this handsome Federal building, once an early inn.

We put together what we think is a lively mix: reports from correspondents covering the antique scene throughout the Northeast (and beyond), articles by museum curators and collectors, and advertisements from dealers, including a growing number of Canadian sources.

The result is a specialized newspaper that more and more readers are finding an important reference tool.

Old-fashioned rates are still to be found here, too. Five dollars a year for a subscription; low, low rates for advertisers. We think you'll agree that's a bargain...

If you'd like to see a copy, drop us a line. We'll send one off in the very next mail, with our compliments.

THE NEW YORK PENNSYLVANIA

..-'•OLLECTO ntiques, Arts & Antiquarian Books

Main Street Pittsford, New York 14534

4 South

14

Photographed at the Ebcnczer Maxwell Mansion, Philadelphia by Dane T. Wells.

)9c nineteenth century Victorian heritage is NINETEENTH CENTURY This lavishly illustrated magazine of The Victorian Society in America is your window on the sumptuous world of Victorian sights and sounds, tastes and textures.

NINETEENTH CENTURY is packed with entertaining and informative articles, book reviews, auction notices, and travel opportunities helping you get better acquainted with the architects, artists, and decorators who made those palatial Victorian residences and public buildings.

For the basic $20 annual membership in The Victorian Society, four issues of NINETEENTH CENTURY will be delivered to your door.

But this is only the beginning of membership benefits.

Members receive ten issues of the Society's Bulletin, special book offers with savings up to 40%, and handsome invitations to meetings, workshops,symposia, summer schools, and tours.

Victorian lovers, have more fun when you join The Victorian Society.

Return this application and open a window on the NINETEENTH CENTURY today.

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THE VICTORIAN SOCIETY IN AMERICA East Washington Square, Suite 139 Philadelphia, PA 19106 I would like to receive NINETEENTH CENTURY and join The Victorian Society in America Name Address City

State

Zip

El individual—$20 0 family—$25 D sustaining—$35 El library—$20 El Check El VISA El Master Charge Make check payable to The Victorian Society in America.

Account No. Master Charge Interbank Number Expiration date

Signature L

Add $5 per year for overseas postage.

_J

Jci4p 00/4tort, 1-215-388-7687

1-302-655-4924

P.O. BOX 3944, GREENVILLE, DELAWARE 19807

ow die./azett _Ode(x)ezte 6.2) th/ tize fiezzy&Y'grativelk ifrienada&, 2efintykanzi& fifteen minutes from downtown Wilmington, Delaware ten minutes from the Brandywine River Museum the Winterthur Museum and Longwood Gardens

16

REUBEN MOULTHROP (1763-1814)

THE REVEREND AMMI RUHAMAH ROBBINS:29/ 1 2"x 35/ 1 2" Oil on Canvas.

Ca: 1807. The Reverend Ammi R. Robbins of Norfolk, Connecticut was painted

by Reuben Moulthrop at the request of his son, Rev. Thomas Robbins. The portrait of Thomas Robbins also by Moulthrop is in the collection of the Connecticut Historical Society where Robbins had been librarian. Robbins Sr. was painted while sitting in the same Windsor chair as his son. See: Paintings

by New England Provincial Artists 1775-1800 Nina Fletcher Little, pages 254 & 155 (figure: 67). Also Folk Painters of America, Bishop, page 30(figure 24)

STEVE MILLER American Folk Art 17 EAST 96TH STREET (212) 348-5219

By Appointment Only

17

A new and great work on American folk painting by Robert Bishop This is the reference work on American folk painting from its earliest beginnings in the seventeenth century to the present. Written by the director of the Museum of American Folk Art in New York City, Folk Painters of America is different from any other work in its field in that it provides a regional survey of this important subject. Thus the text and works of art are divided into the following main categories: New England, New York and New Jersey, Pennsylvania, the South, the Western Reserve and Old Northwest Territory, and the Southwest. Here in 368 photographs and 70 color plates (far more than can be found in any other book) is all the wonderful variety of American folk painting: portraits, silhouettes, landscapes, calligraphic drawings, Fraktur, theorems, wall murals, furniture decoration, shop signs, and overmantel paintings. This great book by an acknowledged expert in the field comprises a wonderfully rich harvest of people's art from the past and present—art that is now universally recognized and collected for having great expressive power and aesthetic quality.

(DUTTON)2 PARK AVENUE, NEW YORK, N.Y. 10016

18

TILE IS FOREVER from The Kay Mallek Studios 2013 N. SWAN RD. TUCSON, AZ 85712 602-323-7841

Porcelain plate in full color 35.00.

Ilecoy

61/21'x 20', name place, white tile, black wrought iron, black letters & early American design or bird or floral design $35.00.

Order custom tile for fireplace facing panels, for table tops or mantels Four pieces 41 / 4'x 4/ 1 4" tiles make up the pattern copied from an old butter mold—tiles each.

15370 4%2" x 14; wrought iron & tile house number, black letters on white tile with terra cotta trim $15.00.

WE SHIP U.P.S. DAILY! AND ARE KNOWN COUNTRYWIDE FOR OUR FINE ANTIQUES AND COLLECTIBLES. PROMPT SERVICE FOR THIRTY-FIVE YEARS.

19

JOHN BLUNT: the man, the artist, and his times

MARCH 7-MAY 4,1980

DR. ROBERT BISHOP, CURATOR

The exhibition, "John Blunt: The Man, The 1. Portrait ofa Gentleman Artist, and His Times,' is the second exhibition holding a card inscribed devoted to an ever-expanding number of paintings John S. Blunt. This is probably a self-portrait. once attributed to the Borden Limner. The initial Circa 1830. Oil on canexhibition mounted at the University of Michigan vas. 36" x 28!(Mr. and Museum of Art in the winter of 1976-77 broughtMrs. John Howe) together for the first time some 36 portraits, landscapes, genre paintings, ship portraits, and seascapes which at that time were tentatively attributed to the Portsmouth, New Hampshire/ Boston, Massachusetts, artist, John S. Blunt. The research methodology involved with the assemblage of that material is fully documented in The Borden Limner and His Contemporaries, a catalogue to the University of Michigan Museum, of Art exhibition. The catalogue is still available through The Museum Shop at the Museum of American Folk Art. The works of art attributed to John Blunt share a number of characteristics which seem unquestionably to indicate that they constitute a poses from canvas to canvas. body of work executed by a single hand. These 8. Costumes similarly detailed and repreinclude: sented.

1. A palette characterized by repeated use of 9. Decorative accessories repeated in nearly unusual and distinctive shades of red, identical form from canvas to canvas. yellow, blue, and green.

10. Laces painted in a thin, transparent 2. Flesh tones with a greenish hue. manner.

3. Canvases underpainted with a red ground 11. Stretchers so nearly identical as to appear or primer. to be the handiwork of a single person.

4. Decorative elements uniformly abstracted.

Since the initial exhibition, continuing study 5. Faces that are islands of realism in the and genealogical research have uncovered new portraits where the willful disregard of material: perspective and the failure to acknowledge ... Portraits of complete families and multiple a single source of light often give the subjects on a single canvas have been discovered. impression of abstraction. .. . The inclusion of additional furniture 6. Representations of furniture abstracted to forms, floor carpets, and pets have greatly create decorative patterns. extended the genre.

7. Figures placed in similar positions and ... Blood relationships have been established

21

3. Martha Clarkson Cotton (1805-1847). 1831-32.

2"x 1 Oil on canvas. 32/ 27W!Martha Clarkson Cotton was the wife of Leonard Cotton of Portsmouth, New HampHampshire. This portrait is in its originalframe.

(Dr. Dorothy Vaughan)

2. Sarah Frances Torrey (1829-1854)and Frances Isabella Torrey (1831-1897). 1831-1832.

26" x 1 Oil on canvas. 30/ 3 4". The portrait of 24/ the Torrey sisters is an important key in placing the artist in the Fitchburg, Massachusetts, area circa 1832. Sarah Frances and Frances Isabella, daughters of Ebenezer and Frances (Houghton) Torrey, were born January 9, 1829, and April 7, 1831, respectively. The sisters grew up in the village ofFitchburg

2. where The Reverend Calvin Lincoln (fig. 65) was a neighbor. Perhaps the untimely death of their mother on September 3, 1831, motivated theirfather to have their likenesses recorded. Frances married Hiram A. Blood on August 23, 1860, at Fitchburg and died April 29, 1897. Sarah became the wife of George A. Cunningham on November 21, 1850, and moved to Boston. Two children were born to each of the sisters.(The Henry Ford Museum)

4. Leonard Cotton (1800-1872). 1830-31. Oil 2"x 27W.' 1 on canvas. 32/ Biographical information about Leonard Cotton was obtainedfrom the Biographical Roster, Members of the Mechanic Fire Society. The entry regarding Leonard Cotton indicates: "Leonard Cotton, son of Henry and Martha Cotton, was born on December 20, 1800.

As a boy he learned the cooper's trade. When he was eighteen years old he shipped as a cooper on the brig Success, which was engaged in the West Indies trade. On hisfirst voyage the ship met with an accident and while it was laid up he went ashore and started work as a cooper on a plantation in Trinidad. This soon became a prosperous business and he remained there eight years. While in Trinidad he married Martha Clarkson, daughter ofHugh Clarkson. Returning to Portsmouth in 1826 he bought the Blunt House at 24 Washington Street

between many of the sitters, even though they lived in different cities and sometimes in different states. . A painting has been found of a seated gentleman holding a card on which is written the name John S. Blunt. This portrait is probably a self-portrait. The stylistic similarities between this portrait and the body of work attributed to Blunt are striking. The handling of the pigment, the tonality of flesh tones, and the prominent use of a diagonal shading in the background are consistent with the Blunt paintings. The discovery of this painting makes stronger the attribution of the large body of portraits to Blunt.

The original premise that John S. Blunt (1798-1835) was the artist responsible for this

5.

22 13.

(Samuel Larken Has the auctioneer)for $1575.00.

He became interested in real estate and owned much property in the Puddle Dock area. He also operated a ship's store at 17 Pleasant Street(the site of the present Post Office). He was Town Fire Ward in 1839. He died on January 1, 1872, at the age of 71. Leonard Cotton was admitted to the Me3. chanic Fire Society in March 1831 and was its President in 1840 and 1841. His buckets are now at Strawbery Banke's Clark House:" There are several inaccuracies in this entry which should be noted. The portraits of Mr. and Mrs. Leonard Cotton were never in the Clark House at Strawbery Banke, butfor a brief time were exhibited in the Chase House. The entry indicates that Martha Clarkson, daughter of 4.

Hugh Clarkson, married Leonard Cotton in Trin6. idad. Dr. Dorothy Vaughan, retired librarian for the City ofPortsti?'AP mouth, believes that this 0.7.7.77c "Sr I. .4 i1 72 01/ is incorrect. The Ports# ; 4. „ , : , .

A.'.22...,... ,....... .../....;:to .....,. ‘ , mouth city records show It' that the Cottons were , A,t;::•••••`/4 ,,C.....t. tA. ' , . married at Portsmouth. It is also believed that ..•4, ,. ? „ z.. , .. .. 4 .4,, the date ofLeonard 1, ,'; 0'..

-: r.'

4,:: - L:1!;.I.:...4.

41-,;: -4 Cotton's admittance to the Mechanic Fire Society is ...,:il:'-e:: ''6 .1. / 11 -6..:'...: : !----.:1: 171145.....,; incorrect. Dr. Vaughan ,........ ,L -44 c• -.44, ..-4:, ...7 speculates that he was 4-4,:t 04..........„744-,....se voted in earlier, but did • not becomeformally asso-

ciated, through initiation, perhaps, until 1831.

Leonard Cotton was in Trinidad unti11826. Also, Leonard Cotton's mother's name was Miriam, not Martha. The Cotton portraits descended through the Cottonfamily at Portsmouth to Ann Withington, who sold them to Dr. Vaughan.

At the time ofpurchase the portraits were accompanied by a pair of painted and decoratedfire buckets (fig. 5)and several pieces of Cotton furniture and jewelry. The portrait retains its originalframe.(Dr. Dorothy Vaughan) 5. Pair offire buckets painted and decorated by

John S. Blunt. (Dr. Dorothy Vaughan;photograph courtesy ofStrawbery Banke, Inc.)H. 11/ 1 2': 6. Page dated 1826from the John S. Blunt Account Book. Notice the entryfor August 22 where John Blunt recorded a charge of$3.00 to Leonard Cotton for painting 3fire buckets. Thefire buckets with their brilliant red background relate directly to the primer used by John Blunt during the execution of his portraits.

The lettering on thefire buckets is stylistically similar to lettering used

by Blunt on the globes shown in several portraits ofsea captains (figs. 37 and 39). Thefire buckets,

12.

fire bags, and the portraits ofLeonard and Martha Cotton descended together through the Cottonfamily ofPortsmouth, New Hampshire.(Private collection) 7. Detail of the Portrait of the Navigator (fig. 37).

(Abby Aldrich Rockefeller Folk Art Collection) 8. Detail of the Portrait of Captain Daniel Borden (fig. 39).(The Whaling Museum) 9. Detail offire bucket (fig. 5). (Dr. Dorothy Vaughan;photograph courtesy ofStrawbery Banke, Inc.) 10. Detail offire bucket (fig. 5).(Dr. Dorothy Vaughan; photograph courtesy ofStrawbery Banke, Inc.) 11. Detail ofPortrait ofa Gentleman holding a card inscribed John S. Blunt (fig. I). (Mr. and Mrs. John Howe) 12. Captain and Mrs. William Henry Topham (1806-1859 and 18081884). 1831-32. Oil on canvas. 38" x 50'!

Captain William Henry Topham and Abby Ingraham Bush, the subjects in the only known double portrait of adults painted by Blunt, were married in Newport, Rhode Island, in 1828.

Announcement of their marriage appeared in both The Rhode Island Republican (February 7) and The Newport Mercury (February 9). The son of mariner Philip Morse Topham and Mary Richard Peck, William Henry was born August 30, 1806, in Newport.

Abby Bush, also a Newport native and the daughter ofHazard Bush, was born January 11, 1808. In 1828 after his marriage, William H. Topham advertised his wares and services as a brassfoundry operator and manufacturer' in New Bedford. The Tophams' first child was born in 1829 in Massachusetts, so perhaps thefamily stayed in New Bedford where he had conducted his foundry business. By 1833, however, Captain Topham was at sea on a whaling vessel, the Franklin, in the South Atlantic.

The Captain was master of at least three other whaling shipsfrom 1836 to 1846—the Vermont, the America, and the Canada. Thefamily was located in Fall River at the time of the 1840 census, but had returned to New Bedford by 1850.

The 1850 census shows Captain Topham no longer listed as a mariner, but rather as a brass manufacturer. William Henry and Abby hadfive children—Mary, William,

7.

8.

Abby, George, and Lydia.

(The last-mentioned child is the descendant through whom the portrait passed to its current owner.)

Abby outlived her husband by 16 years. She died June 17, 1884; Captain Topham died July 27, 1859.(Mrs. Joseph Brouillard) 13. We Sisters Three.

1831-32. Oil on canvas.

43"x 55'!(Shelburne Museum, Inc.)

body of work was first set forth by Dr. Dorothy Vaughan, Portsmouth, New Hampshire, who has generously loaned to this exhibition the portraits of Mr. and Mrs. Leonard Cotton (figs. 4 and 3), a pair of fire buckets (fig. 5) known to have been painted by John Blunt and recorded in his account book, and fire bags with Leonard Cotton's name stenciled on them. The similarities between the writing on the fire buckets (fig. 5) and the signatures on genre pictures and landscapes by Blunt, and inscriptions on globes in many of the portraits (figs. 7 and 8) of sea captains are strikingly similar. The fire buckets and the portraits of the Cottons descended directly through the Cotton family in Portsmouth until they were acquired by Dr. Vaughan several years ago.

23

15.

14. Sarah Foristall Wood (1787-1856). 1831-32. Oil 2" 1 on mattress ticking. 34/ x 29W'Sarah Foristall of Bellingham, Massachusetts, was born Apri112, 1787, the daughter of Ezra and Bethiah Foristall. She married Amasa Wood on September 30, 1810. The records show at least 9 children born to Sarah and Amasa, although their second born (Sarah Fina) died when a young child. Fittingly, Sarah Wood was a member of the First Congregational Church's Maternal Association. This organization was in existence as early as 1834. Its goal was "to bring children up to become useful men and women:" The 1850 census shows that at least half of the Wood children were still living at home even though they were well into adulthood.

Sarah survived her husband by only 7 months and died September 3, 1856.(Bertram K. and Nina Fletcher Little) 15. Captain Amasa Wood (1784-1856). 1830-31. Oil 2" 1 on mattress ticking. 34/ x 291/1:Captain Amasa Wood, son of Asa and Mary (Goodale), was born in Upton, Massachusetts, on January 6, 1784. He was the brother ofAsa Wood, Jr., (fig. 21) and a cousin of both Polly

24

From the Centennial History of the Town of Millbury, Massachusetts, comes thefollowing account: "In personal appearance, Captain Wood was a tall, thick set man weighing when in his prime about two hundred fifty pounds. He had a kindly expression of countenance which, combined with his genial presence, made him truly one of the best of men:" (Bertram K. and Nina Fletcher Little)

1856, he presumably carried on thefamily business with his younger brother, John Goodell Wood (fig. 18). Amasa C. Wood died February 25, 1867. The background of this picture is shaded in a style that is unusualfor Blunt. He might have seen the work ofErastus Salisbury Field and borrowed ideasfrom that artist's portraits.

(Bertram K. and Nina Fletcher Little)

utilized by Blunt.

(Bertram K. and Nina Fletcher Little)

18. John Goodell Wood (1824-1876). 1830-31. Oil on panel. 15" x 11W:John Goodell Wood, the seventh child of Amasa and Sarah (Foristall) Wood, was born August 16, 1824. Like the other sons in the Woodfamily, he followed the business into which he had been raised—boot and shoe manufacturing. He was still living at home and assisting hisfather as a (fig. 23)and Samuel shoe cutter in 1850, acGoodell (fig. 24), considcording to census inforered the earliest subjects mation. Eventually he was painted by the artist. made a member of the had only not Since Amasa firm of A. Wood and Sons, his own portrait done, but Millbury, Massachusetts. also that of his wife and 4 On June 15, 1852, John of his children, it is possiGoodell Wood married a family entire the ble that young Grafton, Massatfor portraits and that woman, Ellen sachusetts, the of paintings eventually Elizabeth Aldrich. Ellen other 4 Wood children was thefirst child of will surface. After 1808 Ebenezer and Hannah 17. when Amasa Wood moved 16.

(Kimball)Aldrich. The to what is now West Mill17. Harriet Newell Wood 16. Amasa Chamberlain Woods lived in West bury, Massachusetts, he ).

Stevens(1817-1874 Wood (1815-1867). and raised 4 Millbury continuedfarming and 1830-31. Oil on panel 15" 1830-31. Oil on panel. 15" there. John exchildren also set up a small shoe27 Harriet Newell / x 111 27 Amasa Cham1 x 11/ panded his business intermaking shop. This boot Wood, born April 20, berlain Wood was born ests, operating a cotton ing and shoe manufactur child fourth 1817, was the July 4, 1815, the son of mill and raising thoroperation grew steadily Captain Amasa (fig. 15) ofAmasa and Sarah (For- oughbred cattle and over the years into a According istall) Wood. and Sarah (Foristall) horses. He also served as large, multistate business to census records, Harriet 14). The 1850 (fig.

Wood and a bank directorfor the involving his brothers home at live to continued census indicates that he Millbury National Bank. later his sons. By 1850, in West Millbury, Masactive in the shoe was an was He died February 5, Sons and A. Wood after until sachusetts, manufacturing business (Bertram K. and 1876. extensive business with its 1850. However, in 1856 and was still living at Nina Fletcher Little) own leather currying and died. parents her of both home. Available records tanning shops as well as Two years later on August 19. Portrait ofa Young gave no indication that manufacturingfacilities in 25, 1858, Harriet married Girl, possibly Sarah B. married. ever Amasa the northeast, south, and the Reverend Alfred SteWood (b. September 12, in death father's his After west. Captain Amasa, vens, a clergyman born 1828). 1830-31. Oil on commissioned early in the and educated in Waterpanel. 15" x 127We beMassachusetts militia, ford, Vermont. She died lieve this is a portrait of continued to be honored 31, 1874, in West B. Wood, eighth May Sarah in every area ofpublic Parish, Westminster, child of Amasa and Sarah as chosen was He life.

Vermont. The artistfre(Foristall) Wood, betown selectman, as reprequently used the techcause, like the other General the to sentative nique ofan open window portraits of their children, Court of Massachusetts, in the background to it is executed in oil on and as a director of the variety in his It also isframed in provide panel.

Millbury Bank. He died compositions. This picidenticalframe with an January 31, 1856. Amasa ture includes not only a painted "box" corners Wood is one ofthefew but a potted vase of tree andfloral and star motifs. portrait subjectsfor another decoraand Mrs. Richard flowers, (Mr. writwhich we have any frequently device tive Ravitch) ten physical description.

20. Polly Stoddard Wood (1787-1876). 1830-31. Oil on canvas. 29"x 34!Polly Stoddard (sometimes recorded as Stodder in early records)' was the daughter ofEzekiel and Lucy Stoddard. Born in 1787 in Upton, Massachusetts, Polly married Asa Wood, Jr,(fig. 21) on October 24, 1813.

Seven of their 9 children were born in Millbury during the period in which Asa, Jr., was associated with his brother in the shoe manufacturing business. After the Woods' return to Upton, 2 more children—Cordelia Lucretia and Charles Forestall—were born to the couple. Polly survived her husband and was appointed administratrix of his estate upon his death in 1856. She died September 22, 1876.(America West) 21. Asa Wood, Jr. (1785-1856)• 1830-31. Oil on canvas. 29" x 34'.' Asa

Wood, Jr., was afarmer, shoe manufacturer, and merchant during his 71 years. Born on November 7, 1785, Asa, Jr, was the son ofAsa and Mary (Goodale) Wood, a brother ofAmasa Wood 20. (fig. 15)and cousin of Polly (fig. 23)and Samuel Goodell (fig. 24). In 1813 Asa, Jr., married Polly Stoddard of Upton, Massachusetts. Originally they lived in Millbury, Massachusetts, where Asa assisted his brother with A. Wood & Co., a shoe manufacturing business.

In 1830, however, the partnership was dissolved. Asa and Polly returned to Upton where Asa took up other inter22. ests. In the 1850 census he is listed as a merchant. The inventory of Amasa Wood (fig. 15). his property made upon The chair, the table top, his death in 1856 reveals the use of books, and a him to have been a man of quill in the inkwell are considerable means and common to both of these property. Note the strong portraits. (America West) compositional similarity to the portrait of Captain 22. Electa Stoddard Hale (b. 1799). 1830-31. Oil on canvas. 30" x 25!Electa Stoddard, younger sister ofPolly (fig. 20), was also born in Upton, Massachusetts, on July 13, 1799. When she was 20, she married William Hale, who was born in the state of Georgia according to 1850 census records. Electa and William probably settled in Upton in the mid-1820s for records indicate the birth of4 children there between 1824 and 1833.

William Hale was a successfulfarmer as well as a prominent civic and church leader in Upton.

The portrait of Electa descended with those of Polly (Stoddard) and Asa Wood, Jr., (figs. 20 and 21)so whether or not a portrait was also painted of William Hale remains a matter ofconjecture.

(America West)

21.

The backgrounds on the fire buckets are painted brilliant, acid red which appears to be identical to the primer used on nearly all of the portraits.

John Blunt used his brush in many ways. He advertised on December 31, 1822, in the New Hampshire Gazette for "profiles, profile miniature pictures, landscapes and ornamental painting!' He announced a new venture in the Portsmouth Journal on April 2, 1825: "Drawing and Painting School. The subscriber proposes to open a school for the instruction of young ladies and gentlemen in the arts of drawing and painting. The following branches will be taught: oil painting on canvas and glass, water colors, and with crayons. The school will commence about the first of May provided a sufficient number of scholars can be obtained to warrant the undertaking. Terms made known on application to John S. Blunt. Painting in its various branches attended to as usual!'

In August 1826 Blunt moved to a new location and in October announced: "Exhibition of painting for three weeks only, open evenings and brilliantly illuminated. The people are respectfully informed that a number of paintings will be exhibited at No. 4 State Street among which are six views of Niagara Falls, a view of Lake Winnipiseogee, a likeness of Sir William Pepperell, to-gether with a great variety of other paintings. Admittance to the public 121 / 2 cents, children half price, season tickets 250. Tickets for sale at Mr. B. Hutchinson's store. N.B. The entrance to Mr. Blunt's painting room will be for the present through Mr. Hutchinson's store:'

25

24.

"Polly Marsh, sister of Samuel Goodell:' identifies the subject. Mrs. Marsh and her brother, Samuel Goodell (fig. 24), are both painted on mattress ticking. This occurs also on the portraits of Captain and Mrs. Amasa Wood (figs. 15 and 14) and on the Unidentified Woman (fig. 56). The portrait of Mrs. Marsh retains its originalframe.

Traces of the red primer, or underpaint, are very evident on this painting.

Polly Goodell, considered one of the earliest portrait subjects, was born on August 24, 1800. She was the daughter ofSamuel Goodell and Relief Wood ofSutton, Massachusetts.

She was the sister ofSamuel Goodell, the third (fig. 24), and cousin to Amasa (fig. 15)and Asa Wood (fig. 21), as well as to Asa Waters, II (fig.

28), all of whom were painted in the Millbury-Sutton area by Blunt.' When she was 45, she married Charles MasMarsh of sachusetts. (Allan L. Daniel)

23. Polly Goodell Marsh (b. 1800). Circa 1828. Oil on mattress ticking. 30" x 25 The penciled inscription on the stretcher,

24. Samuel Goodell (1797-1885). Circa /828.

Oil on mattress ticking.

30" x 257 This painting is inscribed on the stretcher in pencil "Samuel Good-

ell:' The inscription is not necessarily contemporary to the painting. The portrait does not retain the originalframe. Samuel Goodell was the third Samuel Goodell of his family to hold land and to farm in the area of Worcester County now included in Millbury, Massachusetts. In the 1850 census, Samuel Goodell lists himselfas a tanner, so he unquestionably had several income sources.

Brother ofPolly Goodell Marsh (fig. 23), Samuel was born in Sutton, Massachusetts on April 28, 1797. He married Lydia Baldwin, daughter ofSimon and Polly(Cummings) Baldwin, in Spencer, Massachusetts, on April 17, 1837. Samuel and Lydia had 7 children, only 3 of whom survived theirfather upon his death on September 23, 1885. The strong diagonal shading in the background of this portrait relates it directly to the portrait ofJohn S. Blunt(fig. 1). (Allan L. Daniel) 25. Hannah Smith Burbank (1779-1837).

1830-31. Oil on canvas.

4"x 291/Z Hannah 1 34/ Smith, the second wife of

General Caleb Burbank, was born in Rutland, Massachusetts, on March 12, 1779. Her parents were David and Lucy (Rice)Smith. Soon after the Burbank's marriage on March 30, 1825, Caleb started plansfor an impressive house atop Burbank Hill in the west area of Millbury called Bramanville. According to The Centennial History of the Town of Millbury, Massachusetts, the house was constructed "in the early 1830s" But Hannah's enjoyment of this home must have been tragically short-lived,for in 1834 General Burbank suffered severefinancial reverses, necessitating the sale ofthe Burbank Homestead. The property was sold at auction in March 1835for $14,000.

Only 2 years later, Hannah died on May 15, 1837. (Millbury Historical Society) 26. General Caleb Burbank (1761-1849).

1830-31. Oil on canvas. !General 3 4"x 293/81 34/ Caleb Burbank was born in Sutton, Massachusetts, in the part of town now called Millbury on July 18, 1761. He was thefirst son ofan early paper mill owner, Abijah Burbank, and his wife Mary

(Spring). Caleb learned paper manufacturingfrom hisfather and continued in the businessfor some 50 years. In a sense, he was the grandfather of Millbury, having named the town according to local tradition. He wasfor many years one of the town's wealthiest and most active citizens. For 28 years he was an officer in the state militia, being made major-general in 1813. He served in many capacities on behalf of Millbury—as town moderator,as representative to the General Court, as a director of the Millbury Bank, and as a generous contributor to the needs of the poor and crisisstricken. Ironically, his own generosity in trying to assist his brother Elijah led him into afinancial crisis of his own.

Subsequent business reverses caused him to have to assign all his property in 1834. Caleb'sfirst wife, Lucy Waters, who was the daughter ofAsa and Sara (Goodell) Waters, died on January 30, 1824. He then married Hannah Smith on March 30, 1825.

She, too, preceded him in death in 1837. General Caleb Burbank lived to be 88-years-old and died December 9, 1849.(Millbury Historical Society)

25.

Ships Ornaments Gilded and Painted, Oil and Burnish Gilding, Bronzing, &c &c."

Blunt obviously had been frequently patronized by the Masons, for in his ledger he recorded in 1825 and 1826:

Blunt was a collateral descendant of William Pepperell who had died in 1759. Quite possibly the painting of him was based upon an engraving or other early source. Blunt is known to have owned several prints, for the inventory of his estate recorded seven framed prints valued at $5.25.

John S. Blunt advertised again in the Portsmouth Directory in 1827 where he was listed at the corner of Court and State Streets. In this advertisement he announced he would execute: "THE FOLLOWING BRANCHES, VIZ. Portrait and miniature Painting, Military Standard do.

Sign Painting, Plain and Ornamented, Landscape and Marine Painting, Masonic and Fancy do.

26

W. Wite to painting 2 painting 2 M. Aprons Apr. 19, 1826: DeWitt Clinton Encampment to painting Standard May 26, 1826: DeWitt Clinton Encampment to painting 10 Aprons and Sashes June 3, 1826: Joseph W. White to

Jan. 3, 1825:

26.

($)2.00

3.00

12.50

27.

28.

27. Susan Holman Waters (1784-1849). 1830-31. Oil on canvas. 39" x 33!

Susan (Holman) Waters, born February 22, 1784, was the daughter ofSusanna (Trask) and Colonel Jonathan Holman, a distinguished Revolutionary War soldier. In 1802 Susan married Asa Waters II, thereby joining two early and prominentfamiliesfrom the Sutton, Massachusetts, area now called Millbury. As the wife of Asa Waters II, Susan mothered 8 children, and through her first daughter, Susan, became great-grandmother to President William Howard Taft. Mrs. Asa

June 7, 1826: June 21, 1826:

June 23, 1826:

June 23, 1826: June 23, 1826: June 24, 1826:

Waters II presided as a gracious hostess over countless gatherings of family,friends, and distinguished visitors during her lifetime. Her husband's business and social associations spanned local, state, and national ties bringing a steady stream of dignitaries to the Waters' home. In 1849, 8 years after the death of her husband, Susan Waters died on November 23.(Private collection) 28. Asa Waters II (1769-1841). 1830-31. Oil on canvas. 39" x 33!Asa Waters II was one of the keyfigures in the develop-

painting 12 Sashes & Aprons for Higl- Etc. Sylvester Melcher to Masonic Apron DeWitt Clinton Encampment to painting cropes DeWitt Clinton Encampment to painting 4 Staff etc.

Nathl Dennet, Jr., to Masonic Apron Captain Leach to Masonic Apron Pythagoras Lodge to painting banner etc.

15.00 1.75

.25

1.25 1.92 1.92

ment ofMillbury, Massachusetts, in itsfirst decades ofexistence. Not only did the substantial growth of his manufacturing operations—primarily gunmaking—provide a steady economic basefor the area, but also positioned him to guide the direction ofthe community generally. Born into afamily of successful gunmalcers and manufacturers on November 2, 1769, Asa Waters II was the son ofAsa and Sara (Goodell) Waters. Asa, initially with his brother Elijah, expanded thefamily enterprises to include production ofscythes, mill saws and equipment,

as well as guns. In 1808 they built an Armory (illustrated in thefar background of the window view) and negotiated the first of many contracts to supply the United States Government with guns made in Millbury. Asa also contributed gun patents which improved gun manufacturing considerably and which were adopted almost universally.' Additionally, he served and supported his community. He was the first president of the Millbury Bank, land donor for and secretary of the Millbury Academy, a town selectman, and a representative to the Mas-

June 24, 1826: DeWitt Clinton Encampment to japanning buckles June 24, 1826: Samuel Neal to Masonic Apron July 3, 1826: Washington Chapter to painting banner July 3, 1826: St. John's Lodge to All seeing Eye and Painting do.

sachusetts State Legislature. At his death on December 24, 1841, he had accumulated wide respect and recognition in addition to substantial wealth. His pastor, the Reverend S. G. Buckingham, writing in the Worcester Palladium, cited Asa Waters' public spiritedness which made him the "friend of whatever related to the good of the community..:'9 This portrait includes details of the Waters' home through the open window.

This is one ofthefew portraits in which the residence ofthe sitter is included. (Private collection)

.75 2.25 11.00

2.25

A typical page from John Blunt's account book indicates the great variety of painterly tasks performed by New England folk artists during the first quarter on the nineteenth century.

6.00 27

29. Asa Waters Mansion (built circa 1829). The house which Asa Waters II built in Millbury was exceptionalfor its time and location. The design is attributed to Asher Benjamin, the well-known architect and author of many books on architecture. The house was started in 1826 and completed in 1829. All of its expensive building materials—Italian marble, mahoganyfrom Central America, pumpkin pine from Maine—had to be brought into Millbury by wagon, there being no railroads or canal transportation at the time.

Captain Louis Bigelow of Worcester was the master builder and supervised the craftsmen who provided the house with its handwrought moldings and architectural detail.

Clearly, the Asa Waters Mansion was q house deserving of inclusion in the portraits of its owners.

Although the Watersfamily moved into the house in 1829, they held an official housewarming some 3 years later on Christmas Day 1832.

Their invitation attracted peoplefrom all of the surrounding area, including Governor Levi Lincoln who "invited Daniel Webster and a party of

and 4) but also many of the Blunts." Mary and Daniel settled in Kennebunk where records show he had a succession ofstores offering general merchandise. However, in the 1830s Daniel became a sea captain. His descendant has documentation that Daniel was recognized by seven insurance companiesfor his service in saving a threatened cargo. Captain Wise apparently became ill on board his ship, the Pactolus, in 1837; he was left at Newport, Rhode Is-

land, where he died on June 10. He was listed in the report of his death as a captain ofPortsmouth, New Hampshire, and as part owner of his ship which was boundfor Liverpool, England.

Mary was left with one son, William. According to the Portsmouth Directory of1839, she resided with her parents once again at 44 Vaughan Street. (Mr. and Mrs. William M. Wise, Jr.) 31. The identity ofthe subject of this painting is

30. prominent officials to ride downfrom Worcester to see the house:"° The Asa Waters Mansion still stands today and serves as a centerfor several community organizations, including the Millbury Historical Society. The house is included in the National Register ofHistoric Places.(Photograph courtesy of The Davis Press, Inc.) 30. Mary Walker Wise.

1831-32. Oil on panel.

2"x 281/27 Mary 1 35/ Walker, daughter of Gideon and Lydia Walker,

grew up in Portsmouth, New Hampshire, with many of thefriends and acquaintances ofJohn Blunt around her. Her father owned and operated a mill on the North Pond in Portsmouth. The family livedfirst on Mill Street" and then at 44 Vaughan, acrossfrom Gideon's business. On August 27, 1820, Mary was married in Portsmouth's South Parish Church to Daniel Wise, Jr., of Kennebunk, Maine. South Parish parishioners included not only the Leonard Cottons (figs. 3 31.

29.

28

On August 8, he painted for Robert Foster, Jr., Co., a pair of signs for $3.50. Robert Foster is identified in the 1821 Portsmouth Directory as a printer and bookseller maintaining an establishment on Daniel Street. Also on August 8 he lettered a coffin plate for Samuuel M. Docham, for which he charged 25 cents. The same day he charged Ann Folsom $4.20 for mending three chairs and painting a set of eight. Ann Folsom was probably a relative of N.B. Folsom who, in 1835, advertised in the Portsmouth Journal: "For Philadelphia. The Schooner SARAH, a first rate Vessel, is ready to receive Freight or Passengers, and will sail immediately—Please apply to N.B. FOLSOM & SON:'

in question. Originally believed to be a portrait of Eliza Anthony Brownell, current research indicates that the subject more probably is Rebecca Delano Brownell. Circa 1829.0il on canvas. 3211/15" x 28/ 1 2 " By tradition, "This painting was painted in 1830.

Mrs. Brownell was the wife of Captain Brownell, a whaling captain. She sailed with him on several voyagesfrom New Bedford on the brig Juno in 1838 and on the ship Minerva Smyth in 1840.

Mrs. Brownell had 11 children, some of whom were born on the whale ships:"3 This information, in part, appears to be accurate. Genealogical research by Philip F. Purrington, curator of the Old Dartmouth Historical Society Whaling Museum, revealed: in an attempt to clarify the identity I have located Robert and Rhoda (Fuller) Brownell whofiled marriage intentions in New Bedford February 7, 1800, two sons being Allen, 1801, and Silas, 1804, and both later being shipmasters.

There were three other sons, Adolphus, 1806; Henry H., 1808; and Jeremiah, 1809. In 1812 Fairhaven (the home of thisfamily), separated

from New Bedford. Fairhaven records are difficult to locate but we have a record of Captain Silas Brownell marrying in 1836 Sarah Sherman.

Silas was master of Minerva Smyth in 1836 and 1840. John J. Parker was master of brig Juno in 1830, while Allen Brownell was master of Juno April 14, 1838-May 29, 1839 and master of Mars June 6, 1841-August 12, 1845, also Chase October 10, I846-August 14, 1848. Hisjournals which are here do not refer to births aboard ship."" A recent intensive search has been made of census, cemetary, and vital records in an attempt to identify Eliza Anthony Brownell.(This included an investigation of each Eliza or Elizabeth who either married a Brownell or had Brownell as a maiden name.)Since correspondence to Dr. Bishop had indicated that Allen was probably the husband's name, special attention was directed to tracing Allen Brownell.

But records show that the Allen Brownell who was a ship's captain was married to Rebecca Delano of Fairhaven. Born in 1814, Rebecca was the daughter ofEbenezer and Lucy Delano. Allen, as indicated

On August 24 Blunt repainted letters for the Robert Foster, Jr., Co., charging them 20 cents and on the same day charged the Town of Portsmouth $3.34 for painting a guideboard and board. On the 29th he painted for John Trundy parts of a small carriage, charging him 12 cents, and on Setember 3 earned $1.75 by painting a sign for Nathaniel 0. Ham. John Trundy was listed in the 1827 Portsmouth Directory as a compass-maker who maintained a shop on Penhallow Street and resided on South Street.

Nathaniel Ham in the same Directory was listed as a watchmaker with a shop on Congress Street and a residence on Vaughan Street.

Folk artists were indeed jacks-of-all-trades

in The Borden Limner and His Contemporaries, was the son ofRobert and Roby (Fuller) Brownell.

As a young mariner, he sailed out ofNew Bedford on the Pindus and the Telemachus. He was probably the Brownell" who served as master of the brig The William which sailed July 23, 1836, and had to return June 18, 1837. Rebecca and Allen had 5 children of their own. However, by the terms ofRobert (father ofAllen)Brownell's will, Allen was made guardian for 2 other minors— Robert and Charles Brownell. As indicated by Philip F. Purrington, recordsfor the New Bedford area are not always complete. We are continuing 35. the search, but sofar can find nofamily which has a poration, Armonk, New history dovetailing with York) the Eliza Brownell portrait traditions. Ifindeed 33. Unidentified Sea Capthe subject of this painttain. 1830-31. Oil on ing is the wife ofAllen, canvas. 30" x 25". This she must be Rebecca Depainting once accomlano. (Barbara Johnson) panied (fig. 32). The subject is believed to have lived in Connecticut.

32. Wife ofthe Unidenti(Courtesy of Kennedy fied Sea Captain.

Galleries, Inc., New 1830-31. Oil on canvas.

York) 30"x 25". This painting once accompanied (fig.

34. Wife of the Unidenti33). The subject is befied Sea Captain. lieved to have lived in 1833-34. Oil on canvas.

Connecticut.(IBM CorDimensions unavailable.

32.

33.

This painting was sold by the Newhouse Galleries in 1958 and its current whereabouts are unknown.(Photograph courtesy of the Frick Art Reference Library) 35. Unidentified Sea Captain. 1833-34. Oil on canvas. Dimensions unavailable. This painting was sold by the Newhouse Galleries in 1958 and its current whereabouts are unknown.(Photograph courtesy of the Frick Art Reference Library)

34.

29

36. Wife af The Naviga-

36.

and were forced to supplement their incomes in many ways. On September 4, Blunt charged Langley Boardman $1.75 for staining a bedstead rose. On the 16th, he painted a small coffin plate, earning $1. The entry for September 21 deserves note for it expands the spectrum of John Blunt's artistic endeavors. On that date he charged $1 for painting 5 dozen tin boxes for Joshua Hubbard.

Hubbard was a druggist who in the 1827 Portsmouth Directory was located at 2 Market Street.

He resided on Deer Street. The boxes probably were apothecary containers. Throughout New England painted and decorated tin was an acceptable alternative for imported French tole. Nearly every home had at least one document box which was made decorative by the addition of painted flowers or stylized designs. Blunt probably decorated this type of tin as well. He might even have worked for J. Morrison who, in the September 26, 1829, Portsmouth Journal advertised, "J. Morrison Continues to Manufacture TIN WARE, as usual-in a building recently erected for the purpose, one door east of his old stand, in Daniel Street-where he will be happy to wait on all who may please to favor him with their Custom!'

In 1831 John Blunt and his wife moved to Boston where he opened a studio on Cornhill and acquired a house on Castle Street. In 1829 he had exhibited at the Boston Athenaeum the view of Lake Winnipiseogee mentioned in his Portsmouth announcement of October 1826. In the catalogue it was numbered 163 and ascribed to Joseph Blunt, Portsmouth, New Hampshire. For many years it was believed that there were actually two artists, John and Joseph Blunt, working con-

30

tor. 1830-31. Oil on 4".

1 4"x 28/ 1 canvas. 33/ This and the accompanying portrait, The Navigator (fig. 37), have an undocumented history of beingfrom New Hampshire. This young woman very closely resembles the Unidentified Ladyfrom Boston (fig. 57). It is conceivable that the Unidentified Ladyfrom Boston might be the sit38. ter's mother or perhaps and is said to have been an older sister. (Abby Althe proprietor ofa stage drich Rockefeller Folk Art between Fall River and Center, Williamsburg, Providence. Marriage inVirginia) tentions werefiled by Daniel C. Borden and Mary B. Jenney on April 8, 1834. Borden appears to have been master of the ship Heroine of Fairhaven, Massachusetts, in 1834 and 1835, and of the Martha 2 ofFairhaven in 1836. At this date he made his residence in the Belleville section of New Bedford. In 1841 he was master of the whale ship America ofHudson, New York. There may be con37. fusion about thisfactfor some records indicate that the ship America of 37. The Navigator.

Hudson was under the canvas.

1830-31. Oil on command of Captain Top4".(Abby Al1 333/8"x 28/ ham (fig. 12) between Art Folk drich Rockefeller September 19, 1839, and Center, Williamsburg, January 5, 1842. Because Virginia) Borden was a common Fall River name, it is 38. Mary B. Jenney possible that the biogBorden (1812-1891). raphical information as1834-35. Oil on canvas.

4". The painting 1 33" x 27/ descended through the Bordenfamily and was given to Whaling Museum in 1919. The mahogany veneerframe appears to be original.(Old Dartmouth Historical Society)

sociated with this man may be confused with that ofanother person of the same name.(Old Dartmouth Historical Society)

40. Joann Edson Borden (1811-1849). 1835. Oil on canvas. 33" x 28". Joann Edson, thefirst wife of Leander Borden (fig. 41), was the daughter of Nathaniel and Elizabeth (Hayward)Edson. She was born November 23, 1811, in the West Parish of Bridgewater, Massachusetts. After her marriage to Leander Borden in the early summer of1835, she moved to Fall River which shefound lonely without her large and supportive family. Consequently, she asked her younger sister Fidelia to make her home with the young couple.

Fidelia probably assisted with the raising of the Bordens'family-3 sons and 2 daughters-until her own marriage in 1846. Joann lived to be only 38 and died September 16, 1849. The brooch which she wears in her portrait descended with the painting and is included in the exhibition.

Note the extraordinary arrangement((furniture which appears to be a composite of the back ofa sofa, the back ofa chair, and the arm of a third piece offurniture. Blunt often used a medley of

39. Captain Daniel C. Borden (1805-1849).

1834-35. Oil on canvas.

4". In 1827 1 33" x 27/ Daniel C. Borden resided on West Central Street in Fall River, Massachusetts, 39.

40.

motifsfrom various pieces offurniture. This is evident in the portrait of Leander Borden (fig. 41) also. (Margaret Borden Fennell) 41. Leander Borden (1807-1894). 1835. Oil on canvas. 33" x 28". Leander Borden was a prominent banker, merchant, farmer, and landholder in Fall River, Massachusetts.

42.

43.

Born a twin ofPhilander Borden on March 11, 1807, he was the son of Thomas and Ruth (Borden)Borden. His mother was an aunt of Daniel Borden (fig. 39), from whose portrait the Borden Limner received his name. In 1833, Leander established a general grocery business in partnership with George C. Church." Two years later on July 27, 1835, he married Joann Edson of West 44.

45.

Bridgewater, Massachusetts. His prosperity and prominence continued. By known instance where the 42. Elizabeth Ayer Clem1846 he was serving as artist made two sets of ent(1798-1849). Circa both town selectman and 1829. Oil on canvas. 30" nearly identical portraits. as cashier of the Masx 25". Elizabeth Ayer, the (Mr. and Mrs. George C. sasoit Bank in Fall River. daughter ofJames and Colburn, Jr.) Joann Borden's death in Polly (Brickett) Ayer, was 1849 left Leander with 5 born in Haverhill, Mas43. Colonel Jesse Clemyoung children. On Janusachusetts, on December ent(1793-1871). Circa ary 27, 1853, he married 20, 1798. She married 1829. Oil on canvas. 30" a second time and took as Colonel Jesse Clement x 25". Colonel Jesse his wife Adrienne Durfee, (fig. 43)on January 20, Clement, the son ofJohn born June 19, 1828.

1820. The Clements had 6 and Susannah (Massey) Leander lived 87 years children, all born in Clement, was born in and died July 24, 1894.

Haverhill. Elizabeth died Haverhill, Massachusetts, (Margaret Borden Fenon September 29, 1849. on September 23, 1793. nell) Two portraits of both ElizHe was commissioned abeth and Jesse Clement Colonel of the Fifth Regiment of the Massachusetts are extant. Although one set ofportraits was iniState Militia on August 5, tially thought to be a copy 1816. Upon hisfather's ofan original pair, a death in 1823, Jesse cleaning and restoration Clement inherited the of the second pair (figs.

Clement homesteadfarm, 44 and 45)indicated all which had been in the four portraits seem to family since 1721. He was have been by the same a prominent member of hand. The practice of Old North Parish Church. having an artist take a While visiting a daughter likeness and then dupliin Newton, Massachucate it several times was setts, he died on Apri119, not unusualfor the times.

1871. The portraits of However, this is the only Colonel Jesse and Eliz41.

abeth Clement-both pairs ofpaintings-have always remained in the Clement-Colburn family.

Thefour portraits descended through George Clement Colburn.(Mr. and Mrs. Robert B. Colburn)

301/4"x 25W'This painting was sold by a New York dealer during the mid-1960s and its whereabouts only recently discovered. (Private collection)

44. Elizabeth Ayer Clement. Circa 1829. Oil on canvas. 30" x (Mr. and Mrs. Edward Collier)

25

45. Colonel Jesse Clement. Circa 1829. Oil on canvas. 30"x 25'.'(Mr. and Mrs. James Banks) 46. The Pharmacist's Wife, The Lacemaker.

1832-33. Oil on canvas.

30" x 257 This and the accompanying portrait (fig. 47)are believed to be members ofthe Warner-Sherburnefamilies ofPortsmouth, New Hampshire. The paintings descended through those families. The woman in this portrait rests her left hand on a sewing basket similar to the example in fig. 50. She obviously has been busy making lace.

An interesting variation utilized by the artist is the sofa arm which has been painted directly over the right sleeve of the woman's dress.(America West) 47. The Pharmacist.

1832-33. Oil on canvas.

30" x 257 The subject sits infront 61'a case of shelves which appear to hold pharmaceutical supplies and medicines as well as a mortar and pestle. The ideafor the arrangement might have been derivedfrom fig. 51, in which a bookcase serves the same compositional purpose.(America West)

46.

47.

48. Wife of the Unidentified Country Squire.

1830-31. Oil on canvas.

48.

31

49.

49. Unidentified Country Squire. 1830-31. Oil on 47 3 canvas. 301/4"x 25/ This painting, a companion to fig. 48, was also sold during the mid1960s and was recently discovered. It is the only known portrait which depicts an animal through an open window in the background. The use of animals by Blunt appears to be rather rare and only one other picture is known (fig. 13) which includes a dog.(Private collection) 50. Wife of Unidentified Gentleman. 1830-31. Oil 27 1 2"x 30/ 1 on canvas. 36/ This painting retains its original gold leafframe.

(John M. Graham, II) 51. Unidentified Gentleman. 1830-31. Oil on 2"x 30W The 1 canvas. 36/ subject rests his right hand on a book titled Jefferson Vol. 5. The painting on the wall ofan arm and hammer probably indicates a connection with a mechanics' society.

This painting retains its original gold leafframe.

(John M. Graham, II) 52. Wife ofthe Unidentified Gentlemanfrom Providence, Rhode Island. 1831-32. Oil on canvas. Dimensions un-

available. This painting wasfound in Providence, Rhode Island. It appears to retain its original frame.(Peter Tillou) 53. Unidentified Gentlemanfrom Providence, Rhode Island. 1831-32.

Oil on canvas. 28" x 24'.'

This portrait is considerably smaller than the portrait which was discovered with it (fig. 52).

It was originally believed that it might have been cut down, but detailed investigation indicates that this painting is its original size and has never been altered.

(David Laudani)

54. Wife of Unidentified Gentleman. 1830-31. Oil 3 4"x 29째47 on canvas. 24/ (David Laudani)

55. Unidentified Gentleman. 1830-31. Oil on 47 1 3 4"x 29/ canvas. 24/ (David Laudani) 56. Unidentified Woman.

1831-32. Oil on blue 4" 1 striped bed ticking. 34/ x 291/8'! This portrait is the only example executed

by John Blunt where the subject's head is shown in profile. It was originally believed that the portrait might have been executed after the death of the sub-

currently. The discovery of a key painting signed in full John S. Blunt and dated 1829 firmly established that this was indeed not the case.

Blunt exhibited a painting titled Winter at the Boston Athenaeum in 1831.

An advertisement for John Blunt's house at Portsmouth appeared in the Portsmouth Journal during April and May 1835: "House for Sale.

The House in Pleasant-Street, formerly occupied

by John S. Blunt is offered for Sale. It is a 3story wood house, and is completely calculated for two small families. It contains ten finished rooms, with large unfinished chamber. The Celler is excellent, being roomy and very dry. The yard contains a Wood-House &c &c. It has been lately put in good repair, and offers a good opportunity 52.

32

ject. A more plausible explanation might relate this portrait to John Blunt's activities as a miniature and silhouette artist. He advertised that he was prepared to paint miniatures several years before he actually began to advertise his skills as a portrait artist. An interesting convention used by the artist in this portrait is the placing ofseveral wisps of hair across the middle ofthe ear. This device also appears in the painting of the Wife of the Unidentified Gentleman from Providence, Rhode Island (fig. 52).(Museum ofAmerican Folk Art; gift of Mr. and Mrs. William E. Wiltshire, III) 57. Donna Maria.

1830-31. Oil on canvas.

(Mr. and Mrs. 4"x 1 29/ Richard F. Tucker)

2e

58. Unidentified Lady from Boston. 1831-32. Oil on canvas. 36" x 28'.' The portrait retains its original gold leafframe which is nearly identical to the frames used on the portraits of the Unidentified Gentleman and His Wife (figs. 50, 51).(The University of Michigan Museum ofArt; gift ofRobert Bishop)

59. Lady with a Headdress. 1831-32. Oil on canvas. 33" x 28W This is the only known portrait ofa woman where afloral headdress was used.

(Peter Tillou) 60. Unidentified Young Lady. 1830-31. Oil on 4"x 27'5/167 1 canvas. 33/ This painting was purchased at Dennis, Massachusetts, in 1957 or 1958.(Mr. and Mrs. Charles V. Hagler) 61. Unidentified Young Lady. 1830-31. Oil on canvas. 28" x 33!(Robert W. Skinner, Inc.) 62. Sarah Church. 1835.

Oil on canvas. 33" x 287 The letter which accompanied the portrait when it was given to Harvard University indicates: "In reply to yours ofNovember 3, we would say that the portrait mentioned to you by Professor Forbes is that ofSarah Church of Bristol, Rhode Island. It seems to me to be a competently and very thinly painted portrait by an unknown artist. I have not investigated its exact time. My grandmother, Martha Phillips, was born in Bristol about 1820 and Sarah Church was a cousin ofthefamily,

to the capitalist, or to two persons who would like to obtain a convenient house. For terms, &c, apply to B. Hutchings, No. 3 Market-Street!'

Just four months later on September 12, the Journal carried in the "Death" column, the notice: "At sea, on board ship Ohio, on his passage from New-Orleans for Boston, Mr. John S. Blunt, aged 37, painter, of Boston, formerly of this town:' Blunt was survived by a wife and at least one child. In recognition of his painterly interests, his children were named Angelica Kaufman (1823-1826) and Michael Angelo (b. 1826). This practice of naming offspring after painters was a common one. The well-known Maine-Massachusetts artist, William Matthew Prior, christened

but whether of her generation or the earlier one, I do not know. Thefamily moved to Fall River after my great grandmother's death and this painting and afew Sheraton chairs are the only remnants of thefurniture remaining. 1 rescued this paintingfrom an ignominiousfate many years age"By identifying the donor's grandmother as Martha Diman Phillips Fraprie, the researchers were able to locate a Sarah Church who would be the logical "cousin" portrait subject. Martha D. Phillips was the daughter of Captain Thomas Phillips and Sally (Harding)Phillips.

Thomas was the brother 56. ofSarah Phillips, who married Captain William Church on September 30, 1804. The Churches had two children—Sarah and Benjamin. Their daughter, who would have been Martha Phillip's cousin, is probably the Sarah Church whose identity has been so elusive. Since both Sarah and her brother "left nofamily" according to The History of the Church Family by James Arnold, p. 42, her 57. portrait's descent through a cousin'sfamily seems logical.(Fogg Art Museum, Harvard University)

50.

58.

51.

59.

60.

61.

53.

54.

55.

62.

at least one of his children after a famous artist— Gilbert Stuart Prior was born at Bath in 1831.

Five of the 17 children of Charles Willson Peale, patriarch of the famous family of painters, carried the names Raphaelle, Rembrandt, Rubens, Franklin, and Titian Ramsay Peale.

I have chosen not to reiterate the entire process of search, discovery, and tentative attribution for and of the works of John Blunt. That is well documented in The Borden Limner and His Contemporaries. The current exhibition is intended to serve as a supplement to this previously published document.

All of the known paintings appear to date between 1822, when he first advertised "profile miniature pictures" and his death in 1835.

Supporting this attribution is the costume analysis, prepared with the assistance of Elizabeth Jachimowicz Fanuzzi, curator of Costumes at the Chicago Historical Society, which indicates that the costumes and headdresses of the sitters all date within this period. The costume analysis is fully detailed in The Borden Limner and His Contemporaries.

The primary goal of the earlier exhibition was to bring together a group of folk paintings, all by one artist, which were previously unassociated; to compare those paintings with the work of the old master folk artists; to look at them as cultural icons; and to attempt to relate them to the main developments in the history of American art.

To be sure, the likenesses by John S . Blunt, when compared to the remarkable portraits executed by the American masters, John Singleton Copley and Gilbert Stuart, might be criticized for their sometimes faulty draftsmanship. In many

63. Unidentified Gentleman. 1830-31. Oil on canvas. 282/3"x 332/3" This portrait was originally discovered in England, acquired by an American dealer, and returned to the United States.(David Laudani) 64. Unidentified Gentleman. 1830-31. Oil on canvas. 28" x 337(Robert W. Skinner, Inc.)

63.

64.

69.

34

65. The Reverend Calvin Lincoln, Jr. (1799-1881).

1830-31. Oil on canvas.

2"x 273/47 The Rever1 33/ end Calvin Lincoln was born in Hingham, Massachusetts, on October 27, 1799. In 1820 Lincoln was graduatedfrom Harvard University and subsequently continued studiesfor the ministry. Upon his ordination in 1824, he became pastor of the First Congregational Society of Fitchburg, Massachusetts. In 1826 he married Elizabeth Andrews, the daughter of Thomas and Hannah (Cushing) Andrews. Three children were born to the Lincolns—Calvin; Thomas, who died in infancy; and Elizabeth. In addition to carrying out his ministerial duties, Calvin Lincoln was an instructor at the Fitchburg High School for at least 2 terms in 65. 1831-32'. He later served as a trusteefor the school. The Lincoln? location in the village of Fitchburg was significant; they lived across the streetfrom the Ebenezer Torreys. Ebenezer and his first wife, Frances (Houghton), at whose marriage the Reverend Lincoln officiated, had two daughters whose double portrait was also painted by the artist (fig. 2). Remaining in Fitchburg until 1855, Lin-

coin eventually returned to Hingham, Massachusetts. There he served initially as associate pastor and then as pastor of First Parish Church. He died in the house where he had been born—on September 11, 1881.

(Marguerite Riordan)

1 2" board. 22/ 3 4"x 15/ Early in John S. Blunt's career he seems to have preferred to execute his landscapes, seascapes, and genre pictures on small wooden panels.

This dramatic depiction is one of the most animated of all ofBlunt's paintings.

(Private collection)

66. A Cottage Family.

Signed onfront ofpainting: "Painted by J. S. Blunt 1823:' Oil on board. 17" x 123 / 4"Blunt probably copied this genre picturefrom an English print. Touches of red in the picture are identical in shade to the background primer used

by Blunt on the firebuckets which he painted for Leonard Cotton and on all of the portraits.

(Moss Collection, Chicago; courtesy ofR. H. Love Galleries, Chicago)

68. Seascape. Signed on front ofpainting: J. S. Blunt 1828:' Oil on canvas. 23" x 27"(Arthur J. Phelan, Jr.)

67. Stormy Scene. Signed on front ofpainting: "J. S. Blunt 1822:' Oil on

67.

69. Winter View ofPortsmouth, New Hampshire.

Signed on front ofpainting: "J. S. Blunt 1828:' Oil on panel. 17" x 25" This painting is nearly identical in subject and composition to a winter scene in the M. & M. Karolik Collection at the Museum ofFine Arts, Boston. The composition for both pictures quite possibly was derivedfrom a print source. (Walter B. Goldfarb)

respects this criticism could be supported especially in terms of Blunt's inability to paint figures and to establish a realistic spatial relationship.

Blunt was, however, an extraordinary painter of faces. In nearly every portrait he came remarkably close to creating a folk masterpiece which was in every instance as valid a work of art for the residents of Portsmouth and other small New England towns as the work of Copley and Stuart was for the residents in more cosmopolitan cities in the young nation.

Blunt would have been unquestionably as revered in his sphere as the more famous painters were in theirs. His sitters were less sophisticated, demanded less, and undoubtedly paid less. What they received were vital, alive, portraits which provided for them the same satisfaction that Hannah Fayerweather Winthrop (1727-1790) derived from her handsome portrait painted by John Singleton Copley and Matilda Stoughton de Jaudenes (1778-1822) from her stylish portrait by Gilbert Stuart.

35

73.

gittarallit4

Modern-day appreciation for the products of the naive artist continues to grow and in very recent years a great folk painting is as much admired as the best of America's academic art.

Every known portrait attributed to John S. Blunt is included in this catalogue. Also typical works in other areas are shown to indicate the broad scope of Blunt's painterly output. These include landscapes, seascapes, ship portraits, and genre paintings.

It is hoped that one of the great benefits of b this exhibition is that visitors to the Museum will learn to read the written word. Artists' creations are not unlike a novel, for when approached with a critical eye they reveal the social, historical, and artistic temperament of the period in which they were created. "John Blunt: The Man, The Artist, and His Times" provides insights into the life-

style of the merchant and middle class society in 19th-century New England.

John Blunt's artistic contribution can be related directly to the continual outpouring of portraits by other New England folk artists.

During the first quarter of the 19th century portraiture continued to be the mainstay in every artist's livelihood in the new nation. Perhaps unconsciously the ladies of the republic looked upon this art form as a way of imposing order upon or even giving meaning to their unsettled lives. Portraits probably represented stability in the midst of social and political confusion. A painting could after all be passed down to future generations and thus provide for them a tradition, something very important in a struggling young country.

I would like to acknowledge many contribu-

71.

70. Picnic on Long Island Sound. Signed "Blunt 1823." Oil on panel. 15" x 18W (Private collection) 71. Portrait ofSymmetry.

Signed on the rock in the lower left: "J. S. Blunt, 1823:' Oil on wood panel.

II" x 17/ 1 27 This painting ofa prize Jersey cow represents a rarity in American art. The convention of recordingfine specimens ofcattle was much more popular in England. Thefollowing inscription in ink is on the reverse of the painting: "Portrait ofSymmetry, imported in the ship Harmony, Capt. Woodward' (Bertram K. and Nina Fletcher Little)

Portrait, Landscape itc Fancy

11 72C. PAZITING SC:100Za.

PaLVTING.

/Ill autuirriticr propoacs tar opt, . a 11 SCHOOL tor the instruction of Voting Ladies tact Gentlemen in the arts ot DRAW ING anti PAIN l'ING The tolinwing branches will be taught -OIL PAIN TING on Canvass 4-Glass, WATER COLOURS,and with CRA VONs. The School will commence shout the fin of May, provided a sufficient number of Scholars be Ma tined to warrant the undertaking. Terms made known en applieatf.n to JtiliN S. BLUNT, .4this Room. Daniel street, Portsmouth.

LUNT and CODMAN having taken a room for a few weeks, at Mr. Willidm Stickney's tavern, offer their ,ervices to the Ladies and gentitmen of Concord and its Tiorinity,in the above lines of their profession..

Pcrsons wishing portraits,can (if preferred) JOHN S. BLUNT, bi-: waited on at their houses.

Portrait, Landscape, Cancord,Oct. 4;t819.

37

B

72.

(FAINTING) JOHN S. BLUNT, AVING taken a Room in Daniel flreet, nearly oppolite Mr Hale's Hat Store. offers hit Cervices to the inhabitants of Portfmoutb and its vicinity, in the following brioche, of his bin fines, viz.

Portrait. Ornamental, Sign and Glair Painting, Enamelling on Glat Gilding, fee. fee.

JOHN S. BLUNT, 72E Corner of Court and State Streets,

catacasinsxrax,

AND MILITARY STANDARD

PAINTER.

IMPS OBI ME MIMI... SP AMMO., VIZ.

ORTRA11' and Miniature Painting, do.

Military Standard Sign Painting, Plain Rua Ornamented, Landscape and Marine Painting, Masonic and Fancy do.

Ships Ornaments Gilded and Painted, Oil sod Burnish Gilding, Bronzing, ke, Sc.

Amid-street, July 4.

Portsmouth, N. 72D.

DIMIVIX6

72F.

72B.

ASP

Exhibition of

ViIINTTING

PAINTINGS. FOR

THREE WEEKS ONLY. (Open on Monday next.)

Mafonic Aprons painted at Ihort notice.

SCHOOL. He hopes by a aria attention to pleafe, HE Puke are respectfully informed IE subscriber pr 1,169 , ,pen to receive a flare of the public patronage. that a number of Paintings will be ex for the instruction of Ynu,nc I, June 5. hibited at No.4 State street,-among which Oen•kmen in the arts of m00% I are S Views of Niagara Palls, a View of PAINTING The following breathe• a id be the Notch of this White..Mountaigs. a View tatteo-014 PVINTING on Canvas* and Glass, 72A. of Lake Winnipissiogee. a Likeness of Sir W ,TF-At coLnutts. and with CV,vetv.t The School will commence about lb, William Pepperel.-together with a great Sent of May. p.m/bled a atitlicierid numbei sa variety of other Paintings.

Scholars he obtained to warrant the tinder, Admittance to the whole, 12 1 2 cents, Children ball price; season Tickets 25 cis. taking. Terms made known on application JOHN S BLUNT, Tickets for sale at Mr. B. Hutchings' store. .41 Zia Ream Boner! street, rorternoWS N. B. The entrance to Mr. Blunt'* Paint^ ing Boom, will be (for the present) through (g) -PAINTING in its various branches Mr. Hutchings' Store. attended to as usual.

Aorrl 5 Portman& Oct. 18, 1828.

T

72 A-F. Advertisements placed by John S. Blunt.

72. New Hampshire Patriot, Concord, New Hampshire, 1819. 72A. New Hampshire Gazette, Portsmouth, New Hampshire, 1821. 72B. New Hampshire Gazette, Portsmouth, New Hampshire, 1825. 72C. Portsmouth Journal, April 2, 1825. 72D. Sign of the Times, Portsmouth, New Hampshire, 1827. 72E. Portsmouth Directory, Portsmouth, New Hampshire, 1827. 72F. Portsmouth Journal, Portsmouth, New Hampshire, 1828.

(Courtesy New Hampshire Historical Society)

T

73. Wooden Seal painted

by John Blunt. Signed on face in paint: "J. S. Blunt 1819" and on reverse in ink: "J. S. Blunt, pinxt.

1819:' Once believed to be a sign used in the Merrimack County Bank, Concord, New Hampshire, this seal is now thought to have been madefor use in the New Hampshire State House, which was begun in 1816 and completed in 1819.

(New Hampshire Historical Society) 37

74.

74. Moonlight Landscape. Signed on front: "J. S. Blunt 1822:' The smallfigures of the men standing in front of the house in the middle ground are typical of B1unt's work. 29" x 34'.'

(America West) 75. Piscataqua River from the North End of the Bridge to Nobles Island from Plymouth. 1824. 26" x 33':(The Portsmouth Athenaeum) 76. Goldbeater's sign.

Second half of the 19th century. New Jersey.

Wood. H. 40'!(Private collection)

38

tions made by art historians and scholars in the research and documentation stages in the preparation of this exhibition.

Mrs. Mary Black, Curator of Paintings and Sculpture at The New-York Historical Society, has provided insightful suggestions throughout the entire project as she did for the earlier exhibition.

Dr. Dorothy Vaughan, former librarian at Portsmouth, New Hampshire, continues to scout the field for new material and is always willing to share her observations.

Museum of American Folk Art researchers, Joyce Hill and Heather Hamilton, have brought to light much of the new material which we have elected to include in the captions with each of the individual paintings.

Their deep interest and unending willingness to give of their time is much appreciated.

Patricia Coblentz, assistant director of the Museum of American Folk Art, has been an integral part of the entire research and publication aspects of this project from its initial stages.

Special recognition is extended to the curatorial and research staffs of sister institutions and to the many private collectors who have made works of art from their collections available for this exhibition and publication.

Without their assistance, there would have been no exhibition.

The conclusive results of this exhibition still leave this body of portraits only tentatively attributed to John S. Blunt. To date no signed portrait has been discovered and until this occurs one can only acknowledge that the task of positive identification lies in the future for resourceful researchers and art historians.

NOTES: 1. Biographical Roster, Members of the Mechanic Fire Society. Portsmouth, New Hampshire: Mechanic Fire Society, 1966, p. 27.

2. New Bedford Mercury advertisements, April 4-18, August 22, 1828.

3. Centennial History of the Town of Millbury, Massachusetts. Worcester, Massachusetts: The Davis Press, 1915, p. 206.

4. Ibid., p. 483.

5. Inconsistencies in the spellings of Goodell(Goodale), Foristall (Forestall), and Stoddard (Stodder) were found throughout the existing records of these families.

Attributable in part to recording inaccuracies, different spellings of the same surname within a family were not unusual during the 19th century.

6. The first portrait subjects from Millbury, Massachusetts, to have been painted by Blunt were probably Samuel and Polly Goodell (figs. 24 and 23).

The Goodells (Goodales) were early settlers in the Sutton-Millbury area and intermarried with nearly every family of prominence. Consequently, it is not surprising that nearly all of the area's subjects relate back to Silence Holbrook of Grafton and Samuel Goodale of Sutton, who married in 1743. Their son, Samuel, married Relief Wood; Samuel and Relief were the parents of the brother and sister painted—Samuel and Polly. The artist painted at least three of Samuel and Polly's first cousins and their wives. Amasa and Asa Wood, Jr., (figs. 15 and 21), whose mother was Mary Goodale Wood, were nephews of Samuel and Relief Goodell, as was Asa Waters, II (fig. 28), whose mother was Sara Goodale Waters. Amasa and his wife, Sarah Foristall Wood (fig. 14), also had the painter take the likenesses of 4 of their children (figs. 16, 17, 18, 19). General Caleb Burbank (fig. 26) was related through marriage; his first wife was Lucy Waters, sister to Asa Waters, II (fig. 28). Two other portraits (figs. 54 and 55), incorporating the same tree motif and detailing as the aforementioned Millbury paintings, are almost certain to be likenesses painted contemporaneously with this body of work. Speculation as to the names of these portrait subjects will continue until positive identification is made.

7. Centennial History of the Town of Millbury, Massachusetts, p. 359.

8. Ibid., pp. 465-66.

9. Ibid., p. 471.

10. Ibid., p. 470.

11. Oral history, unpublished, provided by Dr. Dorothy Vaughan, Portsmouth, New Hampshire.

12. Ibid.

13. Unpublished letter from Barbara Johnson to Robert Bishop. February 13, 1971.

14. Unpublished letter from Philip E Purrington to Robert Bishop. July 8, 1974.

15. Ship records list no first name with the Brownell.

However, Silas Brownell was married in August 1836 and could not have been aboard the ship in question.

16. Advertisements in the Fall River Monitor beginning May 8, 1833.

17. Letter from American Photographic Publishing Company, ER. Fraprie, to Mr. Alan Burroughs, November 24, 1949.

18. Advertisements for Fitchburg Academy list Calvin Lincoln and Ezra Reed as instructors, Fitchburg Gazette, July 26, 1831, and January 17-February 28, 1832.

We would like to give special acknowledgement to the following for their assistance toward the genealogical research on the portrait subjects: The American Antiquarian Society, Worcester, Massachusetts The Bristol Historical Society, Bristol, Rhode Island The Connecticut Historical Society, Hartford, Connecticut The Essex Institute, Salem, Massachusetts The Fall River Historical Society, Fall River, Massachusetts The Fall River Public Library, Fall River, Massachusetts The Fitchburg Historical Society, Fitchburg, Massachusetts The Haverhill Public Library, Haverhill, Massachusetts The Milford Town Library, Milford, Massachusetts The Millbury Historical Society, Millbury, Massachusetts The National Collection of Fine Arts, Inventory of American Painting, Washington, D.C. The New Bedford Free Public Library, New Bedford, Massachusetts The New England Historic Genealogical Society, Boston, Massachusetts The New Hampshire Historical Society, Concord, New Hampshire The Newington Public Library, Newington, New Hampshire The Newport Historical Society, Newport, Rhode Island The New-York Historical Society, New York, New York The New York Public Library, New York, New York The Portsmouth Athenaeum, Portsmouth, New Hampshire The Rhode Island Historical Society, Providence, Rhode Island The Upton Public Library, Upton, Massachusetts The Wilton Library, Wilton, Connecticut The Worcester Historical Society, Worcester, Massachusetts Ellin Ente, Museum of American Folk Art, Docent

75.This exhibition isfunded with the aid of a grantfrom the National Endowmentfor the Arts in Washington. D.C., a Federal agency.

Judith Jedlicka

American Baskets Within the past 10 years American baskets have become a recognized folk art and collections large and small are being assembled throughout the United States. Finding an old basket is both rewarding and frustrating. Discovering one in good condition is the reward. Trying to determine when and where it was made and by whom are the frustrations. Only a handful of museum curators and collectors who have researched American basketry are able to answer these questions and even they readily admit identification sometimes is "educated guesswork."

Knowing the historic development of Indian baskets and basketry in various regions of the United States often provides basic information helpful in the identification process.

Basketmakers did not sign their work and few kept records. Much of what is known about American baskets has been found in early house and farm inventories, stories and traditions handed down within families, store records, and town tariff rolls. Most of this country's early basketmakers copied the techniques and designs of their European ancestors and of the American Indians.

Evidence of what is believed to be the oldest baskets in the world was found in Danger Cave, Utah, in 1941 by archaeologist Gordon C. Baldwin. He unearthed woven fragments the size of his palm which he believed dated to 7000 B.C. Some 60 years earlier the three Wetherill brothers, John, Richard, and Al, discovered baskets in Canyon de Chelly, Arizona. Better preserved, but not as old, they dated to 1000 B.C. About the time the Wetherill brothers were working in the Canyon, Alfred V. Kidder found baskets in Indian sites a bit to the northeast, in the Four Corners area. In 1927 a group of archaeologists gathered for the Pecos Conference and established a civilization timetable based on basketry: Basketmakers I—Before 100 A.D.; Basketmakers 11-100-400 A.D., Basketmakers 401-700 A.D. From these and other archaeological studies it is clear that baskets were made by primitive man for utilitarian purposes—to hold water, to gather and store food, and to bury the dead. The baskets made by the people of Basketmakers I were coiled and twined—simple, if not crude.

Baskets made during the second period were much morerefined, more varied in structure, and

tended to show a sense of artistry. Twigs and roots were smoothed before they were woven and grasses were gathered and bound to form uniform coils. A bone awl was developed for us in coiled basketry and resin was applied to the outside of some baskets so they could be used to store water.

Basketmakers II learned to use fire to cook and baskets became the first cooking vessels. Since a basket could not be placed directly over a fire, it was filled with water and red-hot stones were tossed in, one after another, until the water reached cooking temperature. Then the food was added and cooked.

The people of Basketmakers III refined the coil technique and developed sophisticated, patterned weaves. They also decorated their baskets with dyes. These people had a variety of utilitarian baskets ranging from large burden baskets to seed-parching trays to water vessels to trinket baskets. Most of the baskets of this period were made by women who took great pride in weaving and caring for them. In an attempt to preserve their cooking baskets many women lined them with wet clay and put them in the sun so that the clay would dry into a protective coat.

After much use, the basket would fall away leaving only the clay lining. Scholars believe this is how the first pottery was made. Evidence to substantiate this claim was found in the Havasupai ruins in Arizona.

Examples from these three periods may be seen in the museum at Canyon de Chelly National Monument, Chinle, Arizona, and the Heard Museum in Phoenix, Arizona.

The first white settlers in the new land faced harsh winters, illnesses, food shortages, and Indian raids. Their energies were devoted to building homes, planting crops, and attempting to establish peaceful relations with "the Red Man." Most of the baskets used in homes during the 17th and early 18th centuries came from Europe and through trade with the Indians. Once the colonists began weaving their own baskets they followed the structures and styles that had been used in their homelands—England, France, Germany, and the Netherlands. Occasionally, they incorporated some Indian styles and later they developed new forms to suit their household and farm needs.

Little is known about the individual basketmakers. Many of the early American weavers

1. Coiled Hopi plaque made by an expert basketmakerfrom Second Mesa, Arizona. Sun-bleached yucca leaves, bound with yucca. Mid-I970. Dia. 14'.' This plaque is decorated with the traditional eagle symbol. The eagle is woven in black, yellow, and red. The dyes were madefrom local natural plants and minerals. (Private collection) 2. Unusual rye-straw coiled canister with removable cover,found in Kentucky. Basket, covered, D. 101/27 W 9/ 1 2'.'

The two side handles are extensions of the coil and bound with straw. The basket was probably used in the pantry to store grain or herbs. (Private collection) 3. Rye-straw coiled beehive probably made in Pennsylvania and used on Long Island, New York.

Early 1800s. H. 247 Dia. at base, 18'.' Beehives, or skeps, were used to keep the bees cool in the summer and warm in the winter. Hives like these were inexpensive to make and were used until the mid-1800s when the box hive was introduced. (Private collection) 4. Decorated splint basket, probably made in the northeast(found in New Hampshire). First half of the 1800s. H.147 D. 10'.'

The handpainted design is executed on allfour sides in greenish-black and pink. The box was probably used as afancy storage container in a pantry.

(Private collection) 41

5. I

5. Top rear: Large winnowingfan,found in Vermont. Late 1800s. W. 39',' D. 8': H. 34! Thefan, which was used to toss grain and separate the chaffand grain, has a sturdy branch rim and handles of the same material. Left front: Feather basket. New Hampshire.

Oak splint. Late 1800s.

Dia. 13': D.8! The cover is woven around the beautifully whittled handles so that both hands are left free to gatherfeathers.

Right: Feather basket.

New England. Ash splint.

Late 1800s. Dia. 10!D. !The lid is woven 2 / 111 around the carved handle. (Private collection) 6. Four splint baskets usedfor hunting, gathering, and drying. Left: Backpack hunting basket made by Clint Ishman of Baxter, Pennsylvania, in the early 1900s. Main section, H. 20': W. 13"; front compartment, D. 6': W. 10! The wooden lidded front compartment, which was generally usedfor bait, is attached to the main section by splints.

The main section was used to carry traps and the catch. Right rear: Wide and thin splint drying basket,found in New Hampshire. W. 21': H. 16': D. Ph! Right front: Round, rib-splint construction gathering basket, made in the south around the turn of this century. Dia. 14': D. 7' It has a finely shaved wooden handle. Center: Small berry basket,found in New England. Dia. !D.6! The vertical 2 1 3/ splints are bent over the top splint and tucked into the inside of the circular splints. This basket does not have a rim binding.

(Private collection)

42

were farmers who wove large sturdy field baskets in front of their fireplaces on long winter nights.

Sometimes a farmer's wife and children would help weave. They generally made lighter-weight baskets for holding sewing items and for gathering eggs, berries, and herbs. While most farm families wove baskets only for their use, it is known that a few families did make hundreds of baskets each winter for sale and trade in the spring.

By 1820 American basketmakers were abundant, regional forms had developed and several basket centers were thriving. Perhaps the members of the Shaker communal society are the best known basketmakers of the century. They began weaving baskets in the 1780s for their own uses.

By 1801 they were producing baskets for sale

outside their communities. By 1837 the Shaker community at Mount Lebanon, New York, was making more than 76 varieties, including small sewing baskets, sturdy laundry baskets and 6foot-long field baskets. Most of the east coast Shaker baskets were made of heavy black ash splints, fine poplar splints, and some roots. Some showed Indian influences such as narrow, thin splints and block stamp decoration. The Kentucky and Ohio Shakers used a good deal of willow in their weaves. Regardless of where they were made, most Shaker baskets displayed fine, if not elegant, craftsmanship. Lines were simple, attention was given to design and detail, and rims were beautifully bound. Shaker baskets were not signed; sometimes they were stenciled with the initials of a community or house number within a

6.

7. Two loom baskets found in the northeast.

Both baskets, 1890. Left: W. 6',' H. 8',' D. 2'.' Right: W. 10TH. 9','D. 3/ 1 2'.' The smaller basket has pointed decorations typical of the Iroquois; while the larger one has turned decorations generally made by the Winnebago tribe. The small basket, decorated with green, was probably usedfor bobbins. (Private collection)

community. Without this identification or a history of a specific piece, it is difficult to positively identify a basket as Shaker. Their egg, cheese, storage, picnic, and field baskets have been copied. By 1870 Shaker basketry waned. Today Shaker baskets made in any of the communities command high prices and are among the most prized by collectors.

Another basket equally dear and cherished by collectors is the Nantucket Lightship Basket. The first Lightship Baskets were woven on Nantucket Island, Massachusetts, around 1840. Pine plank bottoms and rattan imported from the Philippines, China. and India were used in their construction.

They were woven on sized wooden molds and beautifully carved handles were attached to brass ears with brass nails. These baskets were made

8. Eel basket, made and used on Long Island, New York. Oak splint. Late 1800s. H. 26'.' The bottom this lidded trap is woven into an inverted cone which is opened at by the men of the Island to help pass long hours • the end. The traps were dropped into the water of duty on the lightship. Most of the makers— and after an eel crawled Captain Andrew Sandsbury, Captain David E. into the hole of the cone, Ray, Captain Thomas James, Davis Hall, Uriah it was unable to escape.

Manter, Joe Fisher, Charlie Sylvia, S.B. RayAfter afew days in the mond, George Swain, and W.D. Appleton— water, traps were pulled up and the catch resigned their names on the bottom of each basket. moved. Right: HorsefeedAround the turn of this century many of the ing basket. Black ash weavers moved on shore. In 1910 W.D.Appleton splint. Late 1800s. D. 137 opened a shop on Orange Street in Nantucket and W. IT.' It has a binding of taught A.D. Williams the craft. Ferdinand Sylthe same material plus varo and W.M. Gibbs also worked on the two small, carved handles mainland along with Mitchell Ray who labeled which were attached to a his baskets with his name and this verse: "I was strap. (Private collection)

made on Nantucket, I'm strong and I'm stout.

Don't lose me or burn me and I'll never wear out." In 1945 Jose Formoso Reyes, a teacher

43

berry baskets as well as large spoked potato baskets were made by farmers and weavers in the town of Basket in Berks County. Willow market, laundry, and field baskets were made throughout much of Lancaster, Berks, and Reading counties.

The Pennsylvania Germans made one of the most recognizable of all Pennsylvania baskets—the rye coil. Rye coils were shaped into hampers, lidded storage containers, bread-raising baskets and bee skeps, or hives, which were used to protect bees during harsh winters. This form was popular throughout most of the 19th century. Twentiethcentury technology reduced the need for these baskets in breadmaking and beekeeping and only a few are still made by contemporary craftsmen hoping to keep the tradition alive. A total of two dozen basketmakers working in the Pennsylvania traditions are known to exist today. from the Philippines who could not find work, 9. This array of baskets kitchBasketry in the southern states, despite the in and found was often began weaving baskets on the mainland ens and pantries. Left: agrarian and plantation lifestyle, has had a area's 1950 In decorations. touch—ivory own his added Large cheese curd basket. Sherman Boyer made the first Nantucket handbag less consistent and creative history than in the Hexagon openwork middle and northern Atlantic states. The cottonwith a leather strap. He stenciled his name on the weave. Late 1800s. Dia. basket is one of the best known forms of picking Bunt Today, made. bottom of each bag he 181,' D. 7i/1! The basket south. It varies in size and shape from state to the the on carry others and Burnside Irving Mackay, was lined with cheesestate. Some were made with round bottoms, Nantucket basketry traditions. cloth and then filled with square. The majority were made of oak others Shortly before the advent of the Lightship curds and whey. The many were woven in Lumpkin, and splint Nantucket the in baskets for Basket, the demand whey passed through the Georgia, a well-known basketmaking center in cloth and weave and the area was met by Abram Quary, a white man the mid-19th century. curd remained. Right: with Indian blood, and the Mashpee Indians of Another southern form is the poultry basket.

Oblong basket. Found in Cape Cod. They made light, splint baskets used New England. Late This form also varies from state to state, but for berry-picking, herb-gathering, and kitchen 1800s. L. 157 W. 9','D. generally it is large, bulbous in shape, and storage.

2'.' This basket, which 1 3/ with a lid which is woven around both capped The Fogg family of Sandwich, New has a wide bottom weave a strong handle, making it permanently of sides plank-bottom, well-known their Hampshire, sold and two small side hanThis was done to leave hands free to attached. throughout and area the in baskets bail-handled dles, was probably used the bird, not the lid. Once a squawking with deal their made Foggs The England.

New of much Square Top: to dry herbs. into the basket and the lid shoved was bird pulled baskets of ash, hickory, and oak splints drying basket. Found in the bird could safely be carried closed, securely knife. draw and horse Late shaving a with Hampshire. smooth New to or from poultry houses and marketplaces..

1800s. L. 8',' W. 71,' D.37 They were one of many basketmaking families The key basket and the long, flatsided egg The sides of this basket living in Sandwich, which was known as one of are woven in the hexagon New England's busiest basketmaking centers basket are two forms believed to have originated pattern. Front center: in Kentucky at the end of the last century. The during the early 1800s.

Small splint berry basket. used in the clam and oyster key basket looks like a round basket cut in half. baskets splint Ash 20th century. H. without A carved handle is woven into the flat side. The industries and large field baskets were the staples !(Prihandle, 5',' Dia. 31 basket was generally hung on the kitchen wall of town, small This industry. basket of Dantown's vate collection) a plantation or in a barn to hold keys. They were located in what is now the northern rim of first made of hickory and later, oak splint. A Stamford, Connecticut, produced baskets for version of this basket was hung in some cruder 1860. in nearly 30 years beginning barns to hold eggs. The egg basket was made of Many weavers abandoned their craft and fine, narrow splints woven fairly deep so that sought other livelihoods when basketmaking maeggs could be placed in them and carried on While chinery was being introduced around 1850. in horseback. Kentuckian, Golden Hunt, still introduced being was machinery basketmaking weaves these baskets in the traditional style. A the east and traditions were changing, the basketof round and rectangular rib-construction variety makers of rural Pennsylvania were unaware of the made of willow and hemlock were baskets rye, in weaving were new technology. They produced by one of the state's best known willow, and oak following age-old traditions. basketmakers, Aunt Cord Richtie of Hindeman.

With the exception of the decorated Easter basket She taught basketry and is credited with keeping most basket, rice import China painted and the the art alive in the area. Many of her baskets are Pennsylvania baskets are utilitarian and without still being used by families in Kentucky. embellishments. Many strong ribbed grape and

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44

Coiled baskets were first made by two groups in the south—the Houma Tribe which migrated from Canada to Louisiana about 1750 and the Gullah Afro-American women of Mount Pleasant in South Carolina—and are still made today by descendants of these tribes. The Houma weavers plait and stitch palmetto leaves and coil pine needles. Most of their baskets are decorative forms such as bowls, trays, jewelry containers, and fruit and nut baskets. Since 1850 the Gullah women have been weaving coiled pieces of sea straw, sweetgrass, and pine needles in the traditions of their native African lands. They make market baskets, storage containers, trays, plates, and novelty items. The work of these women may soon be extinct because land developers are taking over grasslands where their grasses grow.

Basketmaking in the Missouri Ozarks has always been minimal and in fact, it nearly died out in the mid-19th century. Farmers and Indian tribes in the area made very few baskets. Most of the early baskets found in this region were purchased from southern weavers. A small group of basketmakers is working in this area today to stimulate an interest in the rib-construction baskets once made there.

With the exception of the baskets made by the Amana weavers of Iowa, most baskets made in the midwest were sturdy farm baskets similar in form to those made in the east. Michigan is known for its splint, double-handled, raised bottom apple basket. Many hickory, doublehandled, splint bushel-baskets were produced in Wisconsin and a number of two-handled winnowing baskets, some as wide as 39 inches, were made throughout the grain states.

The Amana Church Society comprised 7 small communal villages in central Iowa. Most of the baskets produced by Society members remained in the community. The weavers made market, laundry, sewing, and farm baskets, plus two special forms—the liebesbrot, or communion bread basket, and the shoup basket used by women to carry all sorts of things. Most of the Amana baskets were made of peeled and unpeeled willow. Sometimes the two were combined in one basket for a decorative effect. Many of the handles were fashioned by twisting and turning willow rods. In 1932 the Amanas abandoned their communal lifestyle and basketmaking waned.

With the advent of technology, basketry has changed considerably in the United States. Many of the utilitarian baskets once made for farming, fishing, storage, and transport are no longer made. They are being replaced by factory-made modern material containers which are more durable, longer lasting, and often less costly than baskets. Today, baskets are more decorative than utilitarian and basketmakers are, with a few exceptions, more interested in becoming recog-

nized craftsmen and artisans than their forebears were.

Basketry is an adaptable folk art which has survived and will continue to survive as long as man is driven to create. As basketry changes, so will collecting trends. While most of today's collectors seek old utilitarian forms, tomorrow's collector may specialize in signed pieces by contemporary craftsmen.

10. Twofinely woven splint baskets believed to be Shaker. Mid-1800s. Left: Dia. 127 D. 27 Right: Dia. 117 D. _V! Both baskets havefine crisscrossed bindings and bottoms that are slightly raised. They were probably used to holdfruit, nuts, or sewing supplies. (Private collection)

SELECTED BIBLIOGRAPHY Bobart, H.H. Basketwork Through the Ages. Reprint. Detroit: Singing Tree Press, 1971.

Harvey, Virginia I. The Techniques ofBasketry. New York: Van Nostrand Reinhold Company, 1974.

Larason, Lew. The Basket Collector's Book. Chalfont, Penna.: Guthrie & Larason, 1978.

Lasansky, Jeannette. Willow, Oak & Rye, Basket Traditions in Pennsylvania. Lewisburgh, Penna.: Union Country Oral Traditions Projects, 1978.

Raycraft, Don and Caro. Country Baskets. Des Moines, Iowa: Wallace-Homestead Book Co., 1976.

Rossabach, Ed. Baskets as Textile Art. New York: Van Nostrand Reinhold Company, 1973.

Seeler, Katherine and Edgar. Nantucket Lightship Baskets.

Nantucket, Mass.: The Deermouse Press, 1972.

Stephenson, Sue H. Basketry of the Appalachian Mountains.

New York: Van Nostrand Reinhold Company, 1977.

Teleki, Gloria Roth. The Baskets ofRural America. New York: E.P. Dutton & Co., 1975.

Collecting Traditional American Basketry.

New York: E.P. Dutton & Co., 1979.

Thompson, Frances. Antique Baskets and Basketry. Cranbury, N.J.: A.S. Barnes and Co., Inc., 1977.

Wright, Dorothy. The Complete Book ofBaskets and Basketry.

New York: Charles Scribner's Sons, 1977.

45

Gentlemen Carvers of Connecticut Dixon Merkt

Connecticut forms the northern coast of Long Island Sound. This large body of water, and the rivers feeding into her, have had major economic and social impact on the people attracted to her shores. Shipbuilders, oystermen, gun-smiths, and patternmakers in the textile industries, familiar with the Sound and the rivers, were the men who became involved in duck-hunting and decoymaking. As the compact and limited Connecticut marshes could not yield the great kills necessary for market, the decoy tradition evolved as one of quality, effectiveness, and esthetics to please the sportsman rather than the market gunner.

The decoy in Connecticut began with the Indians' crude duckskins stuffed with hay. Prior to the Civil War hunters used heavy, low-floating wooden birds referred to as "rocking horses" (fig.1). The last part of the 19th century saw the evolution of the decoy into a beautiful, abstract, and refined shape, due largely to the talents of Albert Laing (1811-1886) and his followers (fig.2).

Over the years, a distinctive look evolved which says "made in Connecticut." Three basic characteristics are often found in decoys made by Connecticut carvers. First, a full breast which noticeably slopes away from the bow of the decoy. Second, a pronounced tail, to provide a stern "handle" to grab hold of when the gunner was picking up his rig after a hunt and to provide a turning spot for the anchor line which was stored on the decoy. A third characteristic was the location of the platform on which the head rested, normally located below the highest point on the back, and parallel with the surface of the water . (fig.3).

During the 1800s the area of the Mystic River at the eastern end of Long Island Sound was a hub of economic activity. Situated about halfway between Boston and New York, the area prospered from the flourishing industries of shipbuilding and fishing. Fishers Island lay just a few miles off the coast thus adding protection to this area from the cold winter winds of New England.

Ducks were plentiful, and many of the local fishermen and boatbuilders enjoyed spending their free time in pursuit of waterfowl, using black duck, broadbill, scoter, merganser, and occasionally, goldeneye decoys. Unique to this area was the fact that hunters of the Mystic River actively pursued mergansers (fig.4). To find numerous shell-drake decoys is therefore not surprising. The slender bodies and long narrow bills of this diving duck provide an interesting and exciting subject. More information is needed about the men and decoys of this area, as their involvement in the development of the Connecticut decoy is significant.

The largest and most picturesque river feeding into Long Island Sound is the Connecticut River.

With its headwaters just south of the Canadian border, this mighty river carves its way through the heart of New England. Many factories were founded and flourished along its banks. Farther south near the mouth of the river, a major social and economic impetus came from farming, fishing, boatbuilding, and recreation.

Essex, a lovely river-front community located about 5 miles north of the mouth of the river, has produced fine decoys carved by fishermen or carpenters employed by local boatyards. The decoys from the Connecticut River School possess obvious similarities. They were normally solid in construction. Black ducks, broadbills, goldeneyes, and mergansers were most frequently carved. The distinguishing feature of Connecticut River decoys was the head and its position on the body. On decoys in other parts of Connecticut, the breast was fully expressed in the body, and the base of the head was set back from the breast and "faired" into the body. The Connecticut

1. Drake broadbill made by an unknown carver in the Strafford area around 1860. Prior to the Civil War most Connecticut decoys were similar to this one, solid in construction and round on the bottom.

They were heavy andfloated low in the water, bobbing and weaving so much they were nicknamed "rocking horses:' Collectors haveforgiven these decoys theirfunctional shortcomings and enjoy them for their sculptural beauty.

2. Black duck made by Albert Laing ofStrafford, Connecticut, shortly after the Civil War. Laing was thefounder of the Housatonic River School.

The impact of this skillful carver on his successors was great. The X-ray of Laing's black duck clearly illustrates the hollow body madefrom two slabs of wood, the nails holding the body together, and the dowel which gives strength to the head joint.

3. Black duck (foreground)and broadbill (background) carved by Sam Collins, Jr., ofEssex, Connecticut. Decoys from the Connecticut river School are often solid in construction.

Characteristically, the base of the head is a continuation of the breast.

River School, on the other hand, completed the breast by utilizing the base of the head. This was done by making the base full and locating it as far forward as possible. The body and base of the head were then shaped together to form the breast.

Sam Collins, Jr. (1856-1948), from Essex, Connecticut, a sea captain by trade, is credited with fine-tuning of the Connecticut River look (fig.5). His friends, Bertram Tooker and Cassius Pratt, also produced distinctly "Connecticut River" decoys.

A number of very attractive decoys have been found in Deep River, a town just north of Essex,

4. Merganser made by an unknown carver of the Mystic River area. Unlike other areas in Connecticut, the gunners of the Mystic River School actively hunted mergansers.

5. Black duck carved by Sam Collins, Jr. Collins leads the list offine carversfrom the Connecticut River School. He made sturdy decoys which stood up well against hard use.

Happily, thisfunctional approach did not detract from the beauty of carvings.

47

6. Pair of broadbills made by Ben Holmes of StraYbrd, Connecticut.

Holmes is believed to have apprenticed under Albert Laing. After Laing's death in 1886, Holmes became the primary influence in the Housatonic River School.

Thefine detail carving on the bills and thefluidity and simplicity of the bodies of these decoys are noteworthy.

48

but at this time very little is known about their origin. Important information about the Connecticut River is just now being uncovered.

The classic Housatonic River look evolved from the time of the Civil War to the turn of the century. Albert Laing introduced and developed the basic look. Ben Holmes (1843-1912), outliving Laing by about 15 years, maintained the momentum of the school (fig.6). During the last few years of Holmes's tenure, a new generation of carvers was developing its skills. "Shang" Wheeler (1872-1949) became the leader of this third generation.

Albert Laing, a native of Rahway, New Jersey, and a man of some wealth, was 54 years old when he settled in Stratford, Connecticut.

After Laing's arrival in Stratford, the bodies of most Housatonic decoys were made of two pieces of wood, so the carver could make the body hollow. Although hollowing was technically more difficult and, of course, more time consuming, it was the preferred method of the Housatonic carvers. Lightweight birds were easier to carve and rode high in the water, making them much easier for the ducks to see.

As was customary in his native state of New Jersey, Laing made most of his decoys from two pieces of wood of equal thickness, hollowed out, then brought together with white lead and copper nails. Careful analysis of Laing's decoys vividly illustrates the imagination, skill, and artistry of this innovator. It was this gentleman carver who set the stage from which future Stratford carvers performed. The slim distinctive tail, elongated

body, and full breast of his decoys were designed for the swift current at the mouth of the Housatonic. The sleek body and full breast reduced resistance while simultaneously adding extra bouyancy to the "bow," important in the current, which had a tendency to make the bow ride low in the water. As the water swept by the decoy, it would put strain on the anchor line, causing the bow to dip. The full breast and elongated body helped to keep the decoy "trim."

Unlike most carvers, Laing must have enjoyed making turned-head sleeping ducks, as his ratio of sleepers to straight heads was unusually high.

His sleepers are sculpturally spectacular. In addition to black ducks, broadbills and scoters, he was also known to have made canvasbacks, pintails, and swans. Laing's total output may not have exceeded 400 decoys.

During the last half of the 19th century, within the Housatonic School, another style was popular—the "Milford Look" (fig.7). Some speculate it was popular with the Stratford carvers who were not influenced by Laing and Holmes. Others theorize that these decoys originated on the eastern bank of the Housatonic. Some decoys of this type bear the brand "S&S,"indicating they were made by the Smith brothers from Milford.

The birds of the classic Housatonic School can be easily identified by certain characteristic features: elongation and sleekness in body shape, slimmer in the forward third before flaring, like shoulders, into the main body section. In contrast, the "Milford" decoys are ovaloid and chunky. The body line from the breast aft is

continuous, not interrupted by shoulders. Furthermore, the "Milford" tail is short and stubby compared to the classic Housatonic sleek and long tail.

Ben Holmes, a carpenter by trade, undoubtedly apprenticed under Laing. Representing the second generation of Stratford carvers, Holmes was most effective in continuing the tradition established by Laing, although structurally Holmes's method of construction differed. His decoys combine numerous curves to create a very pleasing, yet simple, decoy. Unlike Laing who incorporated various head positions, most of Holmes decoys have the head in a straightforward position.

Holmes was one of Stratford's more prolific carvers and many of his decoys found their way into the rigs of the few market hunters. As recently as the 1960s some of his decoys were actively gunned over, a tribute to the craftmanship of this fine carpenter. To estimate his total production is difficult at best. He may have made, however, enough to reach four figures.

By the early 1900s, a number of young men were about to swell the ranks of the Housatonic School. As a group, these men represent the third generation of Stratford carvers. The leader of this

new generation was unquestionably Charles E. ("Shang") Wheeler.

Personally, Wheeler is remembered as being both generous and kind. Most of us who never had the privilege of meeting Shang have come to respect the man for his great artistry. In addition to his outstanding decoys, he made fish models and half-boat models.

For over 30 years he was manager of the Stratford Oyster Company. He was also a State Senator and a cartoonist for a local Bridgeport paper. His office was in Milford and it was at this location that he did most of his carving.

No one remembers Shang ever selling his decoys. He made them as gifts for friends. A number of Connecticut residents have one or two of Wheeler's lovely mantel birds.

Wheeler's artistic ability allowed him to approach decoy-making with flexibility and freedom. He did not limit the materials he used or the construction methods he employed. Simplicity and fluidity of form characterize his hollowbodied pine decoys. The lightness and subtlety of his paintbrush helped him to capture the beauty of any species (fig.8). When carving decoys to be gunned over, he used little detail, shaping bodies of cork or balsa for light weight.

7. While the classic Housatonic River School was developing under the leadership ofLaing and Holmes, another style had evolved—the "Milford Look:' The classic elongated body with full breast is represented here by a black duck (center) carved by Ben Holmes. Thisfine decoy is flanked by two birds with the short ovaloid bodies ofthe Milford look. The differences are at once obvious.

8. Black duck carved by Charles E.("Shang") Wheeler of Milford, Connecticut. Wheeler was the father of the third generation ofHousatonic River carvers. A man with tremendous artistic ability, Shang's decoys were fluid and his painting relaxed.

This is an excellent example of one of his working stool, or decoys.

49

10.

9. Black duck made by Roswell Bliss ofStratford.

The third generation of Housatonic River carvers was strongly influenced by their predecessor, Ben Holmes, and by their contemporary, Shang Wheeler. Bliss's duck shows structural and painting influences of both men.

50

10. Black duckfrom a rig carved by Lou Rothmell of Danbury, Connecticut, in 1941. One ofthe most underrated carvers ofthe Housatonic River School was Lou Rothmell. In 1941 he carved a rig of about 55 gunning black ducks, considered one of the best gunning rigs ever made.

11. Goldeneye duck made

by Reg Culver ofStratford, Connecticut. Culver was influenced by Ben Holmes and his work must be rated with the very best of Connecticut decoys. Like several other Strafford carvers, he branded his name("R. I. Culver") on the bottom of his decoys.

Like most other Stratford carvers, Wheeler's production was limited to probably less than 500 decoys. Most of his works were black ducks, broadbills, and scoters. Unlike his fellow gentlemen carvers, Shang made at least one or two decoys ofjust about every species—from shorebirds to shovelers.

Without exception, every third generation carver speaks of Shang Wheeler with affection and admiration, his influence was significant.

Like the men before them, the third generation were, on the whole, gentlemen carvers.

Without exception, decoy making was an avocation which first and foremost brought enjoyment.

In most cases the Stratford carvers enjoyed financial stability. They did not make decoys for profit.

Much had been accomplished before the 20th century carvers began their work. Following in the footsteps of three of the greatest decoy makers of all time, the fine work of many of the third generation carvers is often overshadowed.

Charles Disbrow (1885-1955), Stratford's game warden, most closely copied Wheeler's work.

Even the experts have trouble distinguishing Disbrow's black ducks from those made by the master. Few examples of this gifted carver remain in circulation. We must, therefore, assume his production was very limited.

A most active gunner in Stratford was Ken Peck (1887-1961), who spent the summer months sailing yachts owned by the wealthy. The fall and winter months he spent gunning. The bulk of Peck's decoy production was 25 black ducks made in 1933 with Bill Bedell (1904-1966), another carver in this generation.

Roswell Bliss (1887-1967) was probably the most prolific carver of the third generation (fig.9).

He continued to make decoys until his death in 1967. A patternmaker by trade, Bliss spent many of his working years self-employed, doing patternwork and making decoys in the shop behind his house in Stratford. Of all the carvers, Bliss was most dependent on the sale of decoys as a source of income. He was one of the few carvers to make decoys of species uncommon to the area: geese, teal, pintail, and even some crows.

The most underrated of all third generation carvers was Lou Rathmell (1890-1976). Rathmell moved to Danbury, Connecticut, after marrying a woman of wealth. His production may not be much more than 100 decoys. However, every decoy he made was outstanding. In 1941 he made a rig of about 55 black ducks which must be considered one of the best gunning rigs ever made (fig.10). Constructed with cork bodies and wooden heads, these decoys were so lifelike that

12.Black duckfrom a rig carved by Willard C. Baldwin ofBridgeport, Connecticut, in the 1920s.

Baldwin made a rig(24 black ducksfor his personal use in the 1920s and continued to gun over them until the early 1960s. These stool were made of white pine and were hollow in construction. whenever Rathmell set up, the black ducks would pass by all other gunners and head right for him.

No two heads were identical. The position and/or the height of the head always differed. In addition to these fine cork black ducks, he also made several remarkable pairs of mallards, canvasbacks, redheads, broadbills, teals, and buffleheads. These beautiful decoys were hollow and made of pine.

Reginald I. Culver (1897-1975) was from an old seafaring Stratford family. Reg spent many years at sea himself. He was also an excellent carpenter. When Reg was ashore during gunning season, he spent most of his time in the marsh gunning black ducks. He made excellent black ducks, broadbills, goldeneyes, and scoters, almost all hollow and made from pine. Structurally his work is reminiscent of Ben Holmes's (fig.11).

Wheeler gave many helpful tips to Culver, particularly in the area of painting.

Probably the best "technician" in the art of decoy-making in this group of carvers is Willard C. Baldwin (1890-1979). Baldwin is a highly respected man trained as a patternmaker at Singer Co. in Bridgeport. He believes and has lived by the idea that "the best tools are the ones you make yourself." He can make almost anything and has made just about everything—from canoe paddles, gun stocks, and boats, to chisels, knives, and drills—all of superb quality. His decoys are equally high in quality. Around 1920 he made a lovely rig of 24 black ducks. Varying in shape, size, and head position, these 24 decoys remain in original paint and outstanding condition even though they were regularly gunned over by Baldwin until the early 1960s (fig.12). It was then that these fine decoys began to circulate through the world of the collector. They are now prized

possessions of many decoy and folk art enthusiasts.

Another of Stratford's fine gentleman carvers, Charles Ralph Welles (1895-1979) graduated from Yale in 1917. His family had substantial land holdings in the northern part of Stratford along the river. Highly influenced by Laing and Wheeler, Welles made some outstanding decoys in the 1920s and 30s. More than most of his fellow carvers, Ralph employed several basic body shapes. This has resulted in some confusion and has made identifying his work difficult. With existing research, we are now able to chart his carving characteristics and identify those that remain constant in all his decoys. Both his carving and painting skills are outstanding. As recognition of his work increases so will appreciation and demand.

A new generation of Connecticut carvers is beginning to receive recognition for its work.

Preeminent among this group are Dave Ward of Essex and Mark McNair of Old Lyme. Discussion of their work will be detailed in later articles.

Many of the best examples of American folk art were created by people whose identity has vanished. Fortunately, enough information about the decoy carvers of Connecticut is available to trace the evolution of the decoy in the state.

Like the limners, the provincial artists of years before, the work of these decoy carvers was intended for local consumption. However, the outstanding work created by these carvers has far surpassed the original functional intent.Their decoys have come to be regarded as highly collectible, outstanding examples of American folk art.

51

I.

The Museum's Good Friend Effie Thixton Arthur 1902 to 1979 Jean Lipman

1. Plaque. 19th century.

Plaster set in a wood shadow box under glass.

H. 8".

2.Lovebirds. 19th century. Chalk. H. 5".

3. Watchstand. 19th century. Chalk. H. 12".

4. Late 19th century.

Figurine. Chalk. H. 10".

5. "Pineapple" garniture. 19th century. Chalk.

2".

1 H. of tallest piece, 10/ 6.Swan. 19th century.

3 4".

Chalk. H.4/ All cithese chalkware pieces are part of the bequest ofEffie Thixton Arthur to the Museum of American Folk Art. 52

3.

Effie Thixton Arthur was a close friend and neighbor in Wilton, Connecticut, from the time she and her husband came to live there in the forties.

Effie was at first mildly, then intensely interested in the folk art which we had been collecting. She soon asked me, quite wistfully, whether I thought it too late to try to find such things for her house. I said most emphatically not; we had been told it was too late when we began collecting in the thirties!

Effie never considered herself a collector, but she had a good eye, an active and intelligent interest (she read every book and article she could find about folk art), and she had enormous energy and enthusiasm. She thoroughly enjoyed the hunt. We went on quite a number of antiques-andfolk-art trips together. Even more, she loved living with the things she had found. She ended up with quite a number of splendid examples, from decoys and toys to weathervanes and painted furniture, and she assembled the most important collection of Pennsylvania chalkware that exists today—over a hundred choice examples. This alone was quite a feat, with famous collectors like Titus Geesey, who had also avidly collected

chalkware at a much earlier—easier—time. Effie Arthur's collection of chalkware became the focus of interest in her house, ornamenting her mantlepiece and chest tops, and filling cupboards. It will make an exciting new display in the Museum of American Folk Art, to which institution she willed it, with several other important pieces—a marvelous heron decoy and a most important Mahantango Valley chest of drawers by Jacob Mazur.

It is a measure of her talent as a collector of folk art that not only this museum but also the New York State Historical Association at Cooperstown and the Abby Aldrich Rockefeller Folk Art Center at Williamsburg received important groups of toys and whirligigs, weathervanes, decorated furniture, boxes, walking sticks, and cigar-store Indians. Effie Arthur was indeed a collector and—unusual combination—a very modest and a remarkably astute one.

Editor's note: Mrs. Arthur was a good friend of the Museum, and we appreciate her generosity. See the Director's letter and the Recent Additions column for further information.

* • Norway Folk Arts in Focus on Norsk Folkemuseum in Oslo MARSHA MacDOWELL C. KURT DEWHURST

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2.

Mention Norwegian folk arts and one immediately brings to mind an image of rosemaling.

Yet if one were to visit the Norsk Folkemuseum in Bygdfdy just outside of Oslo, it would become evident that Norway has a rich heritage of folk arts with the rosemaling being but one of its many forms and at that a relatively recent phenomenon.

Following the lead of the other Scandinavian countries, Norway established the Norsk Folkemuseum, its largest museum of cultural history, in 1894. From the tenure of its first director, Hans Aall, up until today, the Norsk Folkemuseum has sought to preserve and interpret aspects of material culture from the 16th century to contemporary times. The homes, costumes, tools, and other paraphernalia used by rich and poor, rural and urban, young and old Norwegians have been studied, collected, and placed on exhibit in this national institution. The Norsk Folkemuseum is actually many museums in one incorporating: the large open-air museum with its collections of rural and town buildings; the Norsk Landbruksmuseum; the Lapp collection from the Museum of Ethnography; and the Norsk Farmasihistoriste Museum (Pharmacy Collection). All of these individually focused collections add up to a comprehensive survey of material culture that will provide the visitor with an excellent introduction to Norwegian folk arts.

The open-air section of the museum, spread over 35 acres, has over 150 buildings that have been transported to this site from all over Norway. The buildings are all furnished and laid out around farmyards, representing districts such as Numedal, Frondelag, Hallingdal, Setesdal and others. In order to understand the variations in building construction and in the varied folk art forms, it is first necessary to understand that each

of these districts represent distinct geographical regions in Norway. It has been said that there were no "towns" in Norway but instead selfsustaining farmsteads loosely grouped throughout the valleys. The church, a minimum of trade, and local government, provided the basis for the most local interaction prior to the industrial age. The mountains, even today impassable by car during winter months, imposed a constricting force on the development of new ideas. Thus, the folk arts of each region maintained strong local characteristics.

These "district variations" are evident as one wanders through the open-air museum as well as the general development of housing forms. One of the earliest house-types, the aarestue, was a one-room structure built around an open stone hearth. Only a hole in the roof, covered by perhaps a stretched animal skin, allowed the smoke from the hearth to escape. Needless to say, little was done in the way of artistic decoration since everything inside the house was blackened by smoke. Only on special occasions might tapestries be hung. A major development in housing came about with the introduction of a smoke-stove or rokoon. This stove meant a less smoke-filled interior and allowed for the development of an extra room. It was not until the introduction of the chimney that house design was altered considerably. With the chimney came cleaner air and the advantage of using the gable area for living space. Furniture items became lighter and more numerous, textiles were used more freely and painting became a favorite method of brightening the interior space.

One of the earliest buildings included in the open-air section is the stave church from Gol thought to be originally constructed about 1200.

It is one of 35 extant examples of the over 1,000

1. Built around 1200, this stave churchfrom Gol was transported to the Norsk Folkemuseum in the 1880s. Only 35 of'the close to 1000 original stave churches are still in existence.

2. Paintingfrom Go!, Hallingdal(1699) which portrays BiOrn FrOysaak, afarmer with hisfirst and second wife plus their households.

55

3.

3. The Norsk Folkemuseum has a large collection of old costumes on view in its section on rural life.

4. Ale bowl carved in a double goose or dobbelt&form. This example was made in the Telemark region in 1770.

56

stave churches that once dotted the Norwegian countryside. Looking like eastern pagodas, these wooden churches are curious combinations of Romanesque and Viking cultures built over pagan worship sites. The roofs are supported by huge wooden pillars placed along the walls and larger churches have a mast in the middle to support the ridge turret. Decorations vary from the Urdal type carving that depicts stylized animals caught in intertwining lacings which outlined a portal or alter to the elaborate Medieval paintings which covered the interior walls and ceilings. The Gol stave church at Bygdoy has paintings dating from 1652 embellishing the choir and apse. For those who desire to take in other stave churches, there are excursion trips available to stave churches in other areas, or, if travelling by private car, one can visit a number of these churches by driving west toward Bergen on any of the three major east-west routes. Stave churches of special note are at Heddal, Eidsborg, Roldal, Torpo, Borgund, Reinli, and Hedalen.

Rosemaling (literally rose painting) reached its heyday in the 18th and 19th centuries.

Cupboards, beds, ale bowls, chests, even walls and ceilings became covered with the colorful designs. In some districts, families began to specialize in rosemaling and distinctive schools of painting emerged in other districts. Characteristic colors and motifs earmarked the rosemaling of each district: Numedal with its tulip motifs, Glomdal blue paintings, and the c- and s-curve designs in Opdal are some well known traditions.

By the second half of the 19th century, the practice of extensive rosemaling of household objects and walls began to diminish and more wooden surfaces were treated to simulate graining of more expensive woods. Today the rosemaling of small items has been continued primarily by cottage industries or individual craftsmen.

Woodcarving also reached an advanced stage of craftsmanship in some districts. Chipcarving (karveskurd), a distinctive form of carving, was especially popular in Norway and many examples of chipcarving can be seen in the museum.

Perhaps the most singular motif used in Norwegian carving from the period 1700 on was the acanthus leaf. This foliage motif became as synonymous in Norway with wood as the rose image with paint. The Norsk Folkemuseum has a permanent exhibition of carved and painted furniture and furnishings that helps convey to the visitor the nature of folk imagery throughout Norway.

Metalwork, textile production and other folk arts are exhibited in both the indoor and outdoor portions of the museum. Attention is also given to the development of implements used in weaving and the evolution of the various looms used in

6.

5. Kubbestolfrom Hallingdal. These chairs were usuallyfashioned from a single log.

6.Storehouses and lofts built of heavy timbers decorated with minimal carving were used to store food on the groundfloor.

The second story was used as a storage areafor prized possessions, a summer sleeping area, or a guest room.

5. the distinctive valleys of Norway. In addition, a huge collection of costumes captures the subtleties of cut, color, and decoration that distinguish the apparel of each region.

If you go: The Norsk Folkemuseum is located just outside the heart of Oslo at Museumsveien 10, Bygdoy. Parking is available across the street from the main entrance. The museum is also easily accessible by Bus No. 30(Bygd0Y)from the Nationaltheatret that runs every half hour or by ferry from Radhusplassen (Town Hall). HoursSummer(mid-May until end of August): weekdays 10-6, Sunday 12-6; Winter: weekdays 11-3:45, Sunday 12-3. Admission kr.4/ children 1.50. Brief guidebook available in English. Telephone (02)55 80 90.

Some hints: The Norsk Folkemuseum has a restaurant that is open daily through the summer with a menu that offers many traditional Norwegian dishes.

Snack stands are situated throughout the open-air portion of the museum and offer limited refreshments. On Sundays, various entertainments including folk dance performances are often presented. For the times of those events as well as information on special exhibitions, watch for announcements in the newspaper. Since the

7. museum incorporates both an outdoor section and an extensive indoor collection of exhibits, it may be best to schedule two days to take it all in. The Norsk Folkemuseum is one of the few Norwegian folk museums that has provided multi-lingual labels for its foreign visitors. If you desire to read about Norwegian folk arts before visiting Norway, the most comprehensive work in English to date is Janice Stewart's The Folk Arts ofNorway (University of Wisconsin, 1953, and Dover, 1972).

7. An exhibition of various loom types and weaving techniques has recently been installed at the Norsk Folkemuseum.

An exciting amount of material has been collected on the warpweighted looms by curator Marta Hoffman.

57

Noteworthy Items

painted silk picture of St. Joseph's Academy City's Museum of Modern Art, she felt that in Emittsburg, Maryland. the American "primitive" or folk art paintA second-floor bedroom reflects a taste ings were the ancestors of the modern for patriotic folk art. Each of the three American school. doors is surmounted by handsome eagles In the late 1920s, she began collecting thought to be the work of the Maine carver folk art whose artistic value was little John Bellamy, while the walls are decorated recognized at the time. In 1935, several with three versions of "George Washington loaned were art folk her hundred pieces of His Family," derived from the welland permanent for Williamsburg Colonial to the acquired has Williamsburg Colonial painting by Edward Savage. known gift. a became 1939, in furnishings of Bassett Hall, the 18th-century exhibition which, John D. Rockefeller, Jr.'s death in After her bearing Center Art Folk the When foundation the to willed recently plantation Hall became the property of Bassett 1960, it 1957, in Williamsburg in name opened

by John D. Rockefeller 3rd.

John D. Rockefeller 3rd. He and Mrs. housed 424 examples of the nonacademic Board Chairman Carlisle H. Humelsine Rockefeller 3rd maintained most of the American art she had collected between said in excess of 500 household objects and original furnishings.

1929 and 1942. groupings in major museum categories valIn John D. Rockefeller 3rd's will, the Even after Mrs. Rockefeller had decided ued at approximately $700,000 were $4.4 million Bassett Hall house and land to share the best of her collection with received as a gift from the JDR 3rd Fund, were left to his wife, Blanchette, with a Williamsburg visitors, her enthusiasm for through the generosity and interest of Mrs. right to renounce the bequest, and similar folk art remained undiminished. During the John D. Rockefeller 3rd and members of opportunities in turn for his children and late 1930s, she continued to purchase a the family. The JDR 3rd Fund is a charitabrother David. After they disclaimed these wide variety of folk art subjects, many of ble organization created by John D. the property was given to Colonial rights, at enjoyment family for quality, museum Rockefeller 3rd.

Williamsburg. The personal property, the Williamsburg home.

The original, two-story, white frame however, did not go at that time to Colonial Humelsine characterized the folk art at colonial residence, located on 585 acres Williamsburg. Mr. Rockefeller 3rd, who to addition important Bassett Hall as "an adjacent to the restored colonial capital's in an automobile accident in July 1978, died represents it as collection Williamsburg the Williamsburg the as served Historic Area, Williamsburg's board chairColonial was collecpioneer a of taste refined the very home of Mr. and Mrs. John D. Rockefeller, to 1953 when he resigned 1939 from man tor."

1936. since family his of members Jr., and of the Rockefeller chairman become to aesand condition, rarity, of terms In Humelsine indicated that plans are being Foundation. thetic appeal, he rated many of the folk art explored for exhibiting the residence and objects "as ranking with the best of the grounds to the public as a house museum.

1800 subjects housed at the Abby Aldrich "Bassett Hall is a vital document of imporRockefeller Folk Art Center in tant phases of Williamsburg's early and Williamsburg." more recent history," he noted. The furAccording to Beatrix T. Rumford, Vicenishings reflect the personal interests of two President and Director of Museums at of America's great tastemakers, Mr. and Colonial Williamsburg, Bassett Hall conMrs. Rockefeller, Jr., and how they lived in tains approximately 125 pieces of folk art Williamsburg during the time they were including a cupboard of Pennsylvania chalkinstrumental in restoring Colonial ware, ten weathervanes, 70 American Williamsburg. Both Mr. and Mrs. Rockincluding prime examples of chilpictures in interest personal a took efeller, Jr., The first firing of the only known brick dren's portraits, as well as a number of collecting the furniture and furnishings for pottery kiln of its kind—once typical in stencil or theorem paintings, mourning the exhibition during their lifetimes.

19th-century rural New England, now early carvings. and pictures, "The furnishings at Bassett Hall give the probably unique—occurred during the sumIn the process of furnishing the resihouse a feeling of warmth and charm and mer of 1979 at Old Sturbridge Village, dence, Mrs. Rockefeller made some are an attractive combination of Chinese, Sturbridge, Massachusetts. remarkable folk art discoveries. "Chief English, and American antiques. Much of The 23-foot-high bottle-shaped kiln, reamong them," Miss Rumford noted,"is a the furniture is 18th and early 19th-century produced from archaeological evidence, can delightful, previously unrecorded portrait of American in the Chippendale, Federal, and bake some 500 glazed redware pots in a small girl and her cat which dates from Empire styles, including a New England temperatures reaching 1800 degrees F. (1000 about 1800 and has been attributed to the curly maple desk of about 1770, the first degrees Celcius) in a round-the-clock firing.

Beardsley Limner." piece Mrs. Rockefeller purchased at the age According to interpretation coordinator features room drawing The first-floor of 15," Humelsine said.

John Englund, an organizer of the kiln significant examples of schoolgirl embroiMrs. Rockefeller, Jr.'s avid interest in project, building and firing the kiln was an dery, including several unusual memorials. folk art gives the interiors their greatest experiment in history. "Although large-scale There is also a meticulously stitched and distinction. As a founder of New York

Colonial Williamsburg Given Furnishings of Bassett Hall

Old Sturbridge, in an "Experiment in History" Fires 19th-Century Brick Kiln

58

commercial kiln firings were common several generations ago," he said, "no one alive now knows just how these were done in wood-fueled, updraft bottle kilns. In researching and reproducing this kiln we seek to rediscover knowledge that once was so ordinary that no one bothered to write it down."

Rural pottery-making, he explained, has been an extinct industry for more than a century. Mr. Englund noted several matters of interest that the firing was intended to reveal: how did potters repair a kiln? how much hardwood and softwood and what procedures were necessary to raise and control temperatures? how much waste was involved? how much time did potters devote to firing, and therefore how much time was left for other work, socializing, and community activities?

In preparing the kiln, the Village conducted an extensive year-long survey of historical literature and physical remains, including those found in an archeological dig on the site of the Hervey Brooks pottery, which stood in Goshen, Connecticut, some 150 years ago.

In assembling the first kiln load to be fired, the Village drew upon Brooks's records. The load of milk pans, pudding pots (small, middling, and large in size), mugs, jugs, chamber pots, and other ceramics that were fired conformed to the early 19thcentury potter's inventories.

Some 7200 man hours were devoted to construction of the kiln which measures 11 feet in diameter at the base and encloses some 450 cubic feet. The authentic mortar recipe and the composition of the 15,000 bricks used in the kiln reflect 150-year-old technology.

The Village plans four firings a year. The kiln's estimated lifespan is five to ten years.

Old Sturbridge Village is located near Exit 9 of the Massachusetts llirnpike and Exit 3 of 1-86.

Greenfield Village and Henry Ford Museum Announces Publication of 50th Anniversary History A Home For Our Heritage: The Building and Growth of Greenfield Village and Henry Ford Museum, 1929-1979, by Geoffry C. Upward, has just been published by the Henry Ford Museum Press as part of the celebration of Greenfield Village and Henry Ford Museum's 50th Anniversary.

With more than 700 photographs, many rarely seen before, and information gathered after extensive research in the Ford

Archives, Upward traces the development of the Village and Museum from its beginnings to the present in this 180-page volume. Highlighted are Henry Ford's early preservation actions at his birthplace in Dearborn, Michigan, the famous Wayside Inn of Massachusetts, and the Botsford Inn in Farmington, Michigan, and the dedication ceremonies of the complex in 1929.

A Homefor Our Heritage is available by writing The Merchandising Department, The Edison Insitiute, Dearborn, Michigan 48121.

The Library of Congress releases Songs of Death and Tragedy, the final volume of Folk Music in America.

American Rococo Revival style. The table is presently on loan to the State and we are seeking sources for further information. Do you know of anyone who is expert enough on African art to detect any tribal or area influences in the carving?

"I am quite intrigued with the table. It has descended in a white family from Franklin County, North Carolina, and by oral tradition was 'made by an old black man before the Civil War: If this is true, I feel we've found a very significant artifact.

"Any help you might provide would be gratefully received:'

"Songs of Death and Tragedy:' is the last in the Library of Congress' 15-volume series of phonograph recordings, Folk Music in America.

Edited by Richard K. Spottswood and Mack McCormick, with notes by Mack McCormick, "Songs of Death and Tragedy" is a collection of 16 songs which, according to McCormick, "are not about death so much as they are about the style with which it is met:' The recordings, many of which are available for the first time, are a rich diversity of ethnic, regional, and period music, drawn from the Archive of Folk Song and from private and commercial sources. Included are "John Henry:' "Wreck of the Old 97:' Polish recordings, and an Appalachian string band. Some performers are The Blue Sky Boys, Ernest IUbb and The Ted Hawkins Mountaineers.

Further information may be obtained from The Library of Congress, Recording Laboratory, Washington, D.C. 20504.

Request for Aid in Identifying Table Michael 0. Smith, Furnishings Curator of the North Carolina Department of Cultural Resources, Raleigh, North Carolina 27611, has sent us the following letter. Hopefully, one of our readers will be able to offer some pertinent information to Mr. Smith.

"I have a rather interesting problem I hope you can help with. The enclosed photos are of a table which I recently found here. As you can see, it is an intriguing combination of African effigy figures and

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Folk Art Calendar Across The Country Current through April 13 AMERICAN-MADE DOLLS,1850-1979.

This exhibition shows more than 100 dolls, manufactured or made in America, from the mid-19th century handmade dolls of such natural materials as cornhusks, wood, dried apples, and leather, to the manufactured or mass-produced dolls of the 20th century.

Doll accessories, furniture, and memorabilia round out this unique display of objects from the past, all loaned by members of the Yankee Doodle Dollers of Massachusetts. Museum of our National Heritage, 33 Marrett Road, Lexington, Massachusetts 02173.

Current through May 18 LINEN-MAKING IN NEW ENGLAND, 1640-1860.

Linen was an important fabric for clothing and domestic use in early American homes.

In this major exhibition, jointly produced

by The Merrimack Valley Textile Museum and The Museum of our National Heritage, the processes of producing linen are fully explained, from the growing of the flax plant to the weaving of the cloth. Live demonstrations of the linen-making processes take place in the gallery at regularly scheduled times. Museum of our National Heritage, 33 Marrett Road, Lexington, Massachusetts 02173.

Current through May 18 AMERICAN FOLK PAINTERS OF THREE CENTURIES. Presented as part of the Whitney Museum of American Art's 50th anniversary celebration, "American Folk Painters of Three Centuries" will be the first exhibition to focus on a selected group of American folk painters and to present them as individual creative talents. Thirty-six artists from the 18th, 19th, and 20th centuries will be represented by 3 to 8 works each. A 216page publication with color plates will accompany the exhibition. Whitney Museum of American Art, 945 Madison Avenue at 75th Street, New York, New York 10021.

Current through June 15 REFLECTIONS OF 19th CENTURY AMERICA: FOLK ART FROM THE COLLECTION OF SYBIL AND ARTHUR KERN. The faces and places of 19th-century Amer-

60

ica—portraits in oil, pastel, and watercolor, mourning pictures, landscapes, farmscapes and family documents. Paintings are included by Erastus Salisbury Field, J.A. Davis, Ruth W. Shute and her husband Dr. Samuel A. Shute, Joseph Whiting Stock, and Zedekiah Belknap. Museum of our National Heritage, 33 Marrett Road, Lexington, Massachusetts 02173.

Current through October 30 NEW YORK CITY'S INDIAN HERITAGE. Artifacts dating from 5000 BC relating to technology, domestic life, burial cutoms and subsistence, illustrate the lifestyles of New York Area American Indians before contact with Europeans as well as cultural changes resulting from European influence.

Museum of Archaeology at Staten Island, 631 Howard Avenue, Staten Island, N.Y. March 6-May 4 NEWLY DISCOVERED PAINTINGS

BY THE BORDEN LIMNER. In 1976 Robert Bishop mounted at the Museum of Art, University of Michigan, a retrospective exhibition devoted to The Borden Limner, now tentatively identified as John S. Blunt. Newly discovered paintings and a keystone signed portrait shed new light on the Blunt paintings which provide the basis for this exhibition. Museum of American Folk Art, 49 West 53rd Street, New York, New York 10019.

March 30-May 11 THREE CENTURIES OF CONNECTICUT FOLK ART. Over 250 works of art have been assembled from private and public collections for an exhibition that will examine and illustrate the role of folk art within the context of Connecticut cultural history, from the 17th through the 20th centuries. The exhibition explores the lives of native artists and craftsmen; it traces their artistic styles and identifies their tools, methods, and techniques, and finally links it all to the rich and varied heritage of Connecticut.

Organized by Art Resourses of Connecticut, with Alexandra Grave as curator, the exhibition will travel throughout the state until 1980. The New Haven Colony Historical Society and The Creative Arts Workshop, New Haven, Connecticut.

4M r1 E:

April through September CENTENNIAL EXHIBIT OF NATIVE AMERICAN INDIAN ART. Bacone College, a school for Native American Indian Students, and a pioneer in the development of distinctly Native American Indian painting, is sponsoring a traveling exhibition of paintings and sculpture by Bacone artists. The work of Dick West, Solomon McCombs, Joan Hill, Willard Stone, Enoch Henry, and others, will tour the United States from April through September 1980, On May 12-23, the Bacone show will be exhibited at the Manufacturers Hanover Trust Co. in the Union Carbide Building on Madison Avenue at 47th Street.

For further information contact The Reverend Paul A. Collyer, Bacon College, Muskogee, Oklahoma 74401.

April 10, 1980 "MOST PERFECT AND WHOLESOME": AMERICAN SALT-GLAZED STONEWARE. Lecture by Susan H. Myers, Museum Specialist, Division of Ceramics and Glass, Smithsonian Institution, Washington, D.C., presented as part of the 28th Annual Henry Ford Museum Antiques Lectures Series.

Henry Ford Museum Theater, Greenfield Village and Henry Ford Museum, Dearborn, Michigan 48121.

May 8, 1980 "DIDN'T GRANDMA USED TO HAVE ONE OF THOSE?": A STUDY OF KITCHEN IMPLEMENTS AND UTENSILS,1830-1930.

Lecture by Donna R. Braden, Assistant Curator, Domestic Arts, Greenfield Village and Henry Ford Museum, presented as part of the 28th Annual Henry Ford Museum Antiques Lectures Series, Henry Ford Museum Theater, Greenfield Village and Henry Ford Museum, Dearborn, Michigan 48121.

May 16-August 31 ENGLISH NAIVE PAINTING. English naive paintings ranging from portraiture to genre and dating from the 18th, 19th, and 20th centuries are to be featured in this exhibition from the collection of Mr. and Mrs. A. Kalman, London, England.

The Kalman Collection has been exhibited

Exhibitions at The Museum extensively throughout Europe and its first appearance in the United States will be at the Museum of American Folk Art, 49 West 53rd Street, New York, New York 10019.

May 31-June 29

QUINTESSENTIAL QUILTS: THE GREAT AMERICAN QUILT CONTEST. The quilts were originally chosen from 10,000 national entries in the "Great American Quilt Contest" in 1977, sponsored by the U.S. Historical Society, the Museum of American Folk Art, and Good Housekeeping Magazine. Quilts representing every region of the country are included in this exhibition, including "Ray of Light" by the contest's National Winner, Jinny Beyer of Fairfax, Virginia, as well as "Leda" by Janny Burghardt of Washington, D.C., and "Labels" by Pauline Hancock of Indian Head, Maryland. In addition to the quilts, text panels relate the history of quiltmaking and the art of quilts. "Quintessential Quilts" is being circulated nationally by the Smithsonian Institution Traveling Exhibition Service (SITES). Springville Museum of Art, Springville, Utah 84663.

JOHN BLUNT: THE MAN,THE ARTIST, AND HIS TIMES Curator: Robert Bishop Research Assistants: Joyce Hill and Heather Hamilton MEMBERS'PRIVATE PREVIEW

March 5, 1980 PUBLIC OPENING

March 6, 1980 CLOSING

May 4, 1980 In 1976 Robert Bishop mounted at the Museum of Art, University of Michigan, a retrospective exhibition devoted to The Borden Limner, now tentatively identified as John S. Blunt. Newly discovered paintings and a keystone signed portrait shed new light on the Blunt paintings which will provide the basis for this exhibition.

ENGLISH NAIVE PAINTING Exhibition Coordinator: Laura Byers MEMBERS PRIVATE PREVIEW

May 14, 1980 May 15, 1980

THREE CENTURIES OF CONNECTICUT FOLK ART. See entry under March 30-May 11 for description. The Litchfield Historical Society and the Oliver Wolcott Library, Litchfield, Connecticut.

Late May-Early September

THE FOLK POTTERY OF GRAND LEDGE, MICHIGAN. The exhibition, organized by the Folk Arts Division of The Museum at Michigan State University and the Grand Ledge Historical Society, will feature items made by workers at American Vitrified Products Company and at the Clay Products Company, where sewer tile was manufactured. In their spare moments, some of the wokers created various clay objects that were then fired in the kilns along with the sewer tile. Their output included animals, such as lions, frogs, and turtles, as well as other items.

This folk pottery was produced in the early years of this century. The Museum at Michigan State University, East Lansing, Michigan 48824.

SMALL FOLK: A CELEBRATION OF CHILDHOOD IN AMERICA Curators: Sandra Brant and Elissa Cullman MEMBERS'PRIVATE PREVIEW

November 5, 1980 PUBLIC OPENING

November 6, 1980 CLOSING

PUBLIC OPENING June 4-July 12

of the Museum of American Folk Art, have generously made much of their very extensive collection available to the Museum in the form of a promised bequest. This exhibition will focus upon a small segment of their holdings of whirligigs and wind toys from the 18th, 19th, and 20th centuries, all of which have human figures built into their design.

CLOSING August 17, 1980

English naive paintings ranging from portraiture to genre and dating from the 18th, 19th, and 20th centuries are to be featured in this exhibition from the collection of Mr. and Mrs. A. Kalman, London, England.

The Kalman Collection has been exhibited extensively throughout Europe and its first appearance in the United States will be at the Museum of American Folk Art. Following this initial presentation, it will tour throughout America.

January 18, 1981 This major exhibition of over 300 objects in all media of folk art will be a comprehensive view of the life of children in the 18th and 19th centuries. The exhibition will be divided into four areas: "A Child's Depiction:' presented in paintings, sculpture, and prints; "A Child's Delight:' featuring children's playthings; "A Child's Discipline;' represented in needlework and calligraphy; and "A Child's Domain:' illustrated in objects relating to the physical and psychological well-being of children, including quilts and bedcovers, furniture, and birth and death certificates. A presentation of the exhibition is scheduled for The Seibu Museum in Tokyo, Japan, after its initial showing in New York City. Presentations are tentatively scheduled in other Japanese cities as well.

WHIRLIGIGS AND WIND TOYS: PROMISED BEQUESTS FROM THE COLLECTION OF LEO AND DOROTHY RABKIN Curator: Patricia Coblentz MEMBERS'PRIVATE PREVIEW

August 25, 1980 PUBLIC OPENING

August 26, 1980 CLOSING

October 26, 1980 Leo and Dorothy Rabkin, longtime friends

61

Coming Events at The Museum English Naive Painting, First American Tour of The Kalman Collection

The Museum of American Folk Art's Annual House Tour Gala

This year's house tour, held on Saturday, May 3rd, 11:00 am to 4:00 pm, will be even more spectacular than ever. A full range of design styles will be represented, from the ultimate in Park Avenue chic to breathtaking collections of American folk art. The six homes on the tour include: A striking 5th Avenue apartment with magnificent views of Central Park, and a renowned collection of contemporary art, including Jasper Johns, Frank Stella, and Roy Lichtenstein.

A Sutton Place home which has the feel of a pied a terre. Lovely rugs, exquisite paintings, and an eclectic decor give this world traveller's home the atmosphere of European elegance.

Another Sutton Place apartment, where lovers of American folk art

62

will view a superb collection of American paintings and furniture in rooms overlooking the East River.

A Soho loft with the hominess of a country house, full of weathervanes, quilts, hooked rugs, and folk sculpture which are dramatized by this apartment's graceful spaciousness.

This wonderful and festive day will culminate with music and a catered reception from 3:00 to 5:00 pm. The highlight of the evening will be the quilt donated by Phyllis Haders. The location will be announced at the time of ticket sales.

Tickets will be $35.00, however, those wishing to support the Museum in an even more generous manner may become Patrons for $50.00. All contributions are tax deductible. Invite your friends, and celebrate Spring with the Museum.

English Naive Painting, the first exhibition of its kind to be mounted in the United States, is drawn from the collection of Mr. and Mrs. Andras Kalman of London, England. Amassed over many years by eyes attentive to the best in 18th, 19th, and 20th century folk art, the collection has traveled widely throughout Europe. It makes its American debut at the Museum of American Folk Art, May 16 through August 31.

The exhibition is intended to prompt speculation about the kinship between American and English folk painting, for, after all, a good proportion of early American settlers came from the British heartland to create the "New England" where Americana flourished.

In the late 18th and 19th centuries, folk art flourished in England as well, though patronage was directed towards classical art.

England was, and is, inspired by the heritage of the Roman Empire. An English gentleman's education was incomplete without the Grand Tour of Italy. The aristocracy fostered an age of elegance, a quality thought to be at odds with folk art.

Scholarship has also tended to focus on academic art. According to the Kalmans, it is the magnificent abundance of American folk art and the appreciation directed toward it in the form of research, publications, and exhibitions that has recently encouraged the interest in comparable British examples.

The exhibition also highlights the differences between English and American folk art. The English preoccupation with 'blood sports' was alien to the strong religious convictions of American settlers.

Bear-baiting, cock fights, coursing, boxing, ratting, hunting, and racing were popular pursuits in England. As spectators and participants, the classes mingled, and these subjects were depicted for manor house and inn-keeper's hostelry alike. The national interest in breeding animals is also strikingly evident in English naive painting.

Animal portraiture, before the advent of photography, recorded the evolution of pedigrees, while providing popular entertainment.

With the presentation of English Naive Painting the Museum of American Folk Art honors its own artistic heritage as well as that of its transatlantic ally.

I T0111;51)0 tc,,fl thi DOW11 Righthar d

L.

1. Three Sober Preachers Artist unknown Provenance unknown Oil on canvas Date unknown 34" square Kalman Collection

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2. The Earth Stopper Artist unknown Provenance unknown Patchwork and watercolor Date unknown 10" x 15" Kalman Collection 3. A Terrible Shipwreck T. L. Mourilyan, R.N. Provenance unknown Oil on canvas 1870 130" x 16/ 1 2" Kalman Collection 4. Feline Friends Artist unknown Provenance unknown Oil on canvas Date unknown 13/ 1 4"x 16" Kalman Collection

4.

63

Report on The Docent Committee Catherine Calvert, Reporter

Port Authority and Penn Station sported not one but dozens of weathervanes this winter, as the result of the Museum's Education Department Outreach Project in the New York Public Schools. Not your ordinary sort

of weathervane, of course. These were spangled with glitter and vibrant with crayon, fantastic creatures that never saw a farm—unicorns, animals and monsters. The children learned about the history and function of weathervanes through slide shows and lectures presented by Museum docents. As one child wrote, using his own imaginative spelling, "A weathervain is a way of telling which direction the wind moves. Some are old. Antics are very valuable." Then, the children set to work creating their own cardboard fantasies which were displayed in the depots to brighten the holidays.

Certainly children aren't the only ones to benefit from the Museum's Outreach Program. Adult audiences increasingly request lectures—five docents researched and delivered a series of talks on folk art at the Cooper-Hewitt Museum in New York City; another lectured in Pelham, New York, at the Bartow-Pell Mansion; and the beginning of the year marked a new program with the National Council of Women of the United States, an organization developed for the wives of diplomats and United Nations members that provides information on American life and culture. Illustrated lectures given by Museum docents on topics such as Marine folk art and children's toys provide a special introduction to the Museum and to America.

Docents continue to work in the galleries, the museum and on independent research. They gave many special tours of the exhibitions—especially of the Shaker show,which stimulated high Museum attendance. Two docents have spent numerous hours doing genealogical research for the John Blunt show, "Newly Discovered Paintings by the Borden Limner," March 6-May 4. Curatorial lectures, the training program for new docents, and a few special trips to exhibitions outside New York all marked the busy winter season.

1. Children's weathervanes decorate the Port Authority Bus Terminalfor the holidays.

2. Guest Curator Ralph Sessions lectures the docents before the weathervane show.

3. The weathervane ornaments trim Penn Station.

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2.

3.

65

Book Reviews Editor Darlene Geis, Introduction by Dr. Robert Bishop TREASURES OF AMERICAN FOLK ART FROM THE COLLECTION OF THE MUSEUM OF AMERICAN FOLK ART. New York: Harry N. Abrams, Inc., 1979. 63 pp. 29 color illus., paper, $12.50.

This poster-sized grouping of representative American Folk Art, from the collection of the Museum of American Folk Art, is, itself, a work of art. Beautifully photographed textiles, decoys, wood carvings, paintings and portraits are all included in this successful attempt to share the Museum's collection and its special exhibitions with a wide audience.

The large format lends scale to the images and treats the art with the respect and awe it deserves. Well written, informative commentaries about each item and

its place in the folk art field, are placed opposite the photos, which are ready for framing.

This book should serve as a wonderfully attractive introduction to the public which often seems to want to know "what is folk art?," as well as a special reference for the connoisseur. Treasures of American Folk Art is a lovely sampler and makes an inspired gift.

Reviewed by: Allan L. Daniel Grave, Alexandra.

THREE CENTURIES OF CONNECTICUT FOLK ART. New Haven, Conn: Eastern Press. 1979.

104 p., 9 x 12'! Approx. 160 b & w and color illus., paper, $12.50.

Three Centuries of Connecticut Folk Art is the catalogue for an exhibition organized by Art Resources of Connecticut and touring

that state from September 25, 1979, to July 12, 1980.

The exhibition highlights Connecticut's rich folk art heritage with objects lent by both institutions and private collectors.

Included are gravestones, decorated furniture and walls, pottery, tavern and trade signs, weathervanes, portraits, miniatures, silhouettes, needlework, decoys, scrimshaw toys, etc. More than half of the 293 outstanding items in the exhibition are pictured in this attractive catalogue which is a worthwhile addition to any folk art enthusiast's library.

Reviewed by: Dorothy J. Kaufman Keck, Caroline K. HOW TO TAKE CARE OF YOUR PAINTINGS. The Art Owner's Guide to Preservation and Restoration.

New York: Charles Scribner's Sons. 1978.

Report From the Friends Committee Chairman, Marilyn Glass The Friend's Committee met on Tuesday, November 20, 1979, at the Museum.

"Celebrate the Harvest," the opening night preview to the Fall Antiques Show, was a tremendous success. It was a magnificent and festive evening and the Show was termed an "instant classic."

We hope to do it again next year!

The Friends discussed the possibility of holding an auction at Sotheby Parke Bernet in January of 1981. This would be a major fund-raising project. A full-time chairman is needed to head the project.

Please contact the Museum office for further information. (581-2475).

Other topics of discussion were the planning of a 1980 Christmas Folk Art Fair at the Museum. Items on sale would include foods, ornaments, and gifts, all related to folk art. Cynthia Schaffner will be in charge of this exciting event.

Jana Klauer reported on the May 1980 House Tour. Five very unusual homes will be on view. Phyllis Haders has again graciously contributed a beautiful quilt.

We hope all of you will join in on the festivities. A gala reception planned by 1. Marilyn Glass will be held after the tour.

Photos — Dia Stolnitz 66

96 p., 6 x 9',' 51 line illus., paper, $5.95.

Paintings do not come with instructions for their use, care and maintenance. We tend, therefore, to erroneously conclude that a painting requires nothing more than wall space and a picture hook on which to hang it. This book is that much needed owner's manual for paintings.

Mrs. Keck, one of the most highly regarded conservators in an extremely technical field, conveys simply and clearly all the information necessary to understand the basic elements of a painting and how it will be affected by heat, light, air currents, moisture, varnishes, and time.

How to prevent damage from "familiar misfortunes:' such as scratching a canvas with a nail while taking it out of its frame or frequent but avoidable damage incurred while redecorating, could save many collectors needless restoration costs. Knowing how to transport, ship, hang, and handle

paintings safely is as much a part of their conservation as relining a painting to strengthen its support.

The author includes a chapter on cleaning paintings, but emphasizes the hazards of attempting your own restoration.

Everyone who owns or handles paintings is likely to benefit from this very readable guide.

Reviewed by: Dorothy J. Kaufman Thuro, Catherine M. V. PRIMITIVES & FOLK ART: Our Handmade Heritage.

Paducah, Kentucky: Collector Books, 1979.

135 p., 9 x 111 / 4'.' 251 color illus., $17.95 The subtitle of this book, "Our Handmade Heritage:' is a precise clue to its contents as the book deals primarily with the plain yet beautiful household objects which are a strong tie to the social history of North

America. The vast array of tools, utensils, baskets, toys, mousetraps, musical instruments, and more, offers the reader a good taste of country life. There is little of real interest to the folk art collector who defines folk art as the "art of the common man"— no paintings or sculpture of any merit.

The photography, apparently done by Mrs. Thum is excellent and her efforts are beautifully reproduced in full color. Everyday objects from the past such as brooms and apple parers are presented as works of art. There are only a few items included that express any artistic qualities beyond their functionalism.

Informative, well written captions accompany the photographs throughout the book and there is a complimentary price guide insert keyed to the photographs.

A very attractive book for those who delight in antique country accessories.

Reviewed by: Dorothy J. Kaufman

1. Antiques Show Committee, left to right: Helaine Fendelman, Cynthia V.A. Schaffner, Karen Schuster and Dianne Butt.

2. "Celebrate the Harvest" at the Seventh Regiment Armory, Fall. 1979.

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Recent Additions to Museum Collection A Chalk Menagerie and Assorted Treasures Laura Byers, Exhibition Coordinator In this issue, the Museum of American Folk Art pays special tribute to a good friend, Effie Thixton Arthur. Mrs. Arthur, who passed away October 24, 1979, is remembered by this and other institutions for her support of and contributions to the field of American folk art. Upon her death, Mrs. Arthur left the Museum an important collection of American chalkware. These unglazed, molded, plaster of paris birds, cats, lambs and other animals number 112 in all. Each piece is colored with oil or water paint. In the United States, chalkware was first manufactured in Boston in the late 18th century and continued to be produced throughout the 19th century. This Production accounts for some of the most lovely examples of American folk sculpture. The Arthur Collection of chalkware is a source of great pride to the Museum. In addition to the chalkware, Mrs. Arthur willed the Museum a decorated chest made by Jacob Mazur in 1828 in the Mahantango Valley area of Pennsylvania. The Museum has also received from members and patrons an assortment of paintings and drawings, sculpture, and textile art.

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Two santo groupings, given by Steve Miller, New York, provide an excellent opportunity for the comparative study of the religious art of two related Spanish-American cultures. La Familia Sagrada is a contemporary piece done by the New Mexican Felix Lopez in 1979. Los Tres Reyes is an earlier piece by an unidentified Puerto Rican carver. In proportion and detail, both stay well within the traditional confines of Hispanic religious art.

Edgar Smith of New York has added to the Museum's sculpture collection with the gift of a redware vase by the important turnof-the-century Biloxi, Mississippi, potter, George Ohr, and also, an urn by the Fulper Company of Flemington, N.J. Mr. Smith was also generous enough to contribute an important drop leaf table made in the early twentieth century by the Charles P. Limbert Company.

Recent additions representative of the folk artist's contribution to American metal work include a cat bootscraper and a linked metal doormat. The bootscraper is a gift of the Museum Friends and the doormat, uniquely created by the linkage of iron

I. Quilt in an album pattern Signed by Mrs. Eldad Miller New York or Connecticut Cotton November 1, 1861 90" x75" Gift ofDr. Stanley and Jacqueline Schneider

2. Hooked rug Artist unknown Wool, cotton, paint Circa 1925 20" x38" Gift ofJoel and Kate Kopp

0 0,4

strips hammered into the shape of hearts, is the gift of Mrs. Harry Kahn of New York.

Several unusual drawings and paintings have also been added to the Museum's collection. Messiah's Crown, an 1865 work

by Franldin Wilder, is an anti-Ku Klux Klan document. It features a lengthy spiritual passage framed by a boldly inked geometric composition. Messiah's Crown is the gift of Philip Isaacson from Maine.

Collectors and authorities Jean and Howard Lipman have donated an early 19th-

century calligraphic drawing of a stag. The piece was "executed," according to the artist's inscription, "with a pen by S.R. Baldwin at the age of 84." One notes not only the steadiness of the octogenarians's hand, but also his imaginative handling of plant forms. Another present of Jean and Howard Lipman, is a framed stencil painting on fabric, circa 1835. The work is almost an abstract rendition of a floral bouquet as it spills out of a basket and onto a fabric ground.

3. Calligraphic drawing S.R. Baldwin Eastern U.S.A. Ink on paper Circa 1825 19" x25" Gift ofHoward and Jean Lipman 4. Hooked rug Signed M.E.H.N. Probably New York Wool 1868 46" x32½" Gift ofJoel and Kate Kopp

4 5 70

5. Stencil painting on fabric Artist unknown Eastern U.S.A. Paint onfabric Circa 1835 2"x18" 1 29/ Gift jHord and Jean Lipman

Ted Moskowitz, New York, has made a gift of a naive watercolor, Summer Home, Winter Home by his father. With happy disregard for conventional perspective and proportion, Isidore Moskowitz has depicted a summer and a winter retreat side by side.

During the past few months the Museum has made five important additions to its growing quilt collection. Those who attended New York's Fall Antique Show at the Seventh Regiment Armory may remember an outstanding applique album quilt from the collection of Dr. Stanley and Jacqueline Schneider. Following the Antique Show, thhe Schneiders gave this robustly American textile, dated 1861, to the permanent collection.

A starburst pattern quilt and an autograph quilt are the recent gifts of Charles and Marie O'Neill from Philadelphia. The autograph quilt is of particular historical interest, since it is signed by various members of several prominent 18th and 19th century Philadelphia families, including the Saverys, Wyns, and Scattergoods.

Jessica Eagleston, New York, has donated a log cabin quilt made entirely of satin ties and ribbons. The quilt was made by Miss Eagleston's mother, who set to work in 1874.

In brilliant counterpoint to these earlier quilts, is a contemporary crib quilt, the gift of Judith Mount, Flintridge, California. The quilt, in the "Variable Star" pattern, was made by Mrs. Mount circa 1978. The maker has demonstrated great imagination in her design and skill in her execution. The quilt is stitched entirely by hand and boasts especially fine trapunto work.

Joel and Kate Kopp from New York City, have enlivened Museum textiles with the gift of two hooked rugs. Both rugs have been exhibited widely and are illustrated in American Hooked and Sewn Rugs(E.P. Dutton, 1975). One rug, a well-preserved example dated in 1868 and signed M.E.H.N., is an exuberant composition of flowers and greenery. The other rug, circa 1925, is a folk depiction of Niagara Falls, made all the more unusual by the application of oil paint to its tufted surface.

Insight into life in the mid-19th century is provided by a group of journals given by Christine 0. Ness, Greenwich, Connecticut.

The hand-written journals of John Montelius, Springville, Maine, are animated by pen and ink sketches and hundreds of calligraphic drawings of Montelius' experiences on the frontier.

It is difficult to imagine an assortment of gifts more beautiful and instructive than those presented to the Museum these past few months. To its many friends, the Museum of American Folk Art extends its thanks.

Our Growing Membership SEPTEMBER 1 - NOVEMBER 30 The Museum Trustees and staff extend a special welcome to these new members.

Anna Absalom, Denver, Colorado Joanne Childs Alderman, New York, New York Sheila B. Amdur, Willimantic, Connecticut B. Ardizone, Philadelphia, Pennsylvania Dr. & Mrs. Marvin Arons, Woodbridge, Connecticut Nancy I. Avery, Greenville, South Carolina Mr. & Mrs. J. Baal-Teshuna, New York, New York Mr. Sigmund R. Balka, Forest Hills, New York, New York Sylvia Baruch, New York, New York Adele Baydin, New York, New York Lynda Baydin, Morristown, New Jersey Richard Beecher, San Francisco, California Nolan P. Benner, Allentown, Pennsylvania Paula Bennett, New York, New York Barbara S. Berend, Northfield, Illinois Joan Berkley, Shawnee Mission, Kansas Stephanie Bernheim, New York, New York Davis Bernstein, Miami, Florida Mr. & Mrs. E. Bevilacqua, Wilton, Connecticut Suzanne Bishop, Goshen, Indiana Dr. Jeanne Block, El Cerrito, California Mary Bradkin, New York, New York Robert Brandigee, Pittsburgh, Pennsylvania Jo Giese Brown, Pacific Palisades, California Janet Bush, New York, New York Ben H. Caldwell, Nashville, Tennessee Susan Carlino, Huntington, New York Wendy Carlton, San Mateo, California Mrs. Thomas Cassily, New York, New York J. D. Clayton, Brooklyn, New York Nancy & Jim Clokey, Massapequa, New York Augusta R. Cohen, York, Pennsylvania Carolyn J. Cohen, New York, New York Virginia Coleman, Jeffersontown, New York Barbara Colson, Belvedere, California Ginger Fuerst Connolly, Menlo Park, California Dr. A. Constantinou, White Plains, New York Mrs. G. W. Cox, Galveston, Texas Anthony Creem, New York, New York Maureen Cronin, New York, New York Ruth M. Crowe, New York, New York Lenore Curti, New York, New York Catherine Cushman, Port Washington, New York Thomas & Pamela Cushman, Yarmouth, Maine Barbara A. Darnell, Lancaster, Pennsylvania Mary B. Davidson, Bedford, New York Lucy B. Dayton, Minneapolis, Minnesota Vincent T. D'Errico, North Berwick, Maine Nikki & Tom Deupree, Suffield, Connecticut Joseph DiLuccia, Wharton, New Jersey George DiMartino, Denville, New Jersey Keller Donovan, New York, New York G. Douglas, Old Westbury, New York Patricia Drummond, Rutnson, New Jersey Dorothy & Seth Dubin, New York, New York Paula Eaker, Westfield, New Jersey Mary Jaene Edmonds, Long Beach, California Rob Elowitch, Portland, Maine Joyce Diamond Eskwitt, Tenafly, New Jersey Equator Antiques, New York, New York Joan Evans, Staten Island, New York Dr. & Mrs. Morris Factor, Roslyn Harbor, New York

Frances M. Farrell, Culver City, California Peter Feldman, New York, New York Judith A. Fellows, Cambridge, Massachusetts Judy Ferenbach, Brooklyn, New York Robert C. Ferguson, Big Rapids, Maine Barbara Fiellin, New Rochelle, New York Mr. & Mrs. S. H. Finnerman, New York, New York Leslie M. Firth, New York, New York Barbara Fischer, New York, New York Jacqueline Fiske, St. Louis, Missouri Ms. Isobel Fleisig, Brooklyn, New York Mr. & Mrs. Thomas Flynn, New York, New York Darlene Focazio, Levittown, New York Kathleene Follette, Los Angeles, California Rufus & Joan Foshee, Camden, Maine Mr. & Mrs. Bruce Fowle, New York, New York Foxe & Fowle Architects, New York, New York Anna B. Francis, New York, New York Richard H. Fulmer, New York, New York Virginia Fulweiler, Amagansett, New York Mr. & Mrs. Donald Gabor, Riverdale, New York Natalie E. Gaines, New York, New York Mrs. Mioko Gardner, New York, New York Mrs. Stephen Gettinger, Huntington, New York Paige C. Gillies, Newtown, Connecticut Esther Gilman, New York, New York Margaret Gilman, New York, New York Ann Gold, Croton-on-Hudson, New York Sarah S. Gold, New York, New York Bernice Goldman, Yonkers, New York Prudence Goodman, New York, New York Pat Graham, Los Angeles, California Sharon Greene, Marina del Rey, California Bonnie Grossman, Berkeley, California Gay Gunther, Greenwich, New York Amy M. Hatrack, Montclair, New Jersey Mary H. Heath, Stowe, Vermont, Ramon, D. Held, Eastchester, New York Samuel Herrve, Brooklyn, New York Mr. & Mrs. Roger Hess, New York, New York Corson Hirshfeld, Cincinnati, Ohio Mrs. N.J. Hiscock, St. Marys, Ontario, Canada Phyllis Hoadley, Douglaston, New York Marilyn Dozier Hoak, Canton, Connecticut Mr. F. W. Holbrook, Midland, Texas Ms. Janet Holladay, Edgartown, Massachusetts Ernest B. Hook, Albany, New York Mr. & Mrs. J.C. Hoopes, Jr., New York, New York Marian Hermans Horn, Stafford, Texas Jack K. Horton, Los Angeles, California Mrs. Doris S. Hoyer, Pennington, New Jersey Andrea Hunter, Portland, Oregon Lynn Jackson, Indianapolis, Indiana Beverly S. Jacomini, Houston, Texas Earl Jamison, Lahaska, Pennsylvania Susan Jennett, New York, New York Richard T. Jordan, Flushing, New York Suzy Kalter, Los Angeles, California Anne Kane, New York, New York May M. Katz, New York, New York Mrs.Christine Kehoe, Malibu, California Mrs. Barbara Kirshbaum, New York, New York Chris Kirtz, Leesburg,Virginia Mr. & Mrs. G. Kornblau, Jamaica, New York

Irwin Kruger, New York, New York Mrs. Gay V. Land, Westport, Connecticut Virginia Lane, Quechee, Vermont Janet Langlais, New York, New York Anne Lawrence, Atlanta, Georgia J.M. Lee, Northport, New York Douglas B. Leeds, New York, New York Lisa Lefkowitz, Bronx, New York Peter Levy, New York, New York Mrs. Grant Lewis, New York, New York Paula F. Lewis, New York, New York Ellen Liman, New York, New York Linda Lindgren, Guilford, Connecticut Kurt Lundell, New York, New York Danton, Lutsky, New York, New York Nanch Machles, Fort Lee, New Jersey Lucille Maffia, Ozone Park, New York Mr. & Mrs. Arthur Malina, New York, New York Jan & Larry Malis, New Cannan, Connecticut Pamela T. Mann, Montclair, New Jersey Mr. & Mrs. R. Mann, Montclair, New Jersey Mr. & Mrs. Robert Marcus, Palm Beach, Florida Nancy Markezin, Swarthmore, Pennsylvania Thomas Martin, Bellmore, New York Richard & Janice Marx, Rydal, Pennsylvania D. Demetra Maskaleris, New York, New York Mr. & Mrs. Jon Masters, New York, New York Mr. & Mrs. Peter May, New York, New York Stephen Mazoh, Rhinebeck, New York Elizabeth J. McCormack, New York, New York Balene McCormick, Houston, Texas Nancy McElfresh, St. Paul, Minnesota Sarah M. McGinty, Upper Montclair, New Jersey Joanne E. Meehan, Jackson Heights, New Jersey Mr. & Mrs. Robert Menschel, New York, New York G.T. Milde, Dayton, Ohio J. Jefferson Miller II, Chevy Chase, Maryland Mrs. Joseph Miller, Staten Island, New York Mrs. M.B. Miller, Katonah, New York Mr. & Mrs. T.W.C. Miller, New York, New York Ministre des Affaires Culturelles, Musee du Quebec, Quebec, Canada Mrs. George Mitchell, Halifax, Nova Scotia, Canada Helen Mlodinoff, North Woodmere, New York Antigone P. Moore, Sacramento, California Megan B. Moore, New York, New York Mrs. Jane Morrison, Wilmington, Delaware Theodore Moskowitz, New York, New York Mr. & Mrs. Joel Moss, New York, New York Judith Tasker Mount, Flintridge, California Caroline A. Muller, New York, New York Mr. & Mrs. H.D. Myerson, Bedford, New York Robert F. Nation, Elizabethtown, Pennsylvania National Gallery of Art, Washington, D.C. Mr. & Mrs. Robert Natkin, West Redding, Connecticut Mr. & Mrs. Hal K. Negbaur, New York, New York Joanne Nelson, Great Neck, New York Christine V. Ness, Greenwich, Connecticut Mrs. Stanley Newhouse, Scarsdale, New York Kenneth Nichols, Washington, D.C. Maria Nickford, Olympic Valley, California

71

Janet Norwood, Woodcliff Lane, New Jersey Rod O'Connell, Douglaston, New York Dolores Olson, New York, New York Barbara Packer, Syosset, New York Edward S. Partridge, Francestown, New Hampshire Catherine Pasquale, Briarwood, New York Ann Pedersen, New York, New York Linda Plotkin, New York, New York Barry Pohorence, New York, New York Dr. & Mrs. R.L. Polak, Amsterdam, Holland Vicki Poth, New York, New York Milton Prigoff, Alpine, New Jersey Helen Quinn, Cobourg, Ontario, Canada Virginia Ratmey, New York, New York Mrs. Nancy Razaitis, Marietta, Georgia Mary Reining, New York, New York Jeffrey Richman, Huntington, New York Risko, Inc., Evanston, Illinois Thomas G. Rizzo, New York, New York Dorothy Robinson, Cambridge, Massachusetts Albert B. Root III, Newark, Delaware John Rosselli, New York, New York Mr. & Mrs. Jesse Rothman, Mamaroneck, New York Mrs. Jeanne Saalman, Pittsburgh, Pennsylvania Nancy Scaia, New York, New York Helen Underwood Schenk, Ridgewood, New Jersey Mr. & Mrs. H. Schinderman, New York, New York Mr. & Mrs. M. Schwartz, Westport, Connecticut Carol Seaman, New York, New York Jerry Segar, Glendale, California Mr. L. William Seidman, Washington, D.C. Randy Sewell, Bethania, North Carolina Louise C. Shaw, New York, New York Arlene & Robert Sherwood, Eastchester, New York Joan Shogren, Santa Clara, California Ms. Joanne Siegmund, New York, New York Mr. & Mrs. Herbert Singer, New York, New York Edith Small, Honeoye Falls, New York Dora O'Leary Smith, New York, New York John Martin Smith Family, Auburn, Indiana Mary K. Snyder, Reinholds, Pennsylvania Mr. & Mrs. P. Solomon, New York, New York Mary Lynn Solot, New York, New York Mrs. Paul Sonnabend, Lexington, Massachusetts Angelo T. Sperrazzia, New York, New York J.B. Stein, Summit, New Jersey Galina Stepanoff-Dargery, lbckahoe, New York E.M. Stoetzel, Rockford, Illinois May N. Stone, New York, New York Dorothy L. Swerdlove, New York, New York James Tanis, Villanova, Pennsylvania Marguerite Tarrant, New York, New York Mary Taylor, Birmingham, Mississippi Victoria Taylor, Portland, Oregon Rubens Teles, Brooklyn, New York Suzanne M. Thomas, New York, New York Mrs. John M. Timken, Essex, Connecticut Mrs. Heidi Trachtenberg, New York, New York Robert F. Troiano, Storrs, Connecticut Karen L.'flicker, Sausalito, California Betty A. Tumley, Fort Wayne, Indiana Phyllis S. Uyeno, Port Chester, New York Eugene J. Walter, Jr., New York, New York Don Walters, Goshen, Indiana Judy Waterman, Brooklyn, New York Robert Wehle, Jackson Heights, New York Arlene Weinstein, Philadelphia, Pennsylvania

72

Gary Weist, New York, New York Barbara T. Wells, Glen Cove, New York Dr. Debra Wertheimer, Baltimore, Maryland Betty Whitwell, Guilford, Connecticut G. Michael Wildasin, Richmond, Virginia Elizabeth Williams, New York, New York Mrs. Edward N. Wilson, Brooklyn, New York Barry Wolf, Great Neck, New York Mary Beth Wood, High Point, North Carolina S.J. Zafiram, New York, New York George M. Zoebelein, Kew Gardens, New York

Ifyou change your mailing address, please be sure to . • • •send us your OLD and NEW addresses •include ZIP codes for both •try to give us 5 weeks advance notice Thank youfor your co-operation...

Museum of American Folk Art 49 W. 53rd St. New York, N.Y. 10019 Attn: Clarion

We wish to thank thefollowing membersfor their increased membership contributions andfor their expression of confidence in the Museum: Helen Andrews, Hoboken, New Jersey Mrs. Jack E Andrews, Lawrenceville, New Jersey A. Aquino, Redding Center, Connecticut Jack Aron, New York, New York

Mr. & Mrs. Leonard Balish, Englewood, New Jersey Dr. & Mrs. Irwin Berman, Brunswick, Georgia Jerome W. Blum, Lisbon, Connecticut Priscilla Brandt, New York, New York W. D. Burden, Jr., New York, New York Mrs. Lillian Caplin, New York, New York Gene A. Carr, Glenview, Illinois Jay B. Claster, State College, Pennsylvania Andrew J. Clausen, Brooklyn, New York Sharron Adele Curran, Palm Springs, California Mr. & Mrs. R. W. Damman, Rye, New York Margaret Davidson, Upper Nyack, New York Miss Alice DeLarnar, New York, New York John Delph, Marshfield, Massachusetts Mr. & Mrs. Alvin Deutsch, New York, New York Robert A. Dodd, Washington, DC Mrs. Lester Eisner, Jr., New York, New York Howard A. Feldman, Bethleham, Pennsylvania Mr. & Mrs. Austin P. Fine, Pikesville, Maryland Mrs. E C. Frassinelli, Bridgeport, Connecticut Joseph N. Freedman, Merion Station, Pennsylvania Mr. & Mrs. Hugh J. Freund, New York, New York Frederick Fried, New York, New York Brenda S. Fritz, Los Angeles, California Mrs. Vernon Garwood, Lincoln, Nebraska May Goodman, Rye, New York Michael & Julie Hall, Bloomfield, Michigan Jean R. Harris, New York, New York Tim & Pam Hill, South Lyon, Michigan Mrs. R. V. Hooker, New York, New York Joseph F. Hussay, New York, New York Judith A. Jedlicka, Baldwin, New York J. E. Jelinek, MD., New York, New York Isobel & Harvey Kahn, Millburn, New Jersey John S. Kartovsky, Bridgeport, Connecticut Robert E. Kinnaman, Houston, Texas Mr. & Mrs. J. Leader, New York, New York Judith Lenett, Ridgefield, Connecticut Mrs. Arthur Magill, Greenville, South Carolina Valerie Markwood, New York, New York Mrs. William M. McCardell, New York, New York Page J. McGee, Free Union, Virginia Mrs. Joseph McGoldrick, Stockbridge, Massachusetts Elliot Miller, Brooklyn, New York Sophie Morgan, Old Westbury, New York Jane I. Ohly, Rehoboth, Massachusetts Sarah K. Oser, New York, New York Mr. Harry T. Peters, Orange, Virginia Mr. & Mrs. Henry Pfeiffer, Chatham, New Jersey Mrs. J. Barton Phelps, Palo Alto, California Karen S. Schuster, New York, New York Mrs. Marvin C. Schwartz, New York, New York Susan C. Sicher, New York, New York Eleanor Siebold, New York, New York Francisco F. Sierra, New York, New York Mr. & Mrs. Michael A. Slovak, Interlaken, New Jersey David & Ellen Stein, New York, New York Kathryn Steinberg, New York, New York Mrs. Edward C. Sterling, Randolph, Vermont Virginia A. Thompson, Pawleys Island, South Carolina Dana Tillou, Buffalo, New York Marc Van Montagu, Brussels, Belgium Eleanora Walker, New York, New York John D. Weeden,New York, New York Frank P. Wendt, Southport, Connecticut

MUSEUM OF AMERICAN FOLK ART MEMBERSHIP

PATRON / $500 All Sustaining membership benefits, plus free enrollment in special lecture series.

in the Museum of American Folk Art is one way of enriching your life. Membership benefits include: free admission to all exhibitions at all times; private previews of all exhibitions; advance notice of all exhibitions, classes, lectures, concerts, tours, and special events; annual subscription to The Clarion, America's Folk Art Magazine, published quarterly by the Museum of American Folk Art; a 10% discount on all items purchased from The Museum Shop; reduced fee for classes, lectures, and concerts.

SPONSOR!$1000 All Patron benefits, plus all exhibition catalogues.

LIFE MEMBERSHIP!$5000 All benefits for life.

Please add $5.00 for foreign membership

I am enclosing payment for Museum membership for one year in the category.

Name

MEMBERSHIP CATEGORIES Address Zip INDIVIDUAL MEMBERSHIP / $20 All membership benefits, for one year, as described above.

FAMILY MEMBERSHIP!$30 All Individual membership benefits for the entire immediate family.

CONTRIBUTING MEMBERSHIP / $50 All Family membership benefits, plus two free guest admissions to exhibitions when accompanied by member.

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Many corporations match their employees' membership fees and contributions to nonprofit educational institutions. Please take a few extra minutes to ask your employer to consider participating in such a plan.

All memberships are tax deductible.

BENEFACTOR MEMBERSHIP!$100 All Contributing membership benefits, plus one free exhibition catalogue.

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SUSTAINING MEMBERSHIP!$250 All Benefactor membership benefits, plus two free exhibition catalogues.

MUSEUM OF AMERICAN FOLK ART 49 WEST 53RD STREET NEW YORK, N.Y. 10019 TELEPHONE (212) 581-2474

73

Unusually fine set of very early painted and decorated bird-cage Windsors (in original ochre paint) by Abbott, Newburyport, Mass.

Circa 1790-1800.

The blue C.tail 18th O. 19th Certify Counts), Americana• 18th Century Chair Table probably Pennsylvania or New Jersey. Pumpkin Pine Top. Base of Flame birch with traces of original red paint.

NOW AVAILABLE!

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by Catherine Thuro • Over 250 beautiful, full color photos • Large 81/2 x 11 format, hardbound • Hundreds of items illustrated and described • Current market values • A must for collectors The beauty of the early handmade items in attractive settings is enriched by the authoritative information that fills this long awaited volume. copies of PRIMITIVES AND Please send FOLK ART, $17.95 each plus 65 postage and handling. Enclosed Name

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Sheila and Edwin Rideout Please phone (203)263-4239

Destination: Oblivion Steel rails first bound our nation together, but now many of America's unique train stations face bleak futures or total destruction.

What a shame to lose them!

In some parts of America, concerned people have found innovative and modern uses for these old structures. They've been rejuvenated as banks,restaurants, apartments and shops.

You too can help save America's historic buildings. Join The National Trust for Historic Preservation. For more information, write Membership Department, Office ofPublic Affairs, The National Trust for Historic Preservation, 740 Jackson Place, NW, Washington, DC 20006.

It's time we stopped filling up every square inch ofspace in our cities with new construction and start preserving space.

Space to walk. Room to be.

Protect the human and environmental quality of your community byjoining the National Trust for Historic Preservation. Historic preservation means more than saving old houses. Write: National Trust for Historic Preservation, Department 0606, 740 Jackson Place, NW,Washington, DC 20006.

75

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2101 L Street, N.W., Washington, D.C. 20037 Ca//(202) 223-0673 or (800) 424-8830 (Toll free)

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• Collectors • Dealers • Museums

elde Rope gintiques A charming family of 19th century folk art dolls, having hickory nut heads with painted faces and welltailored homespun clothing. The gentleman has finely carved hands and feet and the child is dated 1859 under her skirt. All are in exceptional condition.

2"; child, 1 Lady, 7"; Gentleman, 8/ Fine examples of American folk art and paint decorated furniture Box 69C, Rte. 202 New Hope, Pa. 18938 (215) 794-8161 Res. 862-2490 Patrick Bell

76

Edwin Hild

BEAUTIFUL BRICKMANOR RESIDENCE GRACIOUS, Public Rooms for Splendid living. SNUG panelled hideaway den, library or bedroom. Fireplace—unique breakfast room. Kitchen with Butler's Pantry. Chauffeur or maid's apartment. 20 gorgeous acres protected by 100's more. Close to curling, paddle, swimming, tennis & golf. A showcase home for antiques. Brochure & price upon application.

Robinson Leech Assoc.

Lakeville — Salisbury, Ct. (203) 435-9891

REALTOR

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Sawtooth Diamond Amish Lancaster County Pennsylvania c.1900 80" x 807 wool

JANOS AND ROSS MUSEUM QUALITY AMISH/MENNONITE PIECED AND APPLIQUE QUILTS CIRCA 1845-1940 ALSO AMERICAN FOLK ART

BARBARA S. JANOS— BARBARA ROSS 110 East End Avenue(5E)— New York, N.Y. 10028 (212)988-0407 by Appointment Only

77

PHYLLIS HADERS

Pieced, Applique, and Amish Quilts Circa 1840-1930

Amish, Ohio, circa 1890.

(212)832-8181 By appointment Mail address: 136 East 64 Street, New York, N.Y. 10021

Robert Thayer Expressions of the American Country Spirit

By appointment New York City (212) 744-1397 78

COUNTRY CURTAINS Wide Lace Ruffles

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Ruffles of lace...enchantment at your windows! The finest blend of cotton and polyester permanent press edged with four inch cluny lace ruffles, copied from an authentic old world pattern. Natural or white. All pairs are 90" wide.

Lengths o145" or 54",$29.00 pr; 63"or 72" long,$32.00 pr; 81" or 90" long, $35.00 pr. Valance, 10" x 80", $12.00 each. Please remember to add the 4" lace to the lengths listed. Add $2.50 postage and handling. Send check, money order or use Mastercharge or Visa. Sorry no COD's. Mass. res. add 5% sales tax. Send for free catalog showing other curtains, bed ensembles and tablecloths. Satisfaction guaranteed.

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79

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Moravian Bear Bottle with Lamb 2 inches, black glaze 1 h. 6/ Salem, North Carolina See Bivens, The Moravian Potters

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1980 SEASON THE E.M.C. FRENCH

Ontiques Fairs Amti Foreword by Dr. Robert Bishop who states: THE SHAKER WAY, in its diversity and its rich wealth of information, is an absolute necessity for anyone interested in Shaker studies."

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A unique remnant ofour amencan past.

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ANTIQUES

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17161 759 2661 OR 716J 353-2495 KORMAN PROPRIETOR

handmade braided rugs

THE COLLECTOR'S CHOICE ELIZABETH EAKINS 404 E. 14th St. New York, N.Y 10009 (212)254-7744 by appointment.

Nineteenth Century Sheet Iron Weathervane

81

MARILYN VANTOSH

CVRT JOHNSON

•COVNTKY HEIR•

Quilts a Specialty

Country Primitives

11039 GREENSPRING AVE BALTIMORE MD. 21093 301-825-0121

•COVNTRY HEIR* Rare and important Baltimore Album Quilt (114"x 114") having 30 signatures from prestigous Maryland families such as Chase,Tydings, Hicks and Harrison. Dated 1846 and 1847, a short dedication verse in the center panel completes this masterpiece of color,stitchwork and sentiment.

Invest in the Future During the last several years, support from members and friends has been of vital importance to the growth of the Museum of American Folk Art. One of the ways in which you can insure perpetuation of our continuing programs is through a gift or bequest, a timeless expression of your concern for the Museum and its future.

Gifts and bequests to the Museum may be made through endowment for general purposes or for a program of specific interest to you or to your family.

The Museum of American Folk Art is a nonprofit educational institution. Gifts are deductible for the donor, subject to legal limitations concerning gifts to tax-exempt organizations.

In order to provide for your continuing support to the Museum of American Folk Art, we recommend that you seek the assistance of your legal counsel or other advisers. The 82

sample form below may aid you in further discussions with your attorney.

day of On this hereby give of 1 and bequeath to The Museum of American Folk Art, a New York nonprofit corporation, having its principal office at 49 West 53rd Street, New York, New York, all my right, title, and interest in and to to be used by The Museum of American Folk Art for its general corporate purposes (for other specified purposes).

1 further agree to provide The Museum of American Folk Art with documents of title, interest, or assignment as The Museum of American Folk Art may reasonably request.

Name Address

(212) 255-6229 BY APPOINTMENT 114 WEST 27th STREET, N.Y., N.Y. 10001

ins ich Village Living Room"

ISROFF Lola K. Isroff is one of only three American artists whose work is exhibited at the Musee de l'Art Naif, Paris. Her work has been reproduced on numerous UNICEF greeting cards and calendars.

Folk Art Gallery Box 498•Cambridge,Mass.02138 (617)-646-6215

Classic Shaker from the GREEN WILLOW FARM SHAKER GALLERY

"IT NS‘1-1• • 44, •,•1:41,4,4! ! .

444

151.

Dealersin0 ° a..

IIIL Rare Shaker W for Museums •s • and Collectors. • Appraisals fp MI. authenticators.

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RAUP ROAD CHATHAM, NEW YORK 12037 (518) 392-9654 Shaker Watervleit, N.Y. three drawer Bake Table with original red stain and Bennington knobs. Circa 1840.

Price available on inquiry.

Photographed at the Darrow School, site of the original Shaker settlement in New Lebanon, New York.

Index to Advertisers 6 America Hurrah American Country 79 Antiques American Primitive 75 11 Antiques World 76 Block, Huntington T 74 Blue Quail, The 16 Borton, Sally 10 Channel XIII 74 Collector Books 81 Collector's Choice, The Country Curtains 79 83 Country Heir 1 Daniel, Allan Dutton, E.P. & Co., Inc 7, 18 83 Folk Art Gallery 80 French, S.K. Inside Fuller, Edmund L. Front Cover 81 Galinat, Pie 84 Greenwillow Farm 80 Griffin's Antiques Haders, Phyllis 78 Janos & Ross 77 84

Inside Back Cover Just Us on Court Avenue ... 13 Leech, Robinson Associates 77 Mallek, Kay, Studios 19 17 Miller, Steve 81 Muleskinner National Trust for Historic Preservation ....75 New York Pennsylvania 14 Collector, The Nineteenth Century Magazine 15 Ohio Antique Review .. 79,80 76 Olde Hope Antiques 83 Ricco, Roger 75 Rideout, Sheila 8 Russell, John Keith Sotheby Parke Bernet.... Back Cover 74 Tewksbury Antiques 78 Thayer, Bruce 12 University Hospital 9 Winterthur Portfolio 2 Woodard, Thomas K. Johnson, Jay

Are you reading a second-hand copy of

THE CLARION? If so, you can receive your own personal copy four times a year by entering your own subscription. Simply complete the order form below and mail to us with payment.

Museum of American Folk Art 49 West 53rd St. New York, N.Y. 10019

0 1 year individual membership —$20.00 Name Address City & State

Zip

VESTIE DAVIS (1903-1978)

EXHIBITION OF PAINTING AND SERIGRAPHS April 16th-May 7th

witaavnioni

"PLAZA HOTEL"

Oil on Canvas 24" x 36"

For the first show since his death, and the most comprehensive exhibition of his work ever mounted, eighteen Vestie Davis paintings have been selected from his best and most productive period. A number of limited edition serigraphs, each one signed and numbered, will also be included.

Though born in a farm area of Maryland, Vestie Davis devoted himself exclusively to the New York scene. A true Primitive, totally self-taught, the grim-visaged ex-embalmer produced some of the gayest, airiest, and at the same time, truest and most meticulous views of Manhattan and its environs.

OPENING: April 16th 6 p.m.-8 p.m.

HOURS: 1 p.m. - 5 p.m.

Tues. thru Sat. PLEASE NOTE NEW ADDRESS

JAY JOHNSON AMERICA'S FOLK HERITAGE GALLERY 72 East 56th St., New York, N.Y. 10022 (212)759-7373

FLNE AMERICANA at auction Wednesday, April 30 through Saturday, May 3 at 10:15 am and 2 pm each day On view from Saturday, April 26

Unusual molded copper"man in the moon" weathervane. American,late 19th century 5 feet 4 inches, width 4feet 5 inches.

Illustrated catalogues will be available approximately 4 weeks before the sale.

Inquiries: man (212)472-3511 Druck Nancy

Sotheby Parke Bernet•New York Fuiidcd 1744

The world's leading firm of art auctioneers

980 Madison Avenue

New York 10021 (212)472-3400