The Clarion (Winter 1981/1982) by American Folk Art Museum

THE CLARION

The Museum of American Folk Art New York City

THE•AME RICAN

COUNTRY STORE

CONTEMPORARY COUNTRY AND FOLK ART OBJECTS... ALSO PRIMITIVE COUNTRY FURNITURE. PROPRIETOR:MARY E.EMMERLING

We are always interested in buying new craft and country folk items.

969 Lexington Avenue(at 70th Street) New York, N.Y.10021 • Tel 212.7446705 Monday thru Saturday, 10:00 am to 5:00 pm.

79 Jobes Lane,Southampton Long Island, N.Y. 11968• Tel:516 • 283 • 2061 April thru December

Specializing in American Antiques of the 18th & 19th Centuries

Rare Watervliet, N.Y. Shaker Adjustable Candlestand & Brethren's Rocker, Enfield, Conn.

JOHN KEITH RUSSELL AVIQUES,EW. SPRING STREET, SOUTHSALEM,V10590 (914)763-3553

Open Tuesday-Sunday 10:00 to 5:30 pm

Directions: Less than 1 hour from N.Y.C. Spring St. is located just off Rte. 35, 7.5 miles east of 1-684. From Merritt Parkway, take exit 38 (Rte. 123) north to Rte. 35. Turn is 3rd road on right. Opposite big church.

left. Spring St.

QAMERICAN c.A.NTIQUES6&QUILTS 835 MADISON AVENUE, NEW YORK, N.Y. 10021(BETWEEN 69TH 86 70TH STREETS) TELEPHONE:(212)988-2906 Tom Woodard Blanche Greenstein

Pictorial appliquĂŠ quilt. "Sunday School Picnic

Pennsylvania Mennonite. Made in 1932.

We are always interested in buying rare and unusual quilts, pictorial, crib, doll, and Amish quilts, paintedfurniture, andfolk art. Photos returned promptly.

THE CLA ION

CONTENTS / Winter 1981/1982 The Instinct To Collect Recent acquisitionsfrom the Howard and Jean Lipman Collection vividly illustrate Early American fascination with design, pattern, and color.

Anne W. Troutman

Woven For Work: American Baskets In a special introduction to the exhibition "Woven for Work: American Baskets", curator Judith A. Jedlicka outlines the wide range of uses of American basketsfrom the eighteenth century to the present.

Judith A. Jedlicka

Prairie Folk The state that claims OlofKrans, Sheldon Peck and Illinois River decoys needn't take a back seat any longer. Illinois discovers itsfolk heritage.

Merle H. Glick

Brooklyn Before The Bridge A special selection offolk paintingsfrom the collections ofthe Long Island Historical Society recalls Brooklyn's bucolic past.

Elizabeth Mankin Kornhauser

The Surprising Identity of J. A. Davis Recent research sheds light on the life ofthis prominent nineteenth century watercolor portrait painter.

Sybil B. & Arthur B. Kern

COVER: Wool winder Maker unknown. Connecticut. Circa 1875 Carved turned and polychromed wood. 39'4 X 16 X 26k8 in. Eva and Morris Feld Folk Art Acquisition Fund. See page 20.

DEPARTMENTS Letterfrom the Director Checklist: Recent Acquisitionsfrom the Lipman Collection Checklist: American Baskets Bookshelf Calendar Membership Museum News Index to Advertisers

7 48 50 52 54 56 57 72 3

Museum of American Folk Art BOARD OF TRUSTEES EXECUTIVE COMMITTEE Ralph Esmerian President Frances S. Martinson Executive Vice President Alice M. Kaplan Senior Vice President Lucy Danziger Vice President Karen S. Schuster Vice President William I. Leffler Treasurer Thomas G. Rizzo Trustee Development Officer Howard A. Feldman Secretary

MEMBERS Catherine G. Cahill Adele Ernest M. Austin Fine Barbara Johnson Margery G. Kahn Jana Klauer Susan Klein Henry R. Kravis Ira Howard Levy Cyril I. Nelson Cynthia V.A. Schaffner David Walentas Andy Warhol William E. Wiltshire III

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

The Clarion, America's Folk Art Magazine. FALL, 1981 Published and copyright 1981 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.

1-04.r1

STAFF

THE CLARION

Dr. Robert Bishop Director Gerard C. Wertkin Assistant Director Lillian Grossman Director's Secretary Jessica Schein Controller Anne Minich Director ofDevelopment Susan Saidenberg Curator ofEducation Cordelia Rose Registrar/Exhibition Coordinator Anne W. Troutman Director ofPublications Susan Flamm Public Relations Marie DiManno Museum Shop Manager Nancy Scaia Assistant Shop Manager Richard Griffin Clerk Pat Locke Assistant to the Registrar Howard Lanser, Joseph D'Agostino Exhibition Designers Irene Goodkind, Gwen Kade Co-Chairmen Friends Committee William Secord Director ofSpecial Projects Lucy Danzinger, Susan Klein Docent Program Consultants Phyllis Tepper Docent Scheduling Mary Buchan Junior League Liaison Priscilla Brandt Trips and Seminars Anne DeCamp, Elsie Dentes, Rita Geake, Mary Greason, Florence Hartnett, Renee Heilbronner, Hillary Kaye,Annette Levande, Joanee Marks, Maria Salantro, Myra S haskan, Pat Spitzer, Paula Spruck Museum Shop Staff

Anne W. Troutman Editor David Gordon Art Director Ira Howard Levy Design Consultant Topp Litho Printers Graphics, Plus Typesetting

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 ofobjects ofquality or services advertised in its pages or offered for sale by its advertisers, nor can it accept responsibility for misunderstandings that may arise from the purchase or sale of objects or services advertised in its pages.

The Museum is dedicated to the exhibition and interpretation of folk art and feels it is a violation of its principles to be involved in or to appear to be involved in the sale of works of art. For this reason, the Museum will not knowingly accept advertisements for The Clarion which illustrate or describe objects that have been exhibited at the Museum within one year of the placing of the advertisement.

PAT THOMAS

Beacon Hill in Winter

Acrylic on linen canvas 24" x 30"

ANTHONY PETULLO FINE ART 700 North Water Street Milwaukee, WI 53202 (414) 278 - 0357

Exclusive distributor for Pat Thomas Dealer inquiries invited

MADE IN AMERICA AND QUILTS COUNTRY ANTIQUES

The largest collection of Amish dolls ever assembled (each with its own provenence) is at MADE IN AMERICA.The group of 35 includes such rarities as twin dolls, boy dolls, and pinhead dolls.

1243 Madison Avenue (bet. 88th and 89th Streets) New York, NY 10028(212) 289-1113 Open Mon.-Fri. 10:30-6:30 P.M.,Sat. 11:00-5:30 P.M.

Letter from the Director

EAW

This has been an important year in the history ofthe Museum ofAmerican Folk Art. I am pleased to announce that Eva Feld, a good friend of the Museum, has established the Eva and Morris Feld Folk Art Acquisition Fund to assist the Museum in its continuing goal ofbuilding a major collection of significant works of American folk art. The first accessions to the Museum's permanent collection made possible by Mrs. Feld's generosity are objects from the Howard and Jean Lipman Collection of American folk art. Many ofthe pieces are featured in this issue of The Clarion. lam sure everyone associated with the Museum willjoin me in thanking Mrs. Feld for this important gift. The Museum's educational resources have been further enhanced by the generous donation of Howard and Jean Lipman's library of books, pamphlets and catalogs relating to American folk art. With the addition of the Lipman library, the Museum's Library now represents a major research facility containing works on nearly every aspect of the folk arts in America. The library is open to scholars and researchers by appointment. Now under the capable management of Marie DiManno,the Museum Bookshop is stocked with a variety of wonderful objects drawn from the American folk art tradition. I urge all of you to drop by, meet Marie and her staff, and browse through the shop. As always, the shop offers a wide selection of folk art publications, many of which are impossible to locate elsewhere. For those of you who cannot get to the Museum, this issue of The Clarion includes a selection of mail order items for your consideration. Following on the heels of"Anonymous Beauty", the Museum's popular exhibition of textiles drawn from its permanent collection, our installation of"The American Decoy: Folk Sculpture from the Collection of Mr. and Mrs. Donal C. O'Brien, Jr." received wide critical acclaim. This loan exhibition of one of America's great decoy collections brought a fascinating subject to a wide public. Our current exhibition,"Woven for Work: American Baskets", curated by Judith A. Jedlicka, is being shown in conjunction with the exhibition,"A Selection from the Permanent Collection." Guest curated by Trustee Alice Kaplan,"A Selection from the Permanent Collection" is the first in a series of shows of objects from the Museum's holdings. We hope to provide our visitors the opportunity of becoming more familiar with the major works in the Museum's collections. Also in this issue, the Museum pays tribute to our major donors, without whom it would be impossible for us to carry out our long-range development goals. A list ofthese donors is on page 71. On behalf of the Museum, its trustees and staff, I would like to gratefully acknowledge all these individuals, private and public concerns for their interest and support. Dr. Robert Bishop DIRECTOR

Friends ofthe Museum George and Myra Shaskan talking with Eva Feld (center) at the Fall Antiques Show.

Photo by Carloh

QualityFolk

The Cheever Children by Edward Savage, American (1761 - 1817). Circa 1795. Oil on canvas, 50 1/8 x 40 inches. To introduce yourself to these and other quality folk send $5.00 for our 1981 - 1982 Painting Annual, which includes a selection on American primitive painting.

CHILDS 169 Newbury Street â&#x20AC;˘ Boston, Massachusetts 02116 â&#x20AC;˘ (617) 266-1108 fine American and European paintings, prints and drawings since 1937.

Exceptionally rare Goddess of Liberty weathervane by A. L Jewell & Co., Waltham, Mass Third quarter of the 19th century. SUBJECT TO PRIOR SALE.

Steve Miller American Folk Art 17 East 96th Street New York, New York 10028 By Appointment only (212) 348-5219

Dealing In Investment Quality American Folk Art. 9

dar AUCTION OF AMERICANA including American Furniture and Folk Art

2inches. 1 2inches, length 9/ / Fine paper-covered wood box,signed Nancy Barnum, probably Connecticut, circa 1830, height 41

Auction in New York at Sotheby's York Avenue Galleries: Wednesday through Saturday, January 27through 30, at 10:15 am and 2 pm each day. On exhibit beginning Sunday, January 24.

Illustrated catalogues available at our galleries or by mail approximately four weeks before the sale. Inquiries: Folk Art, Nancy Druckman,(22)472-3512 Furniture, Thomas B. Lloyd,(212)472-3511

SOTHEBY'S Founded 1744

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Advertising Appraisals ..• Auctions Baskets Book Reviews China 4* Clocks Collectors • Coming Events Coverlets Decoys ..Exhibitions ••• 7..---`''Folk Art Furniture C Glass Guns *z. • History Insurance 00,41 Investments Lace * News Briefs Oriental Rugs ME Paintings , Monthly except January Pewter Prices Quilts Real Estate Restoration Sample copies available ... Samplers 1111111114116 * Seminars Shaker Shows Spinning Wheels i* 1 Stoneware Tools Toys I> Trends Values

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NEWCOMER/WESTREICH AMERICAN DECORATIVE ARTS Special Christmas Exhibition

Featuring: New Amish Quilts Antique Christmas Decorations

girt

Furniture Folk Art and Sculpture

406 Seventh Street, N.W. Washington D.C. 20004 Tues.-Sat., 10 a.m.-6 p.m. Tel.:(202)293-1997

PHILLIP HEWINS(1806-1850)

oil on canvas:32 x 25 inches

signed: lower center

"Polly Greenleaf Whittier"

Q.H.LOVE CALLEQ1E6w 100 EAST OHIO STREET CHICAGO,ILLINOIS 60611 14

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Tin Girl trade figure with moveable arms and head, 58 inch high

(212) 239-1345 Mon.-Fri. 10-5:30 Or by Appt.

AARNE ANTON American Primitive Gallery of Folk Art 242 West 30th St., 5th Floor N.Y., N.Y. 10001 15

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

Specializing in 18th & 19th century American furniture, paintings andfolk art. We are interested in purchasing fine examples of 18th & 19th century Americana AMERICAN CASTIRON WINDMILL WEIGHTS List available upon request.

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SPATTERWARE•SPONGEWARE•MOCHA•DEDHAM POTTERY•GAUDY DUTCH •CHINESE PORCELAINS• C) • = > " hollow doves on 2 / Top: Pair of 111 olive branch-decorated plinths. 12" tall poodle on rose-decorated base, colored in ochre, red and black. (Ref. Bishop, American Folk Sculpture, fig. 445) Bottom (left to right): Rare 5" hen-on-nest colored in brown, red and ochre. Nodding-head cat with red, black and ochre decoration, 4': Rare spectacled fox bank in ochre, black and green, 3'f 7" ram with red and black highlights and fantastic eyes. Bloomer girl decked out in ochre, black and red, leff (Ref. Bishop, American Folk Sculpture, fig. 462)

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appointment only in Easton, Pa. and Merrimack, NH. -.Telephones:(215)252-1098 or(603)424-9224 Mailaddress: Box 825, Easton, Pa. 18042

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November 17, 1981-January 9,1982

The Folk Art Tradition Paintings from 22 museums and private collections including works by Rousseau Vivin Bombois Generali Hicks Phillips Field Kane Pippin Grandma Moses and others Fully illustrated catalogue with a foreword by Dr. Robert Bishop $17.50 (post. incl.; NY residents add sales tax). Also available in hardcover from Viking Press. Joseph Pickett: Lehigh Canal, Sunset. Ca. 1915-18

Galerie St Etienne

24 W.57th St NYC 10019 1212)245-6734 Tues.-Sat. 11-5

America's most distinguished antiques show! Daily 11 a.m.-9 p.m. Sundays, 1-6 p.m.

PATRONS'RECEPTION Friday,January 22 at 5:00 p.m. Tickets $90.00 each PREVIEW PARTY Friday,January 22 6:30-9:00 p.m. Tickets $60 each LOAN EXHIBIT Perspective on New York Treasures from The Henry Francis du Pont Winterthur Museum For information on Special Events, and for Preview Tickets, write or call: EAST SIDE HOUSE SETTLEMENT 337 Alexander Avenue, Bronx, New York 10454 U.S.A. Telephone (212)665-5250 Armory Seventh Regiment Street 67th at Avenue Park

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The 1115 ANNE W. TROUTMAN

This exhibition is made possible by a grantfrom Manufacturers Hanover Trust

At right: Heart and Hand Valentine, artist unknown, circa 1850. Probably Connecticut. Pen and ink on cut paper mounted on tissue on card. 14's X 12". This strikinglyfresh graphic bears the inscription, "Friendship/When it you see, remember me."

"Collectors are the physiognomists of the world of objects," wrote critic Walter Benjamin in his essay "Unpacking My Library". A collector himself, Benjamin knew well the "spirits or at least little genii" that dwell in every true collector. Indeed, the collecting instinct is a fascinating phenomenon that often reveals as much about the collector as it does about the objects themselves. With the curiosity, creativity and patience of a good detective, the true collector seeks to learn more through collecting about a period, an artist, an aesthetic. Jean and Howard Lipman are such collectors. Over the past forty years the Lipmans have formed two extraordinary collections of American folk painting, sculpture, furniture and textiles. Jean Lipman, author of more than a hundred articles and over a dozen books on various aspects of American art, has struggled to bring increased scholarship and recognition to the field ofAmerican folk art since the publication of her first book on the subject, Some

Recent acquisitions from the Lipman Collection will be on view at the Museum galleries from February 24, 1982 through May 16, 1982

tind to Collect American Primitives in 1941. For nearly half a century the Lipmans' collecting instincts have helped shape the field of American folk art. Though already interested in American art, the Lipmans were newcomers to the folk art field when they began collecting in the 1930s."We had never heard of folk art then, nor had most people," recalls Mrs. Lipman. The genre was not recognized until the 1920s, when the first exhibit ofAmerican folk art was held at the Whitney Studio Club in 1924. A painter, Henry E. Schnakenberg, selected the items for the show mostly from collections ofother artists, including those of Charles Sheeler and Charles Demuth. After the exhibition, interest in folk art quickly spread from artists to other collectors and by the 1930s and 1940s collecting folk art was in vogue. It was around this time that the Lipmans began their initial collection. While attempting to furnish their newly acquired eighteenth century Connecticut home, they found a folk painting that caught their

Sideboard table, maker unknown, circa 1835. Painted and grained woor4 brass. 34 X 26 X 20"deep.(Eva and Morris Feld Folk Art Acquisition Fund). An exuberant and inventive piece. The sponge and feather decoration on this country sideboard was intended to imitate thefinely grained wood used in the construction ofcostly city furniture.

Right Portrait ofEliza Gordon (Mrs. Zophar Willard Brooks), Ruth Whittier Shute(1803-?) and Dr. Samuel A. Shute (1803-36), 1832-33. Peterboro, New Hampshire. Watercolor and body color over pencil on paper, gilt paper. 25 X 1534". Ruth and Samuel Shute painted separately but their best works are the beautiful watercolors which they created together as husband and wife. The Shutes' portrait ofEliza Gordon with its colorful diagonal streaking, boa abstract shapes, and sensitive pencil delineation ofthefeatures represents this couple's watercolor style at its most mature. An inscription on the back reads "Eliza (Gordon)Brooks/Born in Henniken/Oct. 25th 1813/ NH./ Taken when she worked in the Phinny(?) mill/Peterboro N.H." For Shute scholar Helen Kellogg, this inscription identifying the sitter as a mill workerprovided a longawaited missing link She reports: "The Shutes'prolongedperiod ofwork in and around Lowell, Massachusetts suggested thispossibility but this is the first instance ofdirect documentation on a painting by both artists that firmly establishes that the Shutes did indeed make portraits of mill workers."

eye at Edith Halpert's Downtown Gallery. "It looked extraordinarily exciting to us," Mrs. Lipman recalls. "We just got hooked on it." What captivated the Lipmans immediately about folk art was its bold design and colors, its strength of line and form. The historian in Jean Lipman was intrigued by folk art as well. She points out that one of the most interesting aspects of the genre is the sociological and historical insight it provides into nineteenth century America. Indeed, both of their collections, (the first was sold to the New York Historical Association at Cooperstown, New York in 1950), reflect their particular interest in the Early American interior. Their second collection is rich in superb examples of nineteenth century painted and decorated furniture, painted boxes, stenciled textiles, weathervanes, whirligigs and watercolors. The following pages illustrate most of the objects accessioned from the second Lipman Collection by the Museum of American Folk Art.. The selections range from watercolor portraits, landscapes and elaborately patterned furniture to an anthropomorphic woolwinder. Each object is remarkable for its individuality, whimsy or humor. Many of the pieces vividly illustrate the range of work of the itinerant artist as well as the nineteenth century fascination with pure design, pattern and color. Together, they reveal what is special about folk art, and what the Lipmans may have valued most in their collecting: originality, imagination, and heart.

Left to right: Pitcher, maker unknown, circa 1875. Cape Cod, Massachusetts. Spongedecorated stoneware. Us X 84 X 578". This sponge-decorated pitcher is a fine example ofthe informal,free design of household wares produced at potteries after the War of Independence. Trinket box with eagle decoration, maker unknown, 1820-40. New England Painted and decorated wood with grained interior. 64 X 14zi X 8'. (Eva and Morris Feld Folk Art Acquisition Fund). This trinket box displays on its coveran eagle, thesymbolof the new republic. The interior ofthe box is spongedecorated and contains nine small drawers. Trade and Tavern st.gtt, inscribed on one side: "E. Fitts, Jrs. Store"; on the reverse: "E. Fitts, Jr. Coffeehouse 1832", maker unknown. Vicinity ofShelburne, Massachusetts. Polychromed wood wrought iron. Overall: 463s X 464". (Gift ofMargery and Harry Kahn). Shop signs were one ofthe earliestforms ofadverUsing. This one was probably painted by an itinerant artist. It has been further embellished with an ornate wrought iron frame. Tall-case clocic, maker unknown, circa 1840. Probably New Jersey. Painted and decorated pine case with iron works. 87 X 2Th X 124' (Eva and Morris Feld Folk Art Acquisition Fund). The decorative pattern on this clock has been called "paw printed"; it was probably created with a bit ofsponge, crumpled paper or cloth.

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Left: Sea Serpent Weathervane, maker unknown, circa 1850. Massachusetts. Painted wood, iron. 161 / 2 X 2344 X 1". Early weathervanes were carved from wood with a chisel or small saw and paintedfor protectionfrom the weather. This serpent was probably madefor monitoring the wind in a seaside village. Bottom left: Dower chest with mermaid decoration, maker unknown, 1790. Pennsylvania. Painted and decorated pine, iron. 2444 X50/ 1 2 X2344'. Dower chests were made asgiftsfor young brides. Each chest was usually inscribed with the young girl's name and date on which it was presented An early German folk art mot/, the mermaid symbolizes the duality of Christ; theflower designs were broughtfrom Germany and Holland Bottom center: Oswego Starch Factory, artist unknown, mid-19th century. Oswego, New York. Watercolor, pen and ink on wove paper. 364i X 53Y4". During the nineteenth century numerous commercial enterprises commissionedfolk artists to record their prosperity by executing large watercolors depicting the various buildings associated with theirfirms. This painting may have been a trade sign or perhaps a decorative piece hung in thefactory offices. Bottom right Hanging candle box, maker unknown, circa 1800. Connecticut River Valley. Carved and painted pine, tallow. 24;i X 1214 X 55i". This piece wasfound with its nineteenth century candles intact. Right Man in a Top Hat with A Cane, carver unknown, circa 1870. Probably New York Smoke-decorated and painted 231 / 2 X 7/ 1 2". 1 2 X 7/ (Joseph Martinson Memorial Fund, Frances and Paul Martinson).This humorousfigure was probably a decorative carving.

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Top left Masonic memorial picturefor the Rev. Mr. Ambrose Todd, Eunice Pinney(1770-1849), 1809. Windsor or Simsbury, Connecticut. Watercolor on laid paper, pen and ink inscription. Sight 13 X 114". The Rev. Todd was probably a Freemason as Eunice Pinney included Masonic symbols ofdeath and eternal life in his mourning picture. Left: Miniature mourningfob with portrait ofa cow, artist unknown, 19th century. Region unknown. Watercolor on ivory, hair, silver. Sight: I X 14". OA: 1014 X 1.3ÂŁ1 X 4". This unusual mourning bracelet memorializes someone'sfavorite cow. Bottom left Residence ofLemuel Cooper at Plain, Wisconsin, PaulA. Seifert, 1879. Plain, Wisconsin. Watercolor, oil and tempera on wove paper. Sight: 2Ih X 27'4". Seifert recorded with precise detail many ofthefarmsteads which surrounded his residence in Wisconsin in the last quarter ofthe nineteenth century. He preferred to work on cardboard rather than canvasfor it enabled him to use metallic paintsfor details such as the sun and clouds, giving them a wonderful glow. His combination of watercolor and oil added dimension and texture to his paintings. Below: Wool winder, maker unknown, circa 1875. Connecticut. Carved, turned and polychromed wood. 364 X 16 X 26h".(Eva and Morris Feld Folk Art Acquisition Fund). Carved in theform ofa standing woman, this wool winder has the simplicity and boldness of modern sculpture. Right Queen Anne Secretary bookcase, maker unknown, 1720-1750. New England Carved, painted and decorated maple and pine. 67 X 37)< 1644". (Eva and Morris Feld Folk Art Acquisition Fund). The tortoise-shellfinish makes this extremely rare piece ofearly American furniture even more distinctive.

For exhibition checklist see page 48 Photos: Helga Studios 25

WOVEN FOR American Baskets 26

November 25 1981 â&#x20AC;&#x201D; February 14 1982. A special catalog to the Museum of American Folk Art exhibition of American basketry

JUDITH A. JEDLICKA, Guest Curator One ofthe oldestforms offolk art in the world, basketry has survived centuries ofchange. Once purelyfunctional, now woven largelyfor decorative uses and as works ofart, baskets are a most adaptablefolk art. "Wovenfor Work: American Baskets" illustrates the wide range ofuses of American baskets over the past two hundred years. The majority ofbaskets woven during the eighteenth and nineteenth centuries were woven for work. Eel pots, clam-gathering baskets, creel baskets and backpacks were made for fishing and hunting. Gathering, drying, birdcarrying, bushel and egg baskets were among the most popular types of basketry employed on the farm and in the field. Sewing baskets, storage containers and trinket baskets were used in the house and collection baskets in the church. Early wool, honey and cheese industries were also well-served by basketry; drying baskets, bobbin baskets and bee skeps were employed for such purposes. Other baskets were put to more casual use: picnic baskets, handbags and gift containers were among the most prevalent types ofleisure basketry. The Nantucket Lightship, bottle cap and one-of-a-kind bentwood baskets were the unique creations of skilled basketmakers who practiced basketry as a pastime activity. Many of the first baskets used in the New World were brought by settlers from their homelands. Once houses were built, crops planted and settlements protected, colonists began weaving their own baskets for everyday use, developing their forms and construction techniques from three basic influences: European, African and American Indian. As the colonies became a nation and the United States evolved, so too did basketry. Most ofthe baskets woven during the eighteenth century were made for practical application. It was common for a farm family to gather around a fireplace on a long winter night and weave baskets for chores on the farm. By the nineteenth century, however, basketry had become an American cottage industry. Newspaper ads,journals, oral histories, and town records indicate that a variety of baskets were made to be sold door-to-door, in marketplaces and shops. One of the most successful basket industries was operated by the Shakers, who sold an assortment of baskets outside their communities. The northeast Indian tribes bartered and sold a considerable number of decorated splint baskets throughout New England, while crew members of the South Shaol Lightship sold their world-famous basketsâ&#x20AC;&#x201D;known as Nantucket Basketsâ&#x20AC;&#x201D;on the mainland. Unlike most basketmakers, the Nantucket weavers signed and dated their works on a paper label which was glued to the bottom of each basket. With the advent of technology, methods of basket construction changed. By the mid-nineteenth century most splints were made with tools rather than by hand. Handles and plank bottoms were cut on machines and nails were used to attach rims. During the twentieth century baskets formerly made for storage, shipping and transport were replaced by containers made of plastic, metal or synthetic materials. The art of basketry has now passed into the hands of the fine artist. Judith A. Jedlicka is a recognized collector ofbaskets and has written several articles on the subject. She is also the executive director ofthe National Corporate Fundfor Dance and contributing editor ofHorizon Magazine. DETAIL: Long tobacco leaves were placed on this basket to dry before they were processed. This TOBACCO DRYING BASKET wasfound in New Hampshire but wasprobably made in the South about1950. 27 The splints and binding are machine-made and joined with nails. It is stamped with afarm name: Henderson Co. 36"square. Photo: Nancy K Melvin.

Farm and field baskets were sturdily woven for hard work At left, from top: Bird andfeather baskets were a very popularform at the turn ofthe century. Feather gathering baskets were designed to enable the carrier to use both hands to collectfeathers. This FEATHER GATHERING BASKET(left) was made about 1890 of narrow ash splints and is probably Shaker. Diam. 13k1"; H 15". This coiled rye straw EGG BASKET(center) has an unusual carved wood handle. It was made in Pennsylvania about 1900. Diam. 9"; H. 9". Legend has it that this EGG BASKET,sometimes called the ORIOLE BASKET, was woven to allow the farmerto measure atspecific levels, how many eggs had been placed in it The sides of the basket are wovenflatso that the eggs, according to tradition, could be carried on horseback The eye on the side binding the handle to the basket is typical oftheform. Made ofoak splints about 1910. Probably in Kentucky. Diam. 6"; H. 14". Photo: Nancy K Melvin Though large,farm andfield baskets were gracefully shaped. Woven ofthick oak splints over wide ribs, this FEEDING BASKET was made in Connecticut about 1890. The bottom is rounded and the body deep enough to hold feed. Diam. 12";H 13". This unusual FIELD BASKET (left) was woven with two rims. The first, or internal rim, provides shape. The secon4 or external rim,forms the handles. It was used to gather crops and perhaps hold a baby while the mother worked in thefields.

Made ofoak in the South about 1880. L. 30"; W top 24"; bottom 26"; H 18". The wide HICKORY SPLINT BASKET(right) wasprobably made in New Jersey about 1900. The two side handles are woven under the rim. The bottom is rounded. Diam. 21"; H. 10". Photo: Nancy K Melvin This large FIELD BASKET(left) was woven of narrow oak splints and has a double wrapped rim for durability. Its raised bottom construction indicates it was probably used to carry heavy perishablefruit crops such as apples and peaches.(A raised bottom reduces the weight load on produce underneath.) Made in the Hopewell area ofNew Jersey about 1920. Diam. top 27"; bottom 16"; H. 7". Splints were nailed to the binding on this HALF-BUSHEL BASKET(right). To identify his basket in afield, the owner had his initials "D. W"painted on the splints. Made in New Jersey ofmachine made splints about 1930. Diam. top 14W; bottom 9"; H 11'. Photo: Nancy K Melvin The wrapped and woven rectangular rim of this APPALACHIAN GATHERING BASKET is typical ofsouthern style basketmaking. The handle laced through the basketframing the main rib gives the basket added carrying strength. Made ofash splints. Circa 1930. H 13"; W. 10"; L. 12". Photos: Nancy K Melvin

FOR FURTHER READING Andrews, Edward D. The Community Industries ofthe Shakers.(Reprint of N.Y. State Museum Handbook, 1933) Emporium Publications, 1971. Benson, Oscar H. and Osma Gallinger Tod. Weaving With Reeds& Fibers. Dover Publications, Inc., New York, 1975. Hart, Carol and Dan. Natural Basketry. Watson-Guptill Publications, New York,1976. Ketchum, William C. Jr. American Basketry and Wooden ware. Macmillan Publishing Co., Inc., New York, 1974. Larason, Lew. The Basket Collector's Book. Scorpio Publications, Chalfont, Pennsylvania, 1978. Lasansky, Jeannette. Willow, Oak & Rye: Basket Traditions in Pennsylvania. Union County Oral Traditions Projects, Lewisburgh, Pennsylvania, 1978. Mason, Otis T., Directionsfor Collectors ofAmerican Basketry. Washington Printing Office, 1902. Meilach, Dona Z. A Modern Approach to Basketry. Crown Publishers, Inc., New York, 1974. Raycraft, Don & Carol. Country Baskets. Wallace-Homestead Book Co., Des Moines, Iowa, 1976. Rossbach, Ed. Baskets as Textile Art. Van Nostrand Reinhold Co., New York, 1973. Seeler, Katherine and Edgar. NantucketLightship Baskets. The Deermouse Press, Nantucket, Mass., 1972. Stephenson, Sue H. Basketry of the Appalachian Mountains. Van Nostrand Reinhold Co., New York, 1977. Strong, Bethany. "Nantucket Lightship Baskets". The Antiques Journal, October 1976. Teleki, Gloria Roth. The Baskets ofRural America. E. P. Dutton & Co., Inc., New York, 1975. Teleki, Gloria Roth. Collecting Traditional American Basketry. E. P. Dutton & Co., Inc., New York, 1979. Thompson, Frances. Antique Baskets and Basketry. A. S. Barnes and Co., Inc., New Jersey, 1977.

Eel pots, creel baskets and backpacks made good hunting and fishing gear

Above: Thesefishing baskets look at home by the water. The CREEL BASKET shown here (left) wasfound in New Jersey. It was made about 1920 of willow with leather bindings, corners, and strap machine-stitched to the basket L. 14"; W 644"; H. 7". The LONG ISLAND EEL TRAP OR EEL POT(back left) was woven on a mold about 1900 on the Eastern tip ofLong Island The lid ofthis medium-sized oak splint basket is attached by two long splints. Long Island eel traps worked very much like Maine coast lobster traps. The eel wriggled into the open bottom cone ofthe basket, wound around the inside ofthe cone and was caught A rope and a wooden buoy were tied onto the main section, and helped locate the trap when sunk in offshore waters. L. 20"; W top 6"; bottom 9". Internal cone depth 14"; lid depth The CHESAPEAKE BAY EEL TRAP OR EEL POT(right) was made in Maryland about 1910 of medium-sized oak splint. Its construction is the same as that ofthe Long Island eel trap, except that the top ofthis basket is made ofa carved wood plug which is attached to the main basket with a cord. Woven on a mold L. 21"; W top 534"; bottom M". Internal cone depth 18". This wicker PICNIC BASKET(back right) wasfound on Long Island. The top is hinged to the body ofthe basket with wicker loops. The clasp is made of wicker, cord and bone. Circa 1910. L. 13"; W 9"; H. 834". Photo: Nancy K Melvin Left This sturdy BACKPACK is made ofoak splint with canvas straps. It was usedfor hunting andfishing equipment, traps, and food supplies. Bait and tackle were stowed in the small compartment Stamped inside the lid ofthe small compartment is: "Mfg. by Clint Ishman, Baxter, Pa." Circa 1940. Large section: L. 15"; W 11"; H 1934". Small section: L. 10"; W 5"; H 6". Photo: Carmine Fergo

Household baskets were made for many purposes in a multitude of shapes and sizes

Left: The rim and handle weave ofthis MINIATURE MELON BASKET made by Mary Porter, Tennessee in 1970 is typical ofthe southern style of basketmaking. Narrow oak splints cover the ribs and 1 2". Woven over narrow splints, the braided handle. Diam. 3"; H.3/ sweetgrass PIN CUSHION HOLDER was made in the Northeast U.S. about 1920. The original pin cushion is decorated with olive green silk thread overfabric. Diam. top 1"; bottom, 3/4"; H. 1/2". The braided sweetgrass over splint THIMBLE HOLDER(right) was made in 1975 by a Mohawk Indian, Eva Point; St. Regis Reser/ 2"; W. at top Pi". vation, Malone, IV. Y. L. 11 Bottom left This decorated lidded CONTAINER BASKET was used to store grain, herbs,flour, etc., in a kitchen or pantry. The symmetrical handpainted pattern is extremely unusual. The primitive leafandflower pattern is outlined in black andfilled in with black and pink dye. The same pattern is painted on allfour sides. Lined with newspaperfrom New Hampshire dating to 1832. Medium size 1 2". splints. Probably ash. Made in Northeast U.S. Diam. 15";H.9/ The decorated BOWL-SHAPED BASKET(right) was also made in the Northeast U.S. Woven with a combination of wide and narrow splints, the square bottom portion was probably made on a mold and the round top portion offthe mold. The two side handles are fashioned of narrow splint. Decorated with a stamp pattern of circles and crescents in black and handpainted fill-in yellow. Circa 1940. Probably ash. Diam. top 8"; bottom 5"; H.

Early wool, honey, and cheese industries were well-served by basketry Below: Many baskets were used in the wool industry at the turn of the century. The size andform ofthis HANGING Loom BASKET, particularly the two hanger arms, are extremely unusuaL Woven of oak splints and dyed orange and brown, this basket was used to hold bobbins and raw wool. Made in Kentucky about 1920. L. 17/ 1 2"; W. 8"; H. 6". The loose weave ofthis WOOL-DRYING BASKET and the elevation ofits legs permitted air to pass through freshly washed wool to hasten drying. The double wrapped rim binding makes the construction sturdy. Made in the Northeast U.S. 1 2". 1 2"; H. 16"; legs 2/ about 1890. Diameter 25/

Photos: Carmine Fergo

More elaborate baskets were often used to carry gifts Special thanks to Sunny Pond Farm, Huntington, Long Island â&#x20AC;˘ for pictures taken on location, and to Nancy K Melvin, Curatorial assistant.

Above: Basketmaking was a major cottage industryfor the Shakersfrom 1801 to about 1860. Thesefive nineteenth century New England SHAKER BASKETS were madefor sale outside the Shaker communities. The three stacked on the left were made ofpoplar and were used to hold jewelry, sewing items and trinkets. Round basket: diam. 314'; H Th". The center basket is decorated with a wide blue satin ribbon on the sides and top. L. 3.4"; W .3"; H. Pi". The bottom basket is decorated with paintedflowers and tied with thread L. 6",. W 6';H. M". The SEWING BAsKE.r(right back)is a miniature version ofthepopularsewing basket with loop catch at the rim. Woven ofpoplar splint. Top L. 4'h"; Bottom IV;H. 5". This PIN CUSHION BASKET(rightfront) is woven in the style ofthe popular cheese basket weave. The pin cushion is made ofred cotton and green felt. Diam. 2.4"; H. 14". Below: GO baskets such as these carried handkerchiefs, strawberries, candy and dried fruits. Emptied oftheir gifts, they were used throughout the house to hold trinkets, sewing things, and small objects. This elaborate HANDKERCHIEF HOLDER (left), found on Long Island, was made about 1910 of braided sweetgrass woven over dyed medium wide splint. 8"square. The ornamentalpointed curlicues were woven over narrow ash splints on both the STRAWBERRY OR GIFT BASKET(center back)and CANDY HOLDER(centerfront). Probably made in the Northeast by Algonquin Indians. Circa 1930. Diameterstrawberry basket:344"; H Pi': Candy holder L. 7"; W 2". The ACORN BASKET(right) was made in the Northeast U.S. about 1920 ofbraided sweetgrass woven over narrow splints. A wider splint around the binding and lid adds rigidity. The large loop, used to hang the basket, is made ofwrapped sweetgrass. L. 5"; Diam. top 5".

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Above: Crow Decoys, CharlesPerdew, circa 1935-1945. Henry, Illinois. Carved and painted wood, wire legs. H. 10inches;L. 15 inches. Private collection. Left Ross Houck, Sheldon Peck, 1849. Oil on canvas. 24 X 30 inches. Collection ofNancy and Gary Stass. Photo: Luigi Pellettrieri.

RAMIE FOLK Illinois discovers its folk heritage MERLE H. GLICK There is clearly a westward movement ofinterest infolk art. Kentucky, Ohio, Wisconsin, Oklahoma and Michigan have recently hosted several stateorientedfolk art exhibitions. Inspired by such efforts in neighboring states, curator Merle H. Glick with the Lakeview Museum ofArts and Sciences in Peoria undertook a survey of nineteenth and early twentieth centuryfolk art of Illinois origin. The exhibition, "Folk Art ofIllinois" presents the results oftheir careful research at the Lakeview Museum until January 3, 1982. It will then travel to the Illinois State Museum in Springfield(February 15-April 4, 1982)and the Chicago Historical Society (April 15-May 31, 1982). Over the past several years I have asked hundreds of times:"Do you have any folk art ofIllinois origin?" Too often the response from collectors, curators, Merle H. Glick is a trustee ofthe Lakeview Museum ofArts and Sciences in Peoria, Illinois. He collectsfolk art and gives lectures on Illinois history. 33

Horse Weathervane, Epperson Lightning Rod Co., 1909. Mounted on a barn in Havana, Illinois. Private collection.

and antiques dealers alike was negative, sometimes inferring that there couldn't be much folk art coming out ofany state so far from the eastern seaboard. To the contrary, the state that claims Olof Krans, Sheldon Peck, and Illinois River decoys needn't take a back seat any longer. Though the Prairie State is admittedly better known for tall corn, Chicago and Abraham Lincoln, it does offer an inspiring sampling of quality regional folk art as well. Illinois was settled between 1810 and 1850 by European immigrants and pioneers from the eastern states nearly a century after the establishment of cities, farms and industry along the Atlantic coast. Due to the rigorous life these early settlers led, there were very few folk artists in Illinois before 1850. Most Illinois folk art appeared there only after the mid-nineteenth century when industrial and commercial development of the region was well underway and there was more time for leisure activity. The growth of industry and inventions such as photography in the mid-nineteenth century served to alter the face of society in many ways, affecting the need for the skills of the folk artist. Industry made the small-scale or individual production of certain items such as weathervanes, coverlets and pottery obsolete; the invention of photography usurped the position of many itinerant portrait painters. One Illinois portrait painter, Olof Krans (1838-1916) countered this development by using photographs as the starting point for his paintings. Krans, who came from Sweden to Bishop Hill in north central Illinois when he was a boy, was greatly impressed by the character and perseverance of Swedish immigrants who had fled there to escape religious persecution. During the 1890s and until 1915 Krans, a sign painter by trade, set about preserving the images of these people and their remarkable village. Working from photographs and memory, he captured on canvas a distinctive record ofthe Bishop Hill people and their occupations.(See Anna Wadsworth

Murray's article in the Spring/Summer 1981 issue of The Clarion for a detailed account of Olof Krans' career.) Of the few eastern painters who followed the westward migration to Illinois, Sheldon Peck(17971868) was the best known. Peck moved to Chicago from New York in 1837. Shortly afterward he moved about twenty miles west to what is now Lombard, Illinois and became a successful farmer and one of the area's most prominent landowners. Although farming occupied most of his summer days, he spent the rest of the year travelling and painting portraits. Family recollections indicate that he went as far south as St. Louis where he did medical drawings for a college. His portrait of Ross Houck was probably done at this time in the Alton, Illinois area near St. Louis, where Mr. Houck was a wealthy farmer and landowner. By the 1850s, however, the daguerreotype was in strong competition with the portrait painter. Sidestepping the issue, Sheldon Peck established a studio in Chicago and advertised himself as a "decorative painter." After the portrait paintings of Peck and Krans, nineteenth century Illinois folk paintings by identified artists are not easy to find. A few artists achieved local or regional fame, such as Albert Montgomery(1857-1922) of Bloomington. Known as the "corn artist," Montgomery produced still-life paintings of yellow corn in baskets and hats. He lived in several midwest states and appealed mainly to its rural clientele, selling his pastoral scenes and still-life paintings to local businesses and individuals to make his living. The recently discovered folk artist Ernst Damitz(1805-1883) of western Illinois

Map ofIllinois published by Charles DeSilver ofPhiladelphia in 1856. Courtesy of the V. H. Chase Special Collections Center, Bradley University Library, Peoria, Illinois.

Coverlet, J. Philip Heifner, 1861. Olney, Illinois. Natural cotton; blue, red and green wool; Belderwand construction. Woven on hand-loom with Jacquard attachment. Private collection.

painted dozens of fantastic scenes using ideas from books and recollections of his early adulthood in Europe.(Damitz's watercolors were exhibited in 1977 at the Art Institute of Chicago.) THE CARVERS While our search for Illinois folk art focused on the nineteenth and early twentieth century, the one exception to this time frame was the wildfowl decoy. There were hundreds ofdecoy carvers in the Illinois River valley during the first half of the twentieth century; Illinois lies in the path of the great Mississippi 'flyway' used by migrating ducks and geese every fall and spring. During the era when"market" hunting of ducks was permitted, hunters shot ducks and geese by the thousands and shipped them by railroad to the meat markets ofthe large cities. It was profitable for some farmers to hire extra help with the corn harvest so that they could spend their time hunting. Although daily limits were imposed in 1909, duck hunting continued as a major sport in central Illinois, and almost every community had carvers making "blocks," as decoys were then called, for their own and others' use. Five names lead the list of distinctive Illinois carvers. Robert A. Elliston(1849-1915)of Bureau,

Illinois, was Illinois' earliest well-known commercial carver, producing thousands ofhand-carved and painted duck decoys, dating from the 1890s. Probably best known was Charles Perdew (1875-1963) of Henry, Illinois, who was inventive and versatile, making ducks, geese, crows, doves, game calls, miniatures, and even a mechanized owl used to attract crows. Crow hunting was an off-season sport encouraged by farmers who considered these birds crop-eating pests. Charles Walker(1876-1954) of Princeton, produced over 1,000 decoys between 1925 and 1950; and G. Burt Graves(1887-1956) operated a two-person company in Peoria known as the Graves Decoy Company; the other participant was his brother's wife, who did most ofthe painting. Charles Schoenheider, Sr.(1854-1944), also of Peoria, had perhaps the keenest eye for the aesthetics of decoy carvingâ&#x20AC;&#x201D;illustrated by the flowing lines of his best-known decoy, a standing, fullbodied Canada goose with one metal leg. Only ten were made and the hunter who ordered them in 1919 refused to pay the $100 Schoenheider asked for the lot. They were stored in the attic ofthe family home until the 1960s when they were discovered(see The Clarion, Winter 1978). These five decoy carvers and hundreds of others 35

made decoys not for decorative purposes but for hunting. Although maintaining individual features, they copied freely from each other, producing a commonly perceived "Illinois River" style ofdecoy, characterized by a hollow well-rounded front, setback head, and rounded or V-shaped bottom.(This style was quite different from the larger, flatbottomed decoys produced for the more open waters of the Great Lakes and the eastern tidewaters.) Although Illinois had no equivalent of the Pennsylvania German itinerant woodcarver Wilhelm Schimmel, there were carvers who whittled the usual toys, birdhouses and decorations. Frank Richards of Rochester, Illinois, carved large figures

of Abraham Lincoln, General Grant, and George Washington which he placed on his lawn on the Fourth of July. Joe Sierp of Aurora carved teams of horses, oxen, and covered wagons for local display. Patriotism motivated many of these carvers, one of whom was a Swedish immigrant, Albert Halberg of Rutland. Trained as a blacksmith, Halberg carved in his spare time, transforming his keen interest in American history into symbolic figures. QUILTS AND COVERLETS Some traditional forms of folk art are not readily found in Illinois. In the textile field, only a few samplers of Illinois origin are known, again reflect-

ing the fact that most ofIllinois was not settled until the mid-nineteenth century,somewhat later than the era of sampler popularity. Similarly, there are few nineteenth century hooked rugs except those done from purchased patterns. The Prairie State isn't lacking, however, in the quilt department. Although no distinctive style emerged in Illinois, the number of patchwork and appliqued quilts produced there probably matched that of any other state. Relatively few coverlet weavers reached Illinois with their looms and Jacquard attachments—those that did came primarily from Ohio and Pennsylvania after 1845. Less than 30 persons have been identified as weavers in Illinois, compared to over

100 listed for neighboring Indiana. Commercially woven blankets and bed coverings made looms obsolete in the 1860s, but some fine examples of handloomed coverlets can still be found in museums and private collections. LIGHTNING ROD OR WEATHERVANE? Almost every farm had one or two factory-made copper or zinc weathervanes. Images of horses, cows, pigs, sheep, and other rural figures mounted on cast iron arrows over blue or white glass balls were supplied by lightning rod salesmen at the turn ofthe twentieth century. The vertical shaft was connected by copper wire to the ground, so that the weathervane could also serve as a lightning rod. Each building had a different figure—a cow for the cowbarn, a pig for the hogshed, even a car for early garages. The availability ofthese commercial vanes discouraged farmers from cutting, carving or forging their own homemade weathervanes. Good sources of clay in Illinois resulted in many potteries which produced crocks, jugs and other utilitarian items mainly for storage of food and liquids. Few individual touches were applied, however, except for the "after work" creations on decorated jugs and other whimsies which a few potters produced. Best known for their embellishments were the Kirkpatricks of Anna, Illinois. Wallace Kirkpatrick supported the crusade against the evils of alcoholic beverages—his jugs featured snakes and other grotesque figures warning drinkers of an unpleasant fate. Other categories of folk art are less plentiful in Illinois—such as handpainted furniture, trade signs, frakturs and chalkware. Much ofthe folk artfound in Illinois cannot be traced to specific artists or craftsmen and positive attribution to an Illinois source is usually impossible. Nevertheless as this exhibition illustrates, the Prairie State offers quite a legacy of folk art. FOR FURTHER READING Betty I. Madden, Art, Crafts, and Architecture in Early Illinois, Urbana: University of Illinois Press,1974. George Swank, Painter Krans — 0/ofKrans of Bishop Hill Colony. Galva, Ill: Galvaland Press, 1976. Paul W. Parmalee and Forrest D. Loomis; Decoys and Decoy Carvers ofIllinois. DeKalb; Northern Illinois University Press, 1969. Marianne E. Balazs, Sheldon Peck. New York: Reprinted from The Magazine ANTIQUES,August,1975. Ellen Paul Denker, "Forever Getting Up Something New": The Kirkpatricks at Anna,Illinois 1859-1896. Unpublished thesis(1978) at University of Delaware. Ann Arbor; University Microfilms International, 1980. John W. Heisey, A Checklist ofAmerican Coverlet Weavers Williamsburg: Colonial Williamsburg Foundation, 1978.

Corn with Empty Basket, Alfred Montgomery, circa 18931905. Oil on canvas. 18 X 24 inches. Collection ofDr. and Mrs. Floyd Barringer.

rooklyn Since 1863 the Long Island Historical Society has chronicled the visual, social and intellectual history ofBrooklyn. The Society was established by a group ofprominentfamilies who viewed Brooklynâ&#x20AC;&#x201D;then one ofAmerica's largest cities and cultural centersâ&#x20AC;&#x201D;as the natural locationfor a collection of historical materials pertaining to Long Island as a whole. A selection ofsixty paintings from the Society's collections will be on public view for the first time at the Brooklyn Museum from February 20 through May 31, 1982. Titled "Brooklyn Before the Bridge", the show includes severalfolk paintings, many ofwhich are presented here with an introduction by the Society's American Art Curator Elizabeth Mankin Kornhauser.

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For more than 350 years Brooklyn has served as the link between Long Island and Manhattan. A village of 3000 in 1810, Brooklyn grew rapidly during the 1800s to become America's third largest city with a population of one million by the end of the century. In spite of its rapid expansion, a vigorous village pride persisted in Brooklyn throughout the period, inspiring a spirit of localism and resistance to Manhattan's encroaching metropolism. While steam ferries linked the city to Manhattan, and mansions along Brooklyn Heights celebrated Brooklyn's new prosperity, older Dutch and English families formed the Long Island Historical Society in 1863 to preserve and chronicle the history of Brooklyn and Long Island as a whole. A letter of solicitation sent out b the founders in

Fulton Ferry Slip Brooklyn, Pierrepont Bartow, 1872. Brooklyn, N.Y. Oil on canvas. 31 X 4.9i inches. Presented by the Union Ferry

Comp

, 1890.

1863 clearly stated their objective to foster "the collection, preservation and constant augmentation of public collections of Books, Manuscripts, and other memorials illustrative of the history of the United States, the State of New York, and especially of Long Island." The collections quickly outgrew the original rented rooms and a prominent architect, George B. Post, was contracted to construct a new building for the Society. Post did justice to the optimism and strong sense of purpose felt by the members in a monumental structure that was completed in 1880. The building, located on 128 Pierrepont Street in Brooklyn Heights, has remained the Society's home to this day. By the end ofthe nineteenth century,the Long Island Historical Soc'ety boasted a formidable library, manuscri t

A glimpse into Brooklyn's bucolic past ELIZABETH MANKIN KORNHAUSER

Summer View of Brooklyn, Francis Guy, 1820. Brooklyn, N.Y. Oil on canvas. 424 X 664 inches. Gift ofBenjamin M. Stillwell, 1877.

collection and a museum displaying impressive collections ofAmerican paintings, prints, decorative arts and natural history. From the beginning, the Society's founders were convinced of the importance offorming a collection of American paintings. Henry It Stiles, the Society's first librarian, wrote to the Long Island artist, William Sidney Mount, expressing the society's intention of amassing paintings of"artistic value as well as historical interest" and especially "those specimens of the genius of our Long Island artists." A selection from these works, including sixty paintings which represent approximately one-fifth of the collection ofthe Long Island Historical Society, will open at the Brooklyn Museum in an exhibition entitled "Brooklyn Before The Bridge". In addition to introducing this extremely important and relatively unknown collection of American paintings, the exhibit also anticipates the Centennial anniversary of the opening of the Brooklyn Bridge in 1883. The Society's rich portrait holdings range from works by such well-known artists as Thomas

McIlworth, Ezra Ames, and John Wesley Jarvis to local portrait painters working in Brooklyn and Long Island, including works by Hubbard Latham Fordham, Ezra Bisbee and Jefferson Gauntt The paintings illustrated in The Clarion reflect the large proportion offolk paintings in the Society's collection; several are by previously unknown artists. One ofthe earliest scenes ofBrooklyn village in the Society's collection is Francis Guy's(17601820) Summer View ofBrooklyn painted in 1820 from the artist's studio window which looked out on Front Street near the intersection of Fulton Street. An Anglo-American artist, Guy executed topographical views of Philadelphia and Baltimore prior to settling in Brooklyn in 1817. Guy painted several versions of this scene in different seasons, often including figures and animals. As Brooklyn Village grew into a major suburb of New York, one of the liveliest areas for the artist to depict was the waterfront along the East River. A careful mapping of the buildings in New York Navy Yard, Brooklyn was executed by Miss A. M. Walker in 1839. Whatlittle is known about the artist

indicates that she had a long career as a marine and landscape painter, an unusual subject for a woman artist of this period. It is hoped more information on her will come to light. Steam ferry boats were an ever important link between Brooklyn and Manhattan. The Society's collection of ferry boat "portraits" by the twin brothers John and James Bard (1815-1856; 18151897) hung in the Director's offices of the Union Ferry Company until 1890. As was the case with a majority of the Bards' commissions, one company hired the artists to paint their entire fleet. The detailed nautical depiction of the William Cutting, the second boat put on the Brooklyn Ferry line in 1827, and the Brooklyn, built in 1836, celebrated the technological advances in steam power. These paintings were undoubtedly authorized by Henry E. Pierrepont, Director of Union Ferry and one of the founders of the Long Island Historical Society. They illustrate the artists' standard formula in which swiftly moving vessels in tranquil waters form a strong horizontal pattern.

A second team of marine artists, Joseph B. Smith (1798-1876) and his son William (1821-?) worked for the print firms ofEndicott& Co. and Currier and Ives, and also produced several marine paintings independently. The two ship portraits by the Smiths in this collection, also commissioned by the Union Ferry Company, depict the ferry boats Pacific and Peconic. In contrast to the work of John and James Bard, the Smiths convey a more accurate rendition of the scene the ferry made as it crossed the East River filled with passengers and carriages. A remarkably detailed depiction of the Brooklyn Heights mansions and churches form the background of the paintings, showing a concern for accuracy which perhaps reflects the artists' training as illustrators. The rapid growth of Brooklyn into a thriving urban area by 1850 provided a sharp contrast tothe rural, agricultural regions of Long Island. Commercial growth and civic pride are celebrated in Henry Boese's (1824-?) painting, The Stage Sewanhackey, executed in 1852. The proprietor of this

Sidewheeler Peconic,Joseph B. Smith, signed, 1863. Brooklyn, N.Y. Oil on canvas. 32 X 60 inches. Presented by the Union Fem.,Company, 1890.

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HACKtY

The Stage Sewanhackey, Henry Boese, signed, 1852. Probably Brooklyn, N.Y Oil on canvas. 36 X 654i inches. Gift of the Honorable George V. McLaughlin, 1946.

new stage line, Montgomery Queen, undoubtedly commissioned Boese to paint three of his stage coach lines during the 1850s. The Sewanhackey, drawn by eight teams of horses, stands in front ofthe newly completed City Hall(later Borough Hall)and is surrounded by an admiring crowd. A landscape and portrait painter, Boese did several paintings of new stage lines in Brooklyn, as well as several Hudson River landscapes. It is possible that he may have painted coaches as well, judging from his careful rendition of a Western scene on the side of the stage coach. Many artists were preoccupied with documenting the past, especially at a time when industrial progress was quickly changing the face of urban areas and small towns. From the mid-century on, Brooklyn's early Dutch farmhouses and the many sites commemorating Revolutionary War incidents became a focus for painters. In 1872, Pierrepont Bartow (1842-1913) painted Brooklyn's Fulton Ferry Slip, basing his rendition on two eighteenth century prints. He used the William Burgis print,"A South Prospect ofthe Flourishing City of New York in the Province of New York-,issued in 1717, and a later version ofthe Burgis view by Bakewell in 1746. Bartow was an amateur artist and a nephew of Henry E. Pierrepont. He must have been well aware of his uncle's interest in the history of the ferry lines

on the East River, for Pierrepont's History of the Fulton Ferry was published in 1879. Many were conscious that the Brooklyn Bridge, under construction at this time, would eventually eclipse the need for the Ferry companies. A descendant of Rutger Jooster Van Brunt who settled in New Utrecht, Long Island in 1657, James Ryder Van Brunt(1820-1916) was born on his family's farm in "Old Gowanus", Brooklyn. Van Brunt documented the early Dutch farmhouses, churches, and Revolutionary War sites that were so much a part of his heritage. At the time of his death, Van Brunt was the last surviving charter member of the North Reformed Dutch Church of Brooklyn. It is not surprising that the artist chose to document the many Dutch churches in Brooklyn. His watercolor of the First Reformed Dutch Church is based on a print source and depicts the Church, which was formed in 1660, as it looked after it was rebuilt in 1766. With the opening of the Brooklyn Bridge in 1883 many more changes would threaten the old way of life in Brooklyn. These images of Brooklyn's old waterfront and landscapes provide a fascinating glimpse of the region in earlier days, fulfilling the wishes of the Long Island Historical Society's founders a hundred years later.

Photographs courtesy of the Long Island Historical Society

FOR FURTHER READING: Henry E. Pierrepont. Historical Sketch ofthe Fulton Ferry Company. Brooklyn, New York, 1879. John A. Kouwenhoven. The Columbia Historical Portrait ofNew York. Garden City, N.J.: Doubleday, 1953.

First Reformed Dutch Church, James Ryder Van Brunt, signed "RVB Brooklyn, N.Y. Watercolor on paper. 8 X 10 inches. Gift ofEdward R. Greene, 1922.

Alan Trachtenberg. Brooklyn Bridge: Fact and Symbol, Chicago and London: The University of Chicago Press, 1979. Henry R. Stiles. A History of the City of Brooklyn. 3 vols., New York, 1869.

COLLECTOR'S NOTES

THE SURPRISING IDENTITY OF J. A. DAVIS Sybil B. & Arthur B. Kern

Recent research sheds light on the life ofprominent nineteenth century watercolor portraitist Small watercolor portraits by J. A. Davis have long been recognized as outstanding examples of nineteenth century Americanfolkpainting. Though three ofthe painter's unsigned portraits werefirst described in 1923 by Frederick Fairchild Sherman, it was not until 1973 thatJ. A. Davis was identified as the artist.' Thefollowing year, a show at the Chicago ArtInstitute, "Three New England Watercolor Painters" included 51 J. A. Davis portraits done between 1838 and 1854. Since then atleast25 more have been discovered. Most ofJ. A. Davis' work can befound in the Abby Aldrich Rockefeller Folk Art Center, the Shelburne Museum, Old Sturbridge Village, the Boston Museum ofFine Arts, the New York Historical Association, and in numerous private collections.2 The artist's specific identity, however, has remained an enigma to students ofAmerican folk art until now. Three recently published works—Artists in Aprons, Anonymous Was a Woman, and Remember the Ladies—have shed new light on the important role played by women in American folk art. Our research now makes it possible to add another name, that of J. A. Davis, to the growing list of nineteenth century American women artists. As enthusiastic collectors, we have spent innumerable hours and travelled countless miles in search ofdistinctive works ofAmerican naive art. On one of these missions, in 1976, we found and purchased a charming miniature of a young woman. The lower part of the painting was covered by a mat which, when removed, revealed the narrow waist, negative space between arms and body, touches of blue around the eyes, and naively drawn face and hair characteristic ofthe work ofJ. A.Davis. To date this is the only known painting on ivory by the artist. Nine months later, in southern Rhode Island, while looking through a dealer's folder of unframed etchings and watercolors, we spotted an unfinished and unsigned, yet unmistakeable J. A. Davis pencil and watercolor portrait of a young girl. Attached to its back was another sheet with a similar but more complete full-length figure. These exciting discoveries along with the knowledge that most J. A. Davis

portraits came from Rhode Island or nearby Connecticut, provided the impetus for our genealogical study of J. A. Davis and all named J. A. Davis subjects. Our first clue to J. A.Davis' identity was found in "Benn's Index of Rhode Island Graves," where, surprisingly, not a death notice but the following excerpt reprinted from the "Manufacturers and Farmers Journal" was found: "Feb. 4, 1841. In Warwick, Monday last by Rev. Job Manchester, Mr. Edward N. Davis of Norwich, Conn. married Miss Jane Anthony, daughter of Giles Anthony, Esq. of Warwick." This discovery posed the intriguing possibility that not a "he", as had previously been assumed, but a "she"—Jane Anthony Davis—was the artist we were seeking. Since women were not even listed by name in the census until 1850, this fact would explain the paucity of information concerning the limner. To learn more about Jane Anthony's life, we began tracing the Anthony and Davis lines. The Greenes ofRhode Islan4 a genealogical history, revealed that Jane, the first child of Giles and Sara Robinson Greene Anthony, was born September 2, 1821 in Warwick, Rhode Island. The "Index for Deaths, Providence, 1851-1870" listed "Davis, Jane A.-33 Years April 28, 1855" and gave her residence as High Street, Providence, and the cause of death, "consumption". It became apparent that Jane Anthony Davis had lived during J. A. Davis' active period, 1838-1854. Furthermore, she was a resident ofRhode Island and Norwich,Connecticut, areas where most J. A. Davis paintings have been found. Faced with the realization that we had seemingly exhausted published facts, we used what we had to locate living descendants of the immediate family. The granddaughter of Jane's younger sister showed us two letters addressed to Jane Anthony at The Warren Ladies' Seminary in Warren, Rhode Island: the first, written by Jane's mother shortly after the term had commenced, was dated May 24, 1838 and the second, from her grandmother, June 6, 1838. Jane Anthony Davis now materialized as a real person.

Sybil B. and Arthur B. Kern live in New England and have studied and collected American folk artfor over ten years. The Clarion welcomes contributionsfrom its readersfor COLLECTORS NOTES Please address suggestions to the editor.

It is significant to note that the earliest J. A.Davis portrait was painted in 1838, the year that 17—year— old Jane, probably away from home for the first time, attended The Warren Ladies' Seminary. This raises the tantalizing possibility that she began her serious painting in the stimulating atmosphere ofthe school' and that subjects for these works could have been classmates or faculty, male students from nearby Warren Academy, or neighbors. In fact, of four portraits painted by J. A. Davis at the time, two—George Sisson and Margaret Sharkey4—were residents of Warren and Samuel M. Demeritt may possibly have been a penmanship instructor at the Ladies Seminary or a teacher at The Young Men's Academy in Warren'. The fourth subject, Stephen Nelson Tingley, son of Benjamin and Polly Guild Tingley, was born in Cumberland, Rhode Island in 1816. Like many others, his relationship to Jane, as well as to several sitters, was through family,friends and church. As already noted, on February 1, 1840, Jane Anthony was married in Warwick, Rhode Island to Edward Nelson Davis ofNorwich, Connecticut,the son of Hannah Stafford Davis ofProvidence and the late John Davis. After the death of her husband in 1829, Hannah apparently left Warwick, where she had been a neighbor of the Anthony's, and with her two sons, Edward and Benjamin, moved to Providence. Both sons are listed with their mother in the 1838/1839 city directory, but neither in 1841; judging from the wedding announcement, Edward had moved to Norwich, Connecticut. Jane was married to Edward by his uncle, Rev. Job Manchester, pastor of the Old Baptist Church of the Warwick circuit which also included Cumberland, Rhode Island and Plainfield, Connecticut. This is of particular importance because the families of most sitters and of the artist were associated with Baptist or closely related Methodist Episcopal churches within the circuit. The inscription "Painted by J. A. Davis Sept 18th, 1840" is on the front of the double portrait of Mary and Jacob Withington. He is listed in Manchester, New Hampshire in the 1840 census, but with close relatives in Rhode Island and nearby Massachusetts, they had reasons for being there at the time the portrait was painted.' Apparently the newlyweds lived in Norwich, Connecticut, where the groom had resided,for this is where their daughter was born. It is of interest because most J. A. Davis sitters from 1842 to 1844 were from the vicinity of Norwich, Voluntown and Plainfield, an area with a radius of no more than 15 miles. At Old Sturbridge Village there are three small watercolors of members of the Barber family. Two are inscribed on the front "Mrs. Thankful Barber aged 49" and "John G. Barber—taken August 7, 1844." Although the third bears no inscription, the museum records the sitter as the daughter of Thankful, but had no information about the family. While

Girl Holding Flowers, circa 1855. Rhode Island Watercolor and pencil on paper. 12 X 9 inches. This and the other unfinished portraitfound by the authors may have been sketches ofJane Anthony Davis' daughter, Harriet, who was 13 years old in 1855. Authors' collection. Photo: Stanley Summer.

trying to identify Thankful Barber we found the following entry in "Records of Deaths Westerly, R. I.": "Sabra Ann Barber, died Oct. 9, 1889 aged 65 ofdysentry. She was born in Norwich,Conn.,the daughter of Jabez and Thankful Barber." Vital statistics in Voluntown, Connecticut lists the marriage of Thankful Lewis and Jabez Barber in 1814. Their son, John G., was born in West Greenwich, Rhode Island in 1832, his portrait was painted in 1844, and he died at the age of 19 in Cranston, Rhode Island. This family demonstrates the frequent movement between Connecticut and Rhode Island that was typical of Jane Anthony Davis and the sitters. Two other Connecticut portraits, believed done in 1844, were those of Mary Eccleston Hoxsie and George Bishop. "Eben Davis, he and wife" is written on the primary support of a double portrait in the Abby Aldrich Rockefeller Folk Art Center. Another inscription,"Mr. and Mrs. Eben Davis of Byfield/ Mass. painted by Mr. Davis before/their marriage about-1860" is on the wood backing. For many years this inscription was responsible for misattributing watercolors, now known to be by J. A. Davis, to the sitter, E. P. Davis. This is a perfect 45

TOP LEFT

Woman Wearing Black Necklace, circa 1845. Probably Rhode Island. Watercolor on ivory. 2 x 2 inches. To date this is the only known J. A. Davis painting on ivory. Authors' collection. TOP RIGHT

Mary Eccleston Hoxsie,c. 1844. Norwich, Ct. Watercolor and pencilon paper. 6;4X 444 inches. Born in Jewett City, Conn. in 1820, the daughter of Samuel and Margaret Eccleston, she died in Westerly, R.I. in 1902. The portrait was probably painted in Norwich on September 16, 1844 at the time ofher marriage to William C. Hoxsie. Shelburne Museum. BOTTOM LEFT

James H.Bixby,/845. Webster, Ma. Watercolor and pencil on paper. Signed and dated "By J.A. Davis/Nov. 10, 1845.".9;,4 X 74â&#x201A;Ź1 inches. Private collection. BOTTOM RIGHT

Lydia Goddard Bixby, 1845. Webster, Ma. Watercolor and pencil on paper. Signed and dated "By IA. Davis/Nov. 10, 1845."9 x Pi inches. Private collection.

example of a non-contemporary notation giving inaccurate or false information. Eben Pearson Davis was born in 1818 in Newbury,Mass. and grew up in neighboring Byfield. On Sept. 18, 1844, two days after the Hoxsie wedding, he and Rhoda Ann Thatcher were married in Central Village, Plainfield, Connecticut. Since 1973 when the name J. A. Davis emerged,folk art historians have attempted to establish the relationship between the two Davises. It is more likely, however, that the connection was between Eben's wife and J. A. Davis. Rhoda Ann, daughter of Rev. Hezekiah and Hannah Teel Thatcher, was born in Canterbury, Connecticut in 1819. Two years later her father was pastor of the Methodist Episcopal Church in East Greenwich, Rhode Island when Jane Anthony was born in the adjoining town. From 1834 to 1838 Rev. Thatcher was pastor of the Methodist Church in Byfield, where his daughter undoubtedly met her future husband, since by 1840 the Thatchers were back in Plainfield. Another 1844 painting is a triple portrait ofHiram Browning, his wife Prudence Barnes, and their infant daughter Ruth Ann of Preston, Connecticut, originally part of Norwich. Hiram was born in 1816 in Exeter, Rhode Island and was married in 1840 in Preston. A J. A. Davis painting of his wife's sister bears the inscription "Lucy Barnes Oct. 9, 1844." In 1844 the Davises returned to Rhode Island where they took up residence on High Street in Providence. The portrait ofEunice Boss was probably painted in 1845 when the Bosses and Davises were neighbors in Providence.

An inscription "By J. A. Davis/Nov 10, 1845" appears on the back of two portraits of Lydia Goddard and James H. Bixby who were married in Webster, Massachusetts. James' mother, Naomi Howland of Burriville, Rhode Island was a relative and contemporary of Jane's parents. Another gap in J. A. Davis' output of portraits occurs between the 1845 paintings ofthe Bixbys and Eunice Boss and those ofthe Arnolds in 1848. This hiatus, like the previous one of 1841, may be explained by the birth ofa child, this time Jane's son John Edward Davis, born April 26, 1847 in Providence. In January, 1848 five portraits of members of the Arnold family were painted by J. A. Davis. One, James Arnold, born in Warwick in 1791, was a contemporary and neighbor of Giles Anthony, Jane's father. His son, Edward Green Arnold, married Almaria Corbin of Woodstock, Connecticut in 1835. The two other subjects were their children, Ellen A. and Emma L. Arnold, born in Woodstock in 1837 and 1843 respectively. There are no dated paintings attributed to J. A. Davis after those of the Arnolds in 1848 until August 1854, when the portrait of Louella P. Hodges, then two and a half years of age, was done. Louella, daughter of Valorous Brownell and Hannah Grover Hodges, was born in Mansfield, Massachusetts, a town near the Rhode Island border, but her paternal grandmother, Betsy Brownell Hodges, was born in Rhode Island in 1796 and was a contemo_rary of Jane's parents. At this point there is no explanation for the hiatus in J. A. Davis' artistic activity between 1848 and 1854, nor do we know where the numerous unnamed and undated pictures fit in chronologically. Jane Anthony Davis died at the age of33 on April 28, 1855. The last dated portrait attributed to J. A. Davis was that of Louella P. Hodges, painted in August 1854. Comparing the life of Jane Anthony Davis to genealogical data about all known J. A. Davis sitters, we feel it reasonable to conclude that Jane Anthony Davis and J. A. Davis were one and the same. Study of a map of the bordering sections of Rhode Island, Massachusetts and Connecticut, the region in which Jane Anthony Davis and J. A. Davis' subjects lived, demonstrates that only a small area was involved, with no more than 50 miles between the two most distant points. Not only was the spatial relationship right, but so too were the time relationships, with Jane Anthony Davis living at the right time and in the right place, to have been able to do the paintings. Why did Jane paint these portraits? Purely for her own pleasure and that of her sitters who were all relatives, neighbors and friends. Applicable to her are the comments of Jean Lipman and Alice Winchester in regard to two other limners, "Eunice Pinney and Ruth Henshaw Bascom were both housewives of uncommon artistic abilities. In keeping with the traditional female role of their day, neither pursued painting as a career or took money for their work." To these names can now be added the name of Jane Anthony Davis.

ri)

Caroline Frances Phillips,/842. Coventry, RI. Watercolor and pencil on paper. 53 / 4 X 55i inches. Private collection. Photo: Courtesy ofthe Art Institute of Chicago.

Thankful Barber, circa 1844. Voluntown or Stonington, Ct. Watercolor and pencil on paper. 10 X 84 inches. The Barbers were one ofmanyfamilies painted by J. A. Davis who moved frequently between Rhode Island and Connecticut during this time. Collection of Old Sturbridge Village. Photo:courtesy ofTheArtInstitute of Chicago.

NOTES 1. The three unsigned portraits were first attributed to Alexander Emmons by Frederick Fairchild Sherman. Later, they were thought to be the work ofJoseph H.Davis, and then for many years, that of Eben Davis. In 1973, Gail and Norbert Savage found the name J. A.Davis on four paintings: two portraits ofStephen Tingley,one ofSamuel M.Demeritt, and a double portrait of Mr. and Mrs. Jacob Withington. In the "Three New England Watercolor Painters" exhibition catalog, the Savages alluded to a Joshua Davis, listed as a portrait painter in the Providence City Directory of 1852-53, and to a Joshua A. Davis in the 1854-55 and 1856 directories. They pointed out that nothing more was known than the directory listings. Our research led to a Joshua A. Davis listed in the 1850 Rhode Island census as a 53—year—old teacher of penmanship, living with his family in East Greenwich. He does not appear in the 1840 census and since a Joshua Davis is listed in Providence only for the years 18521856, it is possible that he was an itinerant who spent but six years in Rhode Island. In any event, since his name only appeared just shortly before and two years after the date of the last known J. A. Davis portrait, there is no reason to believe that Joshua A. Davis was the artist who did the numerous watercolors between 1838 and 1854. 2. The largest group of J. A. Davis' work was owned by Colonel Edgar and Bernice Chrysler Garbisch until recently dispersed at auction. 3. That the opportunity to paint was present is indicated by the catalog of the Warren Ladies' Seminary for the year ending December 1838, which, under tuition fees, includes drawing and painting at an extra charge of three dollars. This is the only catalog in which Jane Anthony's name appears. 4. According to Vital Statistics at the Warren town hall, Margaret Sharkey was born in Ireland, the daughter ofJames and Catherine Sharkey and died in Warren, at the age of80, on November 26, 1901. This agrees with information obtained from a great-granddaughter of the subject. In 1838, when Jane was at The Warren Ladies Seminary, Margaret Sharkey would have been 17 years old.

George R. Bishop, circa 1844. Ashford, Ct. Watercolor and pencil on paper. 8 X 64 inches. Inscribed on thefront is "George R Bishop June 1st 1818", a date undoubtedly referring to his birthday. Private collection. Photo: Stanley Summer.

Eunice A. Boss, circa 1845. Providence, Watercolorandpencilon paper. 44 X 344 inches. The Davises and Bosses were neighbors on High St, Providence, the year the painting was done. Private collection.

5. On the back is the inscription "Samuel M. Demeritt Aet 27 yrs. 2 mo 17 d. By J.A. Davis/July 23&24 1838." According to New Hampshire Vital Statistics, Samuel, a teacher, was born in Barrington on May 7, 1811 and died in Dover at the age of 79. If Jane painted the portrait July 23/24, 1838, it was not done in New Hampshire but rather in Warren since she was in school from May 9 to August 21, 1838. Interesting note: Allison Wrifford of New Hampshire was a well known teacher and author of books on penmanship. One of his assistants was Samuel Randall of Warren who could have been responsible for Demeritt's coming to this Rhode Island town. 6. Jacob's brother and family lived in Attleborough, Massachusetts, a town bordering Cumberland and Pawtucket, Rhode Island. Here Lydia Claflin Withington, the wife of Jacob's nephew, died October 1840. The Withingtons could possibly have been visiting their dying niece and other Rhode Island relatives in September 1840. Jacob Withington was a shoemaker, as were Eben Davis, Elijah G. Chase—shown at his trade in a J. A.Davis portrait, George R. Bishop and Benjamin Davis, Jane's brother-inlaw. FOR FURTHER READING Bank, M.; Anonymous Was a Woman; St. Martin's Press, NY 1979.

James Arnold, 1848. Woodstock, Ct Watercolor and pencil on paper. M X 6 inches. One ofjive portraits ofthe Arnold family done by J. A. Davis and a distant relative and neighbor of Jane Anthony Davis. Private collection.

Almariah Arnold, 1848. Woodstock Ct. Watercolor and pencil on paper. This is one off A. Davis' last portraits. Private collection.

DePauw,L. C.and Hunt, C.;Remember the Ladies: Women in America, 1750-1815; The Viking Press, NY 1976. Dewhurst, C. K., MacDowell, B. and MacDowell, M.; Artists in Aprons: Folk Art By American Women; E. P. Dutton, NY 1979. 47

EXHIBITION CHECKLIST

1981.12.13 Weathervane; Sea serpent Maker unknown Massachusetts Circa 1850 Painted wood, iron 161 / 2 X 23% X 1"

MUSEUM OF AMERICAN FOLK ART PURCHASE FROM LIPMAN COLLECTION Prepared by Cordelia Rose, Registrar Dimensions are in inches and are listed in order of height, width and length or depth. 1981.12.1 Queen Anne secretary bookcase Maker unknown New England 1720-50 Carved, painted and decorated pine / 4" 673 / 4 X 37 X 163 (Eva and Morris Feld Folk Art Acquisition Fund)

1981.12.2 Secretary bookcase Maker unknown New England Mid 19th century Painted and grained pine 701 / 2 X 281 / 2 X 163 / 4"

1981.12.3 Chest of drawers Attributed to Jacob Mazur (active 1830s) Mahantango Valley, PA. Dated 1830 Painted and decorated pine, brass 471 / 2 X 43% X 22" 48

1981.12.4 Dower chest with mermaid decoration Maker unknown Pennsylvania Dated 1790 Painted and decorated pine, iron 1 2 X 233 / 4" 243 / 4 X 50/ 1981.12.5 Man in a top hat with a cane Maker unknown Probably New York State Circa 1870 Carved and painted wood figure, painted and smoke decorated wood base / 2 X 71 / 2" 231 / 2 X 71 (Joseph Martinson Memorial Fund, Frances and Paul Martinson) 1981.12.6 Sideboard table Maker unknown Found in Connecticut Circa 1835 Painted and grained wood, brass 341 / 2 X 26 X 20" (Eva and Morris Feld Folk Art Acquisition Fund) 1981.12.7 Masonic memorial picture for the Rev. Mr. Ambrose Todd Eunice Pinney (1770-1849) Windsor or Simsbury, CT. 1809 Watercolor on laid paper, pen and ink inscription Sight: 133 / 4 X 11N"

1981.12.8 Mourning picture for Mrs. Ebenezer Collins Artist unknown South Hadley, MA. Dated July 15, 1807 Watercolor, bodycolor, silk and metal threads on silk, velvet Sight, circular 16N" diam. (Eva and Morris Feld Folk Art Acquisition Fund)

1981.12.9 Trade and Inn sign; E. Fitts, Jr. Store and Coffee House Artist unknown Vicinity of Shelburne, MA. Dated 1832 Polychromed wood, wrought iron Image, oval: 22% X 341 / 2" Overall: 46N X 46%" (Gift of Margery and Harry Kahn) 1981.12.10 Wool winder Maker unknown Connecticut Circa 1875 Carved,turned and polychromed wood 391 / 4 X 16 X 261 / 4" (Eva and Morris Feld Folk Art Acquisition Fund)

1981.12.14 Portrait of a Gentleman seated between two tables J. A. Davis(1821-1855) New England Circa 1840 Watercolor, bodycolor, and pencil on wove paper 7N X 7N" (Eva and Morris Feld Folk Art Acquisition Fund) 1981.12.15 Heart and Hand valentine Maker unknown Probably Connecticut Circa 1850 Pen and ink inscription on cut paper, mounted on tissue on card 141 / 4 X 12" 1981.12.16 Oswego Starch Factory Artist unknown Oswego, New York Mid 19th century Watercolor, pen and ink on wove paper / 4" 361 / 4 X 531

1981.12.11 Hanging candle box, and candles Maker unknown Connecticut River Valley Circa 1800 Carved and painted pine, tallow 24% X 123 / 4 X 5%"

1981.12.12 Fireboard Maker unknown Connecticut Circa 1840 Carved and polychromed pine 431 / 4 X 471 / 4 X 7"

1981.12.17 Trinket box Maker unknown New England Circa 1825 Watercolor, pencil, pen and ink on paper panels under glass, wood, brass 41 / 2 X 8 X 51 / 4"

1981.12.21 Trinket box with eagle decoration Maker unknown New England 1820-40 Painted and decorated wood, with grained interior 63 / 4 X 143 / 4 X 8W' (Eva and Morris Feld Folk Art Acquisition Fund)

1981.12.26 Residence ofLemuelCooperatPlain, Wisconsin Paul A. Seifert(1840-1921) Plain, WI. Dated 1879 Watercolor, oil, and tempera over pencil on wove paper Sight: 213 / 4 X 271 / 2"

1981.12.22 Tall-case clock Maker unknown Probably New Jersey Circa 1840 Painted and decorated pine case, with iron works 87 X 211 / 2 X 123 / 4" (Eva and Morris Feld Folk Art Acquisition Fund)

1981.12.29 Miniature; mourning pin Artist unknown Region unknown Late 18th century Watercolor on ivory, rose gold frame 1Âź>< 1" (Joseph Martinson Memorial Fund, Frances and Paul Martinson)

1981.12.18 Mirror with carved hearts frame Maker unknown Probably New England Mid 18th century Carved and painted, pine mirror glass 20 X 93 / 4 X 11 / 4"

1981.12.23 Tablecloth Maker unknown Connecticut Circa 1825 Stenciled cotton 40/ 1 4 X 491 / 4"

1981.12.19 One of a pair of bird trees Maker unknown Probably Pennsylvania Circa 1875 Carved and polychromed wood, wire 153 / 4 X 63 / 4"diam.

1981.12.27 Miniature; mourning locket Initialed "AA." Artist unknown Region unknown Late 18th century Watercolor and hair on ivory, rose gold frame Sight, oval: 2/ 1 4 X 13 / 4"

1981.12.24 Portrait of Eliza Gordon (Mrs. Zophar Willard Brooks) Ruth W. Shute (1803-?) and Samuel A. Shute (1803-36) Probably Massachusetts December 1832 â&#x20AC;&#x201D; March 1833 Watercolor and bodycolor over pencil on wove paper, gilt paper / 2" 25 X 191

1981.12.28 Miniature; mourning locket Initialed "MR" Artist unknown Region unknown Late 18th century Watercolor and hair on ivory, rose gold frame / 2 X 13 Oval: 21 / 4"

Photo credit: Helga Photo Studios

1981.12.20 One of a pair of bird trees Maker unknown Probably Pennsylvania Circa 1875 Carved and polychromed wood, wire / 4"diam. 163 / 4 X 63

1981.12.30 Miniature; Political pin Artist unknown Region unknown 19th century Watercolor on ivory, pen and ink inscription, brass frame 5/8 X 3/4" (Eva and Morris Feld Folk Art Acquisition Fund)

1981.12.25 Tall chest of drawers in the Chippendale style Maker unknown Probably New Hampshire 1775-1800 Painted and grained pine and maple 46 X 37 X 173 / 4"

1981.12.31 Miniature; friendship pin Inscription "Friendship the Fountain of Love" Artist unknown Region unknown 19th century Watercolor on ivory, brush inscription 7/8 X 11 / 4" (Joseph Martinson Memorial Fund, Frances and Paul Martinson) 1981.12.32 Miniature; mourning fob to a cow Artist unknown Region unknown 19th century Watercolor on ivory, hair, silver Sight: 1 X 11 / 4" Overall: 101 / 2 X 13 / 4 X 3/8" 1981.12.33 Pitcher Maker unknown Cape Cod, MA. Circa 1875 Sponge decorated stoneware 83 / 4 X 81 / 4 X 57/8"

EXHIBITION CHECKLIST

WOVEN FOR WORK: American Baskets Prepared by Judith A. Jedlicka, Guest Curator Dimensions are in inches and are listed in order ofheight, width(or diameter), and length. Unless otherwise noted all baskets arefrom private collections and basketmakers are unknown. FISHING AND HUNTING 1. CREEL BASKET Found in New Jersey Circa 1920 Willow, leather 7 X 6 X 14" 2. BACKPACK Mfg. by Clint Ishman Baxter, Pa. Circa 1940 Oak, canvas 2 X 11 X 15" / 191 3. TWO-BUSHEL CLAM BASKET South Shore, LI., N.Y. Circa 1900 Oak, wood 2 X 20 X 30" / 131 4. SHELLFISH GATHERING BASKET Found on LI., N.Y. Circa 1920 Wire, wood 12 X 15" diam. 5. PICNIC BASKET Found on LI., N.Y. Circa 1910 Wicker, cord, bone 2 X 9 X 13" / 81 6. EEL TRAP or EEL POT Found in Remsenberg, N.Y. Circa 1900 Oak 14 X 9 X 20" 7. EEL TRAP or EEL POT Chesapeake Bay, MD. Circa 1910 Oak 18 X 7% X 21" FARM AND FIELD

23. FEATHER-GATHERING BASKET New Hampshire Circa 1890 Oak 2"diam. / 18 X 131

12. FIELD BASKET South Circa 1880 Oak 18 X 24 X 30"

24.POTATO BASKET Long Island, N.Y. Embossed on handle: "Sheldon Basket" with Indian Head Circa 1940 15 X 14" diam.

13. BUSHEL BASKET Northwest Circa 1930 Stamped "Lon Jewitt" Oak 12 X 18" diam. 14. GATHERING BASKET New Jersey Circa 1930 Ash 2 X 18" diam. / 111 15. FEEDING BASKET Connecticut Circa 1890 Oak 13 X 12" diam. 16. GATHERING BASKET Probably New Jersey Circa 1900 Hickory 10 X 21" diam.

25. EGG BASKET Pennsylvania German Circa 1900 Rye straw, wood 9 X 9" diam. 26. EGG or ORIOLE BASKET Kentucky Circa 1910 Oak 14 X 6" diam. 27. SWING-HANDLE FIELD BASKET Found on LI., N.Y. Circa 1910 Hickory, metal bolts 2 X 14" diam. / 111

17. GATHERING BASKET Northeast U.S. Circa 1800 16 X 15 X 28" 18. EGG or KEY BASKET South Circa 1920 Oak 4" / 8% X 4 X 101

33. COILED ROPE BASKET Kentucky Circa 1900 Rope straw 2"diam. / 2 X 121 / 51 34. DOWN STORAGE BASKET Probably New York State Circa 1920 Willow 17 X 15 X 23" 35. SEWING BASKET ON STAND Northeast Circa 1920 Ash 27 X 16" diam. 36. SEWING BASKET Northeast Probably Algonquin Circa 1910 Ash 2"diam. / 5 X 121

38. SEWING BASKET Northeast Circa 1920 Sweetgrass, ash 2 X 11" diam. / 51

19. WALL BASKET New Hampshire Circa 1920 Ash 2 X 6 X 12" / 71

28. SWING-HANDLE BASKET Probably Shaker Found in Connecticut Circa 1890 Oak 17" X 15" diam.

9. TOBACCO DRYING BASKET Probably South Stamped "Henderson Co." Circa 1950 Oak 6 X 36 X 36"

20. BIRD-CARRYING BASKET Northeast Circa 1920 Ash 8 X 10 X 19"

29. DRYING BASKET Probably New Hampshire Circa 1900 Probably oak 3 X 8 X 13"

21. FEATHER-GATHERING BASKET Probably Shaker Circa 1890 Ash 11 X 12" diam.

30. MELON BASKET South Circa 1930 Oak 13 X 12" diam.

22. BIRD-CARRYING BASKET South Circa 1900 Twigs, wood 2" / 2 X 8 X 121 / 51

HOUSEHOLD 32. STORAGE BASKET Northeast Circa 1920 Ash, handcolored 6% X 9 X 10"

37. YARN BASKET Shaker Circa 1890 Probably hickory 4 X 12" diam.

8. WINNOWING BASKET Found in Connecticut Circa 1910 Oak 13 X 30 X 28"

10. FIELD BASKET Hopewell, N.J. Circa 1920 Oak 17" X 27" diam.

11. HALF-BUSHEL BASKET New Jersey Initialled "D.W." Circa 1930 Oak, metal 2"diam. / 2 X 141 / 111

31. APPLE-GATHERING BASKET Northeast Circa 1890 Oak 8 X 17 X 23"

39. SEWING BASKET Northeast Circa 1880 14% X 9 X 13" 40. STORAGE CONTAINER Northeast Circa 1880 Ash 2"diam. / 2 X 81 / 91 41. DOWN BASKET Found on L.I., N.Y. Circa 1930 Hickory 30 X 18" diam. 42. WALL HANGER FOR PLANT Afro-American Mt. Pleasant, S.C. Circa 1970 Sweetgrass, rush, palmetto 10 X 7" diam.

43. FLOWER BASKET South Circa 1930 Oak, orange and purple dye 13 X 19" diam.

57. PIN CUSHION HOLDER Found in New York State Circa 1920 Sweetgrass, silk 1/2" X I" diam.

44. TRAY South Circa 1930 Oak, some splints dyed 11 / 4 X lox 16"

58. THIMBLE HOLDER Eva Point, Mohawk Indian St. Regis Reservation, N.Y. 1975 Sweetgrass, ash 11 / 4 X 1Si"

45. MINIATURE RYE STRAW BASKET Pennsylvania Circa 1920 Rye straw, hickory 2 X 5" diam. 46. DRYING BASKET New Hampshire Circa 1910 6 X 29 X 27" 47. PINE NEEDLE TRAY East Coast Circa 1920 Pine needle, raffia, cord 1 X 6 X 8" 48. SHAKER BASKET Circa 1880 Poplar 13 / 4 X 31 / 4"diam. 49. SHAKER BASKET Circa 1880 Poplar, satin ribbon 34" 21 / 2 X 33 / 4 X 3/ 50. SHAKER BASKET Circa 1880 Poplar, handcolored 21 / 2 X 6 X 6"

RELIGION 59. COLLECTION BASKET Northeast Circa 1930 Willow, cotton 31 / 2 X 12" diam. INDUSTRIES 60. BEE SKEP or HIVE Pennsylvania Circa 1800 Rye straw 16 X 13" diam. 61. DRYING BASKET Northeast Circa 1890 16 X 251 / 2"diam. 62. LOOM BASKET Kentucky Circa 1920 Oak 6 X 8 X 171 / 2" 63. CRANBERRY BASKET Rhode Island Circa 1920 16 X 11" diam.

51. MINIATURE SEWING BASKET Shaker Circa 1880 5 X 23 / 4 X Ili"

64. BERRY BASKET Northeast Circa 1920 Oak 51 / 2 X 31 / 2"diam.

52. PIN CUSHION HOLDER Shaker Circa 1880 11 / 4 X 23 / 4" diam.

65. CHEESE BASKET Northeast Circa 1900 Hickory, cheesecloth 7 X 19" diam.

53. FLOWER BASKET Adirondack, N.Y. Circa 1930 Twigs, nails 24 X 8 X 8" 54. STORAGE BASKET Northeast Circa 1830 Probably ash, handcolored 91 / 2 X 15" diam. 55. DECORATED FRUIT BASKET Northeast Circa 1940 Ash, stamped decoration 5 X 8" diam. 56. MINIATURE MELON BASKET Mary Porter Tennessee Circa 1970 Oak 31 / 2 X 3" diam.

LEISURE 66. LUNCH BASKET Northeast Circa 1910 Unidentified machine-made splints, nails, metal 7 X 7 X 10" 67. PICNIC BASKET Northeast Circa 1860 Ash, metal brads 16 X 9 X 16" 68. PICNIC BASKET South Circa 1900 Oak 13 X 11 X 181 / 2" 69. PICNIC BASKET Probably Winnebago Indian Great Lakes, WI. Circa 1940 Ash 14 X 9 X 14"

70. EASTER BASKET Northeast Circa 1920 Ash 9 X 7" diam. 71. YARN HOLDER Northeast Circa 1920 Ash, sweetgrass 71 / 2 X 7" diam. 72. RICE STRAW BASKET Imported from China Handpainted by Pennsylvania Germans Circa 1920 Rice straw, textile, paint 5 X 51 / 2 X 9" 73. HANDKERCHIEF HOLDER Northeast Circa 1910 Ash, sweetgrass 81 / 2" square 74. STRAWBERRY or GIFT BASKET Northeast Circa 1930 Ash 41 / 2 X 33 / 4"diam. 75.CANDY HOLDER Northeast Circa 1920 Ash 2 X 7" diam. 76. ACORN BASKET Northeast Circa 1920 Sweetgrass, ash 5 X 5" diam.

PASTIME 77.DOWEL BASKET Found in Connecticut Circa 1940 Pine dowels, wire 11 X 19 X 13" 78. BENTWOOD BASKET Found in Hopewell, N.J. Circa 1920 Wood 10 X 12" diam. 79. CROCHETED LACE BASKET Found on L.I., N.Y. Circa 1930 Cotton thread 8 X 4" diam. 80. NANTUCKET LIGHTSHIP BASKET Nantucket, MA Circa 1870 Plank, rattan, wood 9 X 71 / 2 X 11" 81. BOTTLE CAP BASKET South 20th Century Bottle caps, wire 111 / 4 X 111 / 2"diam. (Museum of American Folk Art. Gift of Charles and Peggy Gignilliat 1978.13.1) 82. GATHERING BASKET Karl Amor New York State 1981 Willow, grapevine, roots 7 X 14 X 20" 83. ONE IN ONE Alice Wansor Huntington, L.I., N.Y. 1981 Honeysuckle with blue dye 4" X 9" diam.

Bookshelf CRIB QUILTS AND OTHER SMALL WONDERS BY THOMAS K. WOODARD AND BLANCHE GREENSTEIN 136 pages, color and black and white illustrations. E.P. Dutton, New York, 1981. $15.75. Full-size quilts are collected for their graphic and pictorial design qualities and often hung as one would hang a painting. Quilts are, in fact, textile paintings. Crib Quilts and Other Small Wonders concerns itself primarily with smaller quilts used primarily for and by children—crib quilts, doll quilts, and other related small textiles such as table covers. The introduction begins with a history ofquilts in general, going on to explain how smaller quilts were designed, and how they reflected contemporary attitudes toward children. The exquisite color reproductions, which make up the major portion of this book, will persuade anyone that these small quilts were indeed major artistic accomplishments. For those with perhaps more ingenuity than collecting funds, the last section of the book contains complete instructions and patterns for making your own crib quilts. The authors, Thomas Woodard and Blanche Greenstein, are well-respected dealers whose special interest in American quilts has resulted in a number of museum exhibitions as well as collector enthusiasm for quilts of all sizes. Crib Quilts is a beautiful, well-planned presentation of these small textiles and will be Dorothy J. Kaufman enjoyed by all. MARIO SANCHEZ,PAINTER OF KEY WEST MEMORIES BY KATHRYN HALL PROBY 64 pages. 30 color and black and white illustrations. Southernmost Press, Inc., Key West, Florida. 1981. $14.95. Katherine Hall Proby's introduction to Mario Sanchez' Key West is the perfect complement to this woodcarver-painter's work; Sanchez, his family and friends, neighborhood, the pace and flavor of old Key West are all brought to life by this gifted writer's sensitive handling of the material. While Sanchez' paintings provide a fascinating visual documentary of Key West's Cuban ancestry, Mrs. Proby's text supplies an equally engaging oral history. Sharing Sanchez' love of storytelling, Mrs. Proby relates Mario Sanchez' memories ofKey West's earlier days in a direct, colorful but uncluttered style. In both words and images, many old Key West characters breathe once again. In "The Reader and the 52

Cigar Makers", Sanchez tells how the factory "readers"—illustrated in one of his paintings— were chosen for their ability to render dramatically the newspapers and novels they relayed to the factory workers. Those interested in Sanchez' work should not miss the PBS special production on his work (and that of.two other artists), "Three American Folk Painters", scheduled to be shown on December 7th at 10 p.m., Anne W Troutman

THE CONSOLIDATED CATALOG TO THE INDEX OF AMERICAN DESIGN EDITED BY SANDRA SHAFFER TINKHAM Microfiche Edition. 620 pages. Somerset House, Teaneck, New Jersey, 1980. $80.00 without microfiche. The Index of American Design, housed in the National Gallery of Art, was started in the 1930s. The Index attempted a visual survey of objects representing design, folk art, and craft traditions from early Colonial times to the end of the nineteenth century. Working under the Works Projects Administration, artists throughout the country created faithful and exact likenesses of the objects surveyed in a series of exceptional watercolor renderings. Over 15,000 objects were eventually catalogued and visually recorded for the Index. Whereas several milestone books have included selected examples from the Index along with interpretive commentary,the Consolidated Catalog is the first to give information about each object in the Index. In turn, each of the watercolor renderings ofthese individual objects has been reproduced on color microfiche which accompany the Catalog. Thus, this remarkable work virtually duplicates the pictorial and factual information contained in the Index. Moreover, the material is presented in a wellorganized,compact,and easily distributable form. The Catalog itself gives essential details on every object in the Index—the maker, designer, or manufacturer, if known; the materials used; the date and the place the object was made or found. Both the owner of the object and the artist making the rendering of it are also noted. Four helpful indices guide the reader in locating specific information. The Consolidated Catalog and its microfiche series are divided into Parts I—X,which organize the Index objects into logical groupings (i.e. Ceramics and Glass; Domestic Utensils; Textiles, Costumes, and Jewelry). Each section is available as a separate catalog, with or without accompanying microfiche. Part III on Architecture and Naive Art, for instance, comes in catalog form for $20.00 or in catalog with

microfiche for $350.00. As might be expected, the complete set of 312 microfiche represents a large investment. The component system allows the building of the series as interests and money dictate. Clearly, this publication of material from the Index of American Design will be of enormous help to researcher, artist, designer, and collector alike. With the Consolidated Catalog and complete microfiche series, the resources of the Index with its thousands of examples can be brought as close as the nearest microfiche reader. This is a reference work that every art library will want to acquire. Joyce Hill

BESPANGLED PAINTED & EMBROIDERED: DECORATED MASONIC APRONS IN AMERICA 17901850 BY BARBARA FRANCO 124 pages, black and white and color illustrations. Museum ofOur National Heritage, Lexington, Massachusetts, 1980. $8.00. This well-illustrated and well-documented catalog, the second in a series of publications on Masonic symbolism in American decorative arts by the Museum of Our National Heritage, provides a rare glimpse into the innerworkings, organization, and beliefs of Freemasonry, a fraternity that was introduced t9 the New World in the 1730s. Author Barbara Franco has been studying American folk art objects decorated with Masonic symbols for the past eight years. In this catalog, she describes the design history (from 1790 to 1850) of the most important piece of Masonic ceremonial regalia: the apron. In chapters dealing with engraved, stenciled, painted and needlework aprons, Ms. Franco considers the decorative development of Masonic aprons in light of the period styles of America's early decorative arts. One thing is clear: Freemasonry's pluralistic character encouraged early American artists working in a number of media to exercise their imaginations. Bespangled Painted & Embroidered is a book crowded with images—many of which have a decidedly surreal quality. What makes it most interesting, however, is the idea of the New World's sign painters, wall stencilers and schoolgirls regenerating these ancient and medieval symbols. In the hands of the early American artist, the all—seeing eye,the compass,the sword and sun, hands and stars—to name only a few Masonic symbols—transcend their context and remain a haunting reminder of a universal, Anne W Troutman intuitive language.

AMERICAN FOLK PORTRAITS: PAINTINGS AND DRAWINGS FROM THE ABBY ALDRICH ROCKEFELLER FOLK ART CENTER EDITED BY BEATRIX T. RUMFORD 295 pages, 97 color and 240 black and white illustrations. New York Graphic Society, Boston, in association with the Colonial Williamsburg Foundation, 1981. $39.95. "Our ideas of(a) face are formed from the combination of a great number of its appearances at various times... it is(the artist) only who can catch this fleeting peculiarity, which distinguishes his sitter from all other people; — this looking of the soul out of the features, which, after all, is what we observe and remember."—from an essay in the Bulletin of the American Art—Union, 1850. Beautifully designed and painstakingly researched,American Folk Portraits is a superb documentation of the nature and development of early American folk portraiture. As both a history and reference book, this volume is a testimonial to the high quality of scholarship pursued at the Abby Aldrich Rockefeller Folk Art Center and will appeal to both students and collectors of American folk art. In her foreward, Beatrix Rumford, vicepresident and director of museums at Colonial Williamsburg, presents a brief history of the reappraisal of American folk portraiture as an art form. Beginning with the small folk art collections of avant garde artists in Maine's Ogunquin Colony, Rumford traces the collecting of early American folk art from 1916 to 1957 as its appeal spread from artists to art collectors and art dealers, and finally to art institutions. In this context, she outlines Abby Aldrich Rockefeller's involvement with folk art, her contribution to landmark museum exhibitions of the genre, and her final decision to have her collection housed in Colonial Williamsburg in 1957. Similarly thoughtful and well-written, Donald Walters' and Carolyn Weekley's introduction, "Aspects of Folk Portraiture" summarizes some aspects ofthe training, production and aesthetics involved in folk portraiture vis-a-vis the AAR Collection. Brief chronicles of several wellknown painters including Joseph Badger, Rufus Hathaway and William Matthew Prior, along with contemporary quotations from advertisements and journals are used to illustrate the influences, contexts, and careers of the eighteenth and nineteenth century folk portraitist. We learn, for instance, that most folk portraits were painted by self-taught artistcraftsmen whose styles were often influenced as much by their economic considerations as by their artistic training (or the lack thereof). The introduction also describes the effects of the daguerreotype on the careers of such artists and how those that survived as portrait painters dealt with this unexpected competition. The catalog, itselfa stunning gallery ofimages, documents almost 300 folk portraits. It is organized into two sections: portraits by or attributed

to identified artists, arranged alphabetically; and those by unknown individuals, arranged chronologically. Each portrait is identified by name and date (if known), measurements and medium. In cases where the artist is known, his life, works and style are discussed. Provenance and condition reports are also included for each work as is a listing ofthe publieations in which the piece has been illustrated. As the first in a projected series of four catalogs detailing the Center's present holdings, American Folk Portraits is a part of the AARFAC's ongoing research and publications program designed to make their resources more accessible to scholars and the general public alike. Its lively presentation, captivating reading and detailed documentation work together to fulfill that intention and make this book a most welcome contribution to the field of American folk art. Pat Locke THE ALICE M. KAPLAN COLLECTION BY LINDA BANTEL 217 pages, 102 color and black and white illustrations. Distributed by Columbia University Press, New Yorlc, 1981. $25.00. Persuaded by a friend to attend a charity benefit one day in 1959, Alice M. Kaplan spotted and purchased an early American oil portrait of a woman in a black dress. Later, she acquired two other oils painted in a similar style. In 1961, while looking through Antiques magazine, she read of the identification of an early American portrait painter, Ammi Phillips. Studying the illustrations, she realized that her oils might be by the same artist, and indeed they were. Guided by "her adventurous spirit, disregard for fashion, and ability to respond to the intrinsic beauty of an object no matter when or where it was created", Alice M. Kaplan has assembled a collection of art over the past thirty years that is as impressive in scope as it is sure in its aesthetic judgement. Though centered on old master drawings and American folk sculpture and painting, the objects in her collection span many centuries and continents. They include Chinese, African, Pre-Columbian Indian, Ptolemaic, and French sculptures; old master and modern drawings,Peruvian and Scandinavian tapestries. How did Mrs. Kaplan amass such an encyclopedic collection? "Slowly and haphazardly",she remarks modestly in her forward. "I always regarded this as an enjoyable and stimulating pursuit and never as building a collection in the conventional sense. Nor did I feel compelled to limit myself to a specific period, group of artists, or geographic area." Mrs. Kaplan's interest in collecting began when she returned to Columbia University in 1955 for a master of arts degree in art history. While there, she was inspired to collect objects related to what she was studying. Now aware that her collection may one day be dispersed leaving no record of her choices, Mrs. Kaplan has published a catalog of her artworks that is being distributed by Columbia University Press. The catalog is organized according to major geographical areas and the sections chronologic-

ally or alphabetically by culture or country. Author Linda Bantel has provided the essential facts of each piece in a lucid, scholarly style. Each entry includes date, material, dimension, and artist when known; provenance, exhibitions and publications; and a paragraph or two elaborating on the object's history, origin, and stylistic characteristics. It is always fascinating to have the opportunity to view a private collection. We study it in hopes of discerning some clue to the underlying aesthetic unity that makes it truly great. In the case of Alice M. Kaplan's collection, works depicting the human figure predominate as do simple contours and subtle colors—but why not judge for yourself? Anne W. Troutman THE WARNER COLLECTOR'S GUIDE TO AMERICAN QUILTS BY PHYLLIS HADERS 255 pages, 50 colorplates, 300 black and white illustrations. Warner Books, New York, 1981. $9.95. Identifying and categorizing the hundreds of variations of American quilt patterns has got to be a labor of love, as is this handy guide to quilt collecting, As Mrs. Haders points out in her fine introduction,"hundreds of thousands" of quilts were made in America between the end of the eighteenth century and the beginning of the twentieth, and only a relatively small proportion of them are worthy of being called works of art. Learning to identify the various types and patterns is the first step in distinguishing the ordinary quilt from the extraordinary one and for that reason, not only the beginning collector but the more advanced one as well should find useful material in this guide. The book's broadest categories, illustrated by forty-seven color plates, are the basis for identification and subdivision into smaller categories of the more than 500 examples that follow. Taking this book along on weekend jaunts and visits to auction houses will be a big help for quick identification of quilts you find appealing but know little about. A small book, it holds a lot of information. Judith Reiter Weissman SHAKER GIFT DRAWINGS COMPILED AND INTRODUCED BY DANIEL J. PATTERSON The United Society ofShakers, Sabbathday Lake, Poland Springs, ME. 04274. The Millenial Laws written in 1821 advised the Shakers "no maps, Charts, and no pictures or paintings shall ever be hung up in your dwellingrooms, shops or Office. And no pictures or paintings in frames, with glass before them shall ever be among you." The one exception to this rule was the Shaker inspirational or "gift drawing". It was thought that spiritual gifts in the form of visions were bestowed on chosen member of the community who then became the "instruments" for transferring these visions to paper. Most Shaker inspirational drawings were produced between 1841 and 1857. Beginning as simple graphic representations of the visions, the drawings went on to become far more elaborate, incorporating a variety of symbols to express 53

their two main themes: the beauty of nature and the Scriptures. Some of the symbolic images included flowers, exotic fruits, gold chairs, musical instruments, cups and bowls, flags, swords and ornamental buildings. The Shakers felt that the heavenly messages that inspired these drawings were sent to renew their spiritual values. Highly personal and imbued with deep religious significance, these drawings were never displayed. Professor Daniel J. Patterson of the University of North Carolina has now compiled a collection ofthese Shaker gift drawings and donated the publication rights of his book to the Shaker Community of Sabbathday Lake. In addition to the regular edition, the Community is making available a special limited edition of 100 hardbound, individually numbered and signed copies for those who would like to contribute to the publication costs ofthe book. To reserve a copy ofthe limited edition, send your check for $100 to The United Society of Shakers. Elaine K Pease COUNTRY CLOTH TO COVERLETS: TEXTILE TRADITIONS IN 19TH CENTURY CENTRAL PENNSYLVANIA BY SANDRA RAMBO WALKER 60 pages, illustrations in black and white and color. Oral Traditions Project, Lewisburg, Pa., 1981. $8.50. Like the other volumes published by the Oral Traditions Project, Ms. Walker's book is thoroughly researched, well written, and a storehouse of valuable information. Because so many coverlet weavers came from this small region in Pennsylvania, the material covered here is central to understanding the traditions and development of the craft.

Beginning with a brief overview of the nineteenth century textile industry in eight counties of central Pennsylvania, Ms. Walker gives detailed accounts oflocal wool mills and the lives and activities of individual weavers, county by county. Both text and illustrations color in the atmosphere of the period. And Ms. Walker uses many different sources to this end among them a photograph of a nineteenth century dry goods store, its wares displayed on the sidewalk; contemporary advertisements for cloth, yarn, and blankets; and household inventories. This descriptive material together with maps and tables showing the number of weavers in each township and listing over 1600 weavers by county, combine to give a valuable and complete picture of nineteenth century textile history and traditions in central Pennsylvania. One limitation: a table ofcontents would make this book easier to use. Nevertheless, the information and illustrations make"Country Cloth to Coverlets" an excellent addition to any textile collector's library. Judith Reiter Weissman THE SHAKERS AND THE WORLD'S PEOPLE By FLO MORSE 378 pages, illustrations in black and white. Dodd Mead New York, 1981. $17.95. "On the whole,they lead a good and comfortable life, and, if it were not for their ridiculous ceremonies, a man could not do a wiser thing than to join them. Those whom I conversed with were intelligent, and appeared happy. I spoke to them about becoming a member of their society but have come to no decision on that point." Thus wrote the twenty-seven year old Nathaniel Hawthorne about his impressions of a Shaker

community in the nineteenth century. Many of his contemporaries shared his ambivalence. While the Shakers' model communities, fine workmanship, and apparent serenity was appealing to many observers,the Shaker religion with its'shaking and quaking', segregation ofthe sexes, and celibacy, was not. In her book,"The Shakers and the World's People", Ms. Morse brings a new perspective to the history ofthe Shakers by tracing their history and beliefs through a well-edited collection of documentary material Comments from people outside the Shaker communities as well as excerpts from Shaker writings provide an illuminating and interesting picture of the lives ofthe Shakers. While much has been written about the history of the Shakers, their pastimes and their products, this book adds valuable new dimension and understanding to Shaker life. Comments from both members and nonmembers convey the atmosphere of the community and some ofthe problems Shakers had to face. When confronted with "winter Shakers," for example (those who joined Shaker communities at the beginning of the winter in order to secure food and shelter for the coming cold months),the Shakers somehow managed to keep them working in the community. As one elder put it,"at least until the mild spring sun tempts them to a freer life." Ms. Morse has also included a section on twentieth century views on the Shakers, some of which, like Tim Clark's "Shattering the Shaker Image", are very positive. One ofthe things this collection of documents suggests is that many of the qualities of Shaker life that first appealed to Hawthorne and his contemporaries, continue to appeal today. Judith Reiter Weissman

Calendar FOLK ART TRADITION: NAIVE PAINTINGS FROM TWO CONTINENTS Through January 9, 1982 Galerie St. Etienne, 24 West 57th St., N.Y., N.Y. 10019. Naive paintings from the United States and Europe. BLACK FOLK ART IN AMERICA: 1930-1980 January 15-March 28, 1982 The Corcoran Gallery of Art, 17th St. and New York Ave., N.W., Washington, D.C. This exhibition brings together 350 works by 20 black artists including Inez Nathaniel Walker, Joseph Elmer Yoakum, Elijah Pierce, Mose Tolliver, and Steve Ashby. THE WORLD OF THE CHILD IN 19TH CENTURY AMERICA Through January 17, 1982 Summit Art Center,68 Elm St., Summit,N.J. 07901. Three hundred objects including 54

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antique toys, many from the renowned Barenholtz collection; also, portraits of children, samplers and children's quilts, schoolroom objects, folk art, furniture made for children, and other objects of the period. ALABAMA QUILTS Through January 24, 1982 Birmingham Museum of Art, 2000 Eighth Ave. N., Birmingham, Alabama 35203. Nineteenth and twentieth century Alabamamade quilts from the Helen and Robert Cargo Collection. FOLK ART OF ILLINOIS Through January 31, 1982 The Lakeview Museum of Arts and Sciences, 1125 Lake Avenue, Peoria, Illinois 61614. A rich and varied assortment of folk art of Illinois origin including some 150 items from all over the state,spanning almost 100 yearsâ&#x20AC;&#x201D; the early 1840's to the 1930's. Continuing at the Illinois State Museum,Springfield,Illinois

from February 15 to March 31, 1982 and at the Chicago Historical Society from April 15 to May 31, 1982.(See article on page 32.) QUILTS AND COVERLETS Through January 31, 1982 The Denver Art Museum, 100 W. 14th Ave. Parkway, Denver, CO.80204. A representative group of quilts and coverlets from the Museum's permanent collection. A WEEKEND ON AMERICAN FOLK ART February 4-7, 1982 Colonial Williamsburg, Williamsburg, VA. Three days of lectures, demonstrations and workshops exploring new discoveries and current directions in folk art studies. For information and reservations, write Mrs. Trudy S. Moyles,"A Weekend on American Folk Art", Colonial Williamsburg, P.O. Box C, Williamsburg, Va. 23197.

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Editorial Deadlines are: Spring 1982 issue: 15 January 1982 Fall 1982 issue: 15 May 1982 Winter1982/83 issue: 15 September 1982

BALTIMORE ALBUM QUILTS Through February 7, 1982

TUSCON COLLECTS: AMERICANA February -- April 1982

SPANISH COLONIAL/MEXICAN ART Ongoing

The Baltimore Museum of Art, Art Museum Drive, Baltimore, MD 21218. Brilliantly colored and exquisitely crafted quilts from mid-nineteenth century Baltimore.

Furniture, paintings, toys, quilts, trade signs, hand tools, toleware, basketry, decoys, weathervanes, woodenware, needlework and more.

PATTERNS OF PARADISE: TAPA CLOTH ARTISTRY Through February 14, 1982

Roswell Museum and Art Center, Roswell, N.M. Santos: furniture and painted images on wood,canvas, paper, metal or hide, including images carved in the round and painted which were brought to New Mexico by the Spanish.

BROOKLYN BEFORE THE BRIDGE February 20— May 31, 1982

American Museum of Natural History, New York, NY. 10024. More than 150 examples of tapa works from the Pacific Islands, Southeast Asia, Africa,South America,and islands of the Caribbean. Tapa cloth, or the fibrous, fragile cloth made from the inner bark of mulberry trees, is used for clothing, costumes, masks, hats and figurines. JOEL BARBER'S WILDFOWL DECOYS February 14 — April 4, 1982 Wilton Heritage Museum,249 Danbury Rd., Wilton, Conn. 06897. "The man who made the old decoys live again," Joel Barber was the first to seriously collect and document American decoys. This exhibition highlights the paintings, carvings, and decoys that inspired him. PORTRAITS BY CHARLES POLK & HIS CONTEMPORARIES February 28 — April 18, 1982 Hunter Museum of Art, Chattanooga, TN. Charles Peale Polk's portraits which were executed in a variety ofmedia,including oil on canvas, watercolor on ivory and gold leaf on glass are compared with the work of 15 of his contemporaries. The show travels to the Heritage Plantation of Sandwich, Sandwich, MA. on May 10th where it will remain until October 15, 1982.

Brooklyn Museum, 188 Eastern Parkway, Brooklyn, N.Y. A selection of sixty paintings by prominent New York City artists and many lesser-known Brooklyn and Long Island painters working from the colonial period until the opening of the Brooklyn Bridge in 1883, assembled from the collections of the Long Island Historical Society.(See article on page 38.) HOUSE, SIGN AND FANCY PAINTING Through May 2, 1982 The Museum of Our National Heritage, Lexington, MA.02173. A survey of "fancy painting" done by folk artists on signs, flags, furniture, walls, and clock faces, including portraits by New England and New York artists and items featuring the different techniques of decorative painting: stenciling, graining and vinegar painting. In cooperation with the Shelburne Museum, Shelburne, VT. THE ORNAMENTAL PAINTER, 1820-1860 — NEGLECTED BUT NOT FORGOTTEN Ongoing Museum of the Historical Society of Early American Decoration, Inc., Dove St. and Washington Ave., Albany, N.Y. Painted tinware including trunks, coffee pots, trays from tinshops in Connecticut, New York, Pennsylvania and Maine, papier mache and furniture.

A MATTER OF IDENTITY Ongoing National Archives, 8th Street and Constitution Ave. N.W., Washington, D.C. 20408. A major exhibit of unusual early American records including frakturs culled from the Archives' Revolutionary War files.

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1 1k AXA - , d. /4 kipe ay Itl tike4 A vt1:7 • • • 4 4 4, g_A `A . : ?:3 t4 • 65 Q4.114ii‘hktf 14. 41;":TA `elY Seven stars quilt made by Mary Ann Raise Thomas in the late 19th century, at the Birmingham Museum ofArt.

Growing Membership JUNE 1981â&#x20AC;&#x201D;AUGUST 1981

The Museum Trustees and Staffextend a special welcome to these new members:

Dennis Alter, Willow Grove, PA Judy Anderson, Bismark, ND Art Gallery of Nova Scotia, Halifax, Novia Scotia Patricia Bates, Sherborn, MA Charles A. Bell, New York, NY Dr. & Mrs. Martin J. Bell, Jackson Heights, NY Donna Benenson, Wilton, CT Mr. & Mrs. William M. Berry, Mequon, WI Jane Bescherer, Wilton, CT Susan Billig, Santa Barbara, CA Teresa Blackwelder, Washington, DC Merritt Black, Beverly Hills, CA Mr. & Mrs. W. Scott Blanchard, Cedarhurst, NY Deborah A. Blankman, New York, NY Elizabeth 0. Brauner, Brooklyn, NY Mrs. R. E. Brodhagen, Tulsa, OK Phyllis George Brown, Lexington, KY Mrs. Pierce Browne, Concord, MA Joseph S. Caldwell, III, Manlius, NY Betty Carrie, Florham Park, NJ Mary Ann Chiasson, New York, NY Bonnie Chwast, South Nyack, NY Clara Claasen, New York, NY Phyllis Blair Clark, Wooster, OH Margaret Collier, Westbrook, CT Rebecca Collins, Dallas, TX David Corley, Fort Worth, TX Margaret C. Couch, Watertown, NY June M. Coughlin, Sandusky, OH Frances Harris Currier, Charlotte, NC Raymond and Cathleen Davis, New York, NY Stephanie Deihl, Hoboken, NJ Beverly Desena, Denver, CO Joyce Deyo, New York, NY William DiPietro, Colmar, PA Joan N. Duncan, Lufkin, TX Eagles Antiques, Inc., New York, NY Mrs. Michael Eckert, Glen Rock, NJ Adelaide A. Eckhoff, Cold Spring Harbor, NY Victoria Ellman, Berkeley, CA Joan Fenton, Lewisburg, W. VA Mr. & Mrs. Howard P. Fertig, Livingston, NJ Amy Finkel, Philadelphia, PA Folk Craft Gallery, Portland, OR Mr. & Mrs. J. Foley, New York, NY David M. Gasparini, New Milford, NJ Lynn Gilbert, New York, NY Mrs. Larry M. Gish, Salisbury, NC Ellen M. Gray, Chicago, IL Lynne Green, Fresh Meadows, NY Aubrey J. Greenberg, Chicago, IL Mrs. James Grieves, Baltimore, MD Griffin's, Greensboro, NC Hand (The)& The Spirit Crafts, Scottsdale, AZ Roxanne Hardy, Mahtomedi, MN Helen Harrelson, Dobbs Ferry, NY Louise S. Hazeltine, New York, NY Ruth Hazelwood, New York, NY Diane Helentjaris, MD,Paterson, NJ Susan Henneke, New Haven, CT Georgia M. Hobaica, New York, NY Jane Holmes, Chappaqua, NY Jeffrey Alan Gallery, New York, NY Mrs. John Johnson, Wilton, CT Dr. Jeffrey R. Johnson, Springfield, MO J. H. Johnson, Hamel, MN Elizabeth C. Isham, New York, NY

Myra Karstadt, New York, NY Barbara Kelley, Kansas City, MO Mr. & Mrs. Denis Kelly, Brooklyn, NY Patricia Kelly, Pueblo, CO Nancy Richards Kempf, Watkins Glen, NY Patricia A. Kendall, New York, NY Mr.& Mrs. Martin Klenert, Port Washington, NY Dian Kokenge, Yakima, WA Cynthia A. Kominiarek, Muncie, IN Letty Korn, St. Louis, MO Mr. & Mrs. William Koster, New York, NY Folk Art Kraffts, Stevens, PA Robert J. Krefting, New York, NY Robert Krell, Miller Place, NY Betsy Kunkle, Pittsburgh, PA Margery Kurtz, Englewood, NJ Mrs. Franklin D. Lane, Garden City, NY Sarah Larsen, Chatham, NJ William E. Laverty, Brooklyn, NY Leo LeBlanc, New Brunswick, Canada Mrs. Eleanor Lee, Woodstock, NY Arthur Levitt, Jr., New York, NY Barbara A. Lightner, Mountain Top, PA Paul Ludick, Kent, OH

IF YOU 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 you for your co-operation MUSEUM OF AMERICAN FOLK ART 49 WEST 53rd STREET NEW YORK, N.Y. 10019 ATTN.:CLARION

Katie MacMillan, Virginia Beach, VA Diana Majher, Twinsburg, OH Arthur Martin, Canton, OH Sanna Mayo, New York, NY Mr.& Mrs. William M.McCardell, New York,NY Mrs. Robert J. McGregor, Clarks Summit, PA Edythe Mary McKee, Stamford, CT E. R. Meisner, Newton, LA Dr. & Mrs. Peter Mendelson, Woodmere, NY Rita M. Metzger, Sunnyside, NY Darci Mickus, Brookline, MA Susan Miller, New York, NY Lucie M. Miral, Old Tappan, NJ Ina M. M. Mishkin, New York, NY

Sheila Molkind, Chicago, IL Frances Monk, New York, NY Mr. & Mrs. Lester Morse, Jr., New York, NY S. E. Mosse, County Kilkenny, South Ireland Myron & Carolyn Nevgeboren, Hollis Hills, NY Anne Nielsen, New York, NY Mr.& Mrs.Peter Obennann,Port Washington,NY Janeese Olsson, Crete, NE Philip V. Oppenheimer, New York, NY Pamela Osborne, Scarsdale, NY Mr. & Mrs. John C. O'Shea, Summit, NJ Janet Page-Kessler, New York, NY Martha Lee Parker, Hillsborough, CA Katy Pearson, New York, NY Selma Perelman, Washington, DC Margaret W. Phillips, Springfield, NJ Nancy Picchi, South Orange, NJ Carol Reich, New York, NY Carole P. Ridolfino, Clarksboro, NJ Fran Rissmiller, Sherman Oaks, CA Myra Rubin, New York, NY Nancy L Salz, New York, NY Linda Saperstein, Waterville, ME Mr. & Mrs. Theodore Schneider, Bridgewater, NJ Betty K. Schuler, Burbank, OH Joan Scott, Los Angeles, CA Christine A. Seeman, New York, NY Virginia Seemann, Los Angeles, CA Julia Sennette, Doraville, GA Mrs. F. T. Sheets, San Marino, CA The Rev.& Mrs. Alfred R. Shands, Crestwood,KY Judy Shanken, Phoenix, AZ Dr. & Mrs. Harvey L Slatin, New York, NY Douglas L. Solliday, Kirkwood, MO Ileana Somerson, Wyncote, PA Renee Spanier, New York, NY Galina Stepanoff-Dargery, Tuckahoe, NY Jean Stewart, Bedford Village, NY L. E. Stuart, Cambridge, MA Mrs. Whitney A. Stuart, Piscataway, NJ Christine F. Taylor, Lincoln, VT Caren Thomas, Chicago, IL Maurice C. Thompson, Westport, CT Susan Thompson, Knoxville, TN Theodore S. & Ann L. Tiger, Evanston, IL Holly H. Todd, Royal Oak, MD J. L Tonner, New York, NY William Towers, Leicestershire, England Mrs. Thomas Tunderman, Merrick, NY Mary M. Tynes, New York, NY Michael Vanderbyl, San Francisco, CA Mr. & Mrs. Ernest Vigdor, Wykoff, NJ Mrs. James B. Vose, New York, NY Robert E. Wade, Belvidere, NJ Hoyle Wagner, Lexington, NC Dianne Wallace, New York, NY Bill Weaver, New York, NY Arnold N. Weinberg, Weston, MA Don Wise, New York, NY Rhoda Wolf, New York, NY Shoji Yamaguchi, Great Neck, NY Anna Mary York, Lincoln, NE Dr. & Mrs. Gilbert Young, Freeport, NY P. Zdunczyk, Wells, ME Shelly Zegart, Louisville, KY B. Zemenick, Birmingham, MI Ruth & Richard Zuckerman, Evanston, IL

Museum News Upcoming Exhibitions WOVEN FOR WORK: THE AMERICAN BASKET Through February 14, 1982 Over 150 Moravian, Shaker, Separatist, Amish, and traditional Nantucket baskets dating from America's earliest settlements through the twentieth century. Techniques of basketmaking as well as regional differences and characteristics will be explored in this exhibition. Curated by Judith A. Jedlicka.

A SELECTION FROM THE PERMANENT COLLECTION

colorful life and began painting at the age of84 with watercolor pencils and later, acrylics. Recently, Willey's account books and records were generously donated to the Museum's Research Library by his widow, Cecilia M.S. Willey. They include listings of his paintings, records of their sale and prices, notebooks, newspaper clippings and lists of individual dealers and collectors throughout the country who were interested in his work. Mr. Willey painted until the end of his life and the Museum is pleased to have his records as a part of its library.

Trade secrets

own manuscript notes which frequently appear on flyleaves or margins of many ofthe books. These informal notations provide valuable insights into the subject as a whole as well as critiques on specific artists and their work. A comprehensive listing ofthe Lipman library is complete. Use of the library is by appointment only. Call Susan Saidenberg at 212/581-2474.

Stars from the collection of the Museum of American Folk Art

Ongoing Selected works from the Museum's Permanent Collection featuring quilts, sculpture, theorum paintings, weathervanes, pottery, portraits, furniture, whirligigs and more. Curated by Alice M. Kaplan.

RECENT ACQUISITIONS FROM THE LIPMAN COLLECTION February 25—May 16, 1982 Members' Preview: February 24, 1982 Thirty-three objects selected from the Lipman's extraordinary collection offolk art and painted furniture will be on exhibition in the Museum's galleries.(See article on page 18.)

THE CHALK MENAGERIE May 26—August 25, 1982 Members' Preview: May 25, 1982 The Museum's extensive chalk collection, a bequest of Effie Thixton Arthur, will be exhibited with painted and decorated furniture and enlarged photographs illustrating the relationship of chalk figures to high-style Victorian art.

SCHERENSCHNITTE BY HELEN NYCE May 26—August 25, 1982 Members' Preview: May 25, 1982 Paper cuttings created by Helen Nyce between 1904 and 1926. Her skill in scherenschnitte led her to study art and later to become an illustrator of children's books in which she used the scissor-cutting technique (scherenschnitte) of her early work.

A matter of record "The Chief' Philo Levi Willey(1886-1980), contemporary folk art painter, led a long and

Any information regarding the whereabouts of frakturs painted by Francis Portzline and his daughter Elizabeth during the early nineteenth century or pieces done for the Portzline family by others is requested by Dr. Donnell B. Portzline, 153 Grace St., Fayetteville, W. Va. 25840. Information and further examples of the work of Leo Rooney, a resident of Camp LaGuardia who painted scenes ofthe Bowery in the late 1950s are sought by Bob Aibel, Dept. of Humanities and Communications, Drexel University, Philadelphia, PA 19104. In 1927 fifty-eightfriendship dolls from Japan were sent to museums in the United States as part of a doll gift program between the two countries. A new doll gift program to recall and reciprocate the Friendship Mission of 1927 is being planned by Kei Kobayashi. She has recovered eighteen of the original fifty-eight dolls for an exhibition in Japan and seeks any information leading to the recovery ofthe other dolls. Please write Kei Kobayashi Design Studio, 120 West 71 St., New York, NY 10023.

The Museum of American Folk Art proudly presents for the first time color photographic notecards,"Stars from the Museum of American Folk Art Collection." Photographed and designed by Lorraine Engelhardt, the notecards feature details ofthe star motiffrom the Flag Gate,the Kansas"Baby" Crib Quilt and the Ohio Star Pattern Crib Quilt. Ms. Engelhardt is a Friend of the Museum, former member of the Publication Committee, current member of Special Projects and a well-known photographer whose work has been featured in major museum and gallery presentations. Each box contains twelve 5 X 7 in. folded notecards and may be purchased for $7.95 (non-members) and $6.95 (members) at the Museum Shop, the Fall Antiques Show on September 23, 1981 or by mail order by filling out this coupon:

Museum of American Folk Art 49 West 53rd St. New York, NY 10019 Please send me box(es) @, $7.95 each, plus $1.25 handling and shipping.

Museum Library expands

I am a member. box(es)@ $6.95 each (members), plus $1.25 handling and shipping.

Howard and Jean Lipman, whose well-known collection of American folk art was recently purchased by the Museum, have generously donated their folk art library to the Museum. With this most recent addition, the Museum's library now represents a major resource for American folk art scholars. The Lipman library is particularly rich in exhibition catalogs and checklists and provides an encyclopedic review ofthe nation's developing interest in American folk art and its recognition as a distinct subject for scholarly inquiry. Of particular interest are Jean Lipman's

Please send me Membership information Payment is enclosed. New York Residents add 8% sales tax. Please allow 2-4 weeks for delivery. Name Address City

State

Zip 57

Museum Newscontinued

with the preparations, in particular Karen S. Schuster and Cynthia V.A. Schaffner who chaired the event, the many dealers who donated items to the raffle and The Bank of New York and Con Edison for their donations that helped make the Benefit such a success.

American folk art will be accepted from scholars, museum professionals and graduate students. Judges to be announced. Winning entries will be presented at a day-long Symposium in New York City in the Fall of 1982 and subsequently published by the Museum of American Folk Art. For further information contact Susan Saidenberg at (212) 581-2474.

Museum collection to travel through Europe

Did William Prior paint this portrait of Master Cleeves?

The National Gallery needs your help The National Gallery of Art is currently researching folk paintings from the Edgar William and Bernice Chrysler Garbisch Collection. To clarify attribution questions, the American Art Department is soliciting photographs of any signed works by William Prior, Sturtevant Hamblen and George Hartwell. If photographs are unavailable, please cite reproductions of the work. Include complete information on the work, including date, signature, location or where found. Please write the American Art Department, National Gallery of Art, Washington D.C. 20565.

FAS Benefit a Museum success A full year of planning and organizing culminated Wednesday, September 23rd with the opening of the Fall Antiques Show Benefit, in celebration of the Herb Garden, for the Museum of American Folk Art. The herbal theme ofthis year's benefitinspired an array of herbal treats to eat,look at and buy. A walking tour led by Patty Smith; a lecture on Shaker herbs by Amy Bess Miller, president of Hancock Shaker Village; a raffle and doorprizes complemented the event. The Museum would like to thank the Friends who helped 58

Accessions from the Lipman Collection and approximately 100 other objects from the Museum's permanent collection will be included in the forthcoming exhibition, FOLK ART. AN EXPRESSION OF THE AMERICAN SPIRIT scheduled to be presented in several European capitals beginning next fall. This international tour is made possible by a generous grant from United Technologies of Hartford, Connecticut On its return to America, the exhibition will be presented at several major national museums. A lavishly illustrated full color book will accompany the exhibition.

Nationwide competition: Recent scholarship on American Folk Art In honor of its twentieth anniversary, the Museum ofAmerican Folk Artis sponsoring a nationwide competition of recent scholarly research papers on American Folk Art Submissions dealing with all aspects of

Portable Folk Art needed for Touch Collection The education department of the Museum of American Folk Art is developing an exciting selection of handling objects to parallel its permanent collection and changing exhibitions. The objects will be grouped in portable boxes with labels and interpretive information and will be available to school and adult groups. Last year we borrowed a small collection of objects to develop programs for special education and visually—impaired children. The response was so enthusiastic that we now plan to expand the collection for all our visitors. Donations to the collection are urgently needed. If you have any piece ofportablefolk art—textile, utilitarian, ceramic, or wood— which you no longer wish to include in your collection, please consider donating it to the education department of the Museum. We accept all contributions; condition is no deterrent to usefulness. All gifts are tax deductible. Please contact Susan Saidenberg, Curator of Education at 212/581-2474.

For those who wish to enjoy the fun and satisfaction of being a

MUSEUM VOLUNTEER

please contact the office about your talents and interests:

o Benefit Events 0 Planning E Decorations 0 Reservations o Large Gifts Information or Solicitation o Mailings o Office Aides (Typing, filing, record-keeping) o Receptionist o Salesperson in The Museum Shop Other volunteer work for which I have special talent or experience 0 Write or call:

Museum of American Folk Art 49 West 53 Street New York, New York 10019 (212) 581-2474

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REPRODUCTION SWAN BENCH

The Essence of Elegant Craftmanship This unusual cast iron swan bench is a 20th Century reproduction of an original 19th Century bench and is suitable for indoor or outdoor use.

Planked seats of oak in a natural or painted finish are supported on molded, stylized figures of swans. Height 36 inches, length 5 feet, width 24 inches. 61600. Available only through the Museum of American Folk Art, 49 West 53rd Street, New York, New York 10019.

Everything in the Garden 21"x 13 1 '2"

Graham Clarke English printmaker represented in the Library of Congress, Museums and private collections. Edition of 250 hand-colored aquatint etchings. Handmade paper that bears the artists' watermark. Limited number available in the United States. Also available: "...the Rushes0" Dealer inquiries invited.

ANTHONY PETULLO FINE ART

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ukeenet,(7 1n y53202 y A pMpioliun,atm ) N2 .7W 8-a 0t3e5r Street By

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Portrait of Jeremiah Wood, age 17; oil on board. Painted at the Southwest Corner of Greenwich & Murray Streets, New York, 1815. Attributed to Uriah Brown.

American Folk Art Sidney Gecker 226 West 21st Street New York, N. Y 10011 Walnut knife box, Pennsylvania, 19th century

(212) 929-8769 Appointment suggested

FEARLESS DESIGN Antique Carrousel Figures from Major American and European Carvers As found to completely restored Illustrated Brochure $5.

By Appointment(408)429-8323 Michael McCracken Fearless Design 346 High St. Santa Cruz, California 95060

HAMMEft HAMMEft AMERICAN FOLK ART

Relief carving. Joe Mullett. Ohio. Circa 1900.

620 NORTH MICHIGAN AVE., SUITE 470, CHICAGO,IL 60611 312-266-8512

Memorial to George Washington 19th

Century

Pamela Cushman Thomas Cushman 21 Portland St. Yarmouth, Me.

Watercolor found in Maine

(207)846-9038

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FINE ARTS INSURANCE SPECIALISTS Collectors • Dealers • Museums

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oin the Museum of American Folk Art and receive this brilliant full color special edition poster depicting one of the Museum's greatest textile treasures, the Bird of Paradise quilt top made in 1858.

In addition to an annual subscription to the Clarion, membership in the Museum of American Folk Art includes these benefits:

Museum of American Folk Art

"textile Treasures From TWO Centuries

New York,New York I los poster sponsored to Xerox Croporseion

• Free admission to all exhibitions at all times • Private previews ofall exhibitions • Discounts on purchases in the Museum Shop • Reducedfeesfor classes, lectures, tours and special events • Use ofthe Museum's research facilities

SPECIAL; MEMBERSHIP' OFFER!

WHY NOT JOIN IMMEDIATELY!* Museum of American Folk Art 49 West 53 Street, New York, New York 10019 Name

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(Please add $5forforeign memberships)All memberships are tax deductible.

-----------------65

These re-creations of Early American lighting fixtures and some 250other models may be seen in ourshop. The rod arm chandelier shown on the left, and about 250 other such chandeliers and sconces. faithfully follow the design of colonial craftsmen of some 200 years ago. These fixtures of unlacquered brass take on a rich patina as they age. Also available with an antique pewter plating over solid brass. The chandelier on the right and other sconces,lanterns, shades, planters and liners are all handmade. We also do specialty sheet metal work in brass, copper, pewter and tin. Come visit our shop or send $3.00 for a catalog describing about 50 chandeliers and sconces.

Authentic Designs

330 East 75th St., Dept. E New York, N.Y. 10021 (212)535-9590

VES12F9117?AVIS $3,500 to $15000

Drawings $250 to $1,200

Serigraphs $300 to $400 We will donate 10% of each sale from this advertisement to The Museum of American Folk Art.

VIEWING BY APPOINTMENT Miller, Addison, Steele, Inc. 5 East 57 Street, NY, NY 10022 (212) 759-1060 Plaza Hotel(original painting & serigraph available)

290 LAFAYETTE STREET

NEW YORK CITY 10012

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

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

If You Like Antiques Act Now! It's worth a free sample copy of

ANTIQUES And The Arts \keel:.ly "Antiques and The Arts Weekly" will keep you informed of coming antiques shows and auctions, new books in the field of antiques, museum exhibitions, prices realized at auction, historical society events, etc. We have published as many as fifty-one pages of auction advertising in one week, plus announced over 75 coming antiques shows. Our advertising lets you know what the dealers are offering, and our feature articles tell you about collections and collectors. So think antiques every week, and do it with us. Use this handy coupon - mail to: The Bee Publishing Co., Church Hill Road, Newtown, CT 06470

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Yolanda Fine Arts pi/L-LirtuA,

The Midwest Gallery for Contemporary FOLK ART

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Featuring a Holiday Collection by American & European Painters

Catalogue Available on Request Yolanda Fine Arts 542 Lincoln Ave. Dept. TC Winnetka, IL 60093 (312)441-5557 Grandma Frail

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COUNTRY CURTAINS速 The City Curtain

FOLK ART GALLERY

Country Curtains are a tradition ... years of old-fashioned quality and conscientious service. Country Curtains have lent their special warmth to American homes from Nantucket to Nob Hill. This elegant curtain was inspired by the stately houses on Boston's Beacon Hill. The pearly white or ecru fabric, a silky rayon/acetate blend by Waverly, is edged with an exquisite 21.,4" tassel fringe. 90" wide per pair. Lengths of 54", $33.00 pair, 63" or 72" long, $37.00 pr; 81" or 90" long, $43.00 pr; 102" or 108" long, $51.00 pr. Valance, $17.00 each. Tiebacks, $6.75 pair. Matching bedspread. Check, money order, Mastercard or Visa. Postage/ handling: under $100 add $2.75, over $100 add $3.75. Mass. res. add 5".. tax. Free catalog. Phone: 413-298-3921. Satisfaction guaranteed.

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GASPERI FOLK ART GALLERY Clementine Hunter (1887-

oil on paper, 1945, 12 s 15

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Willie Barton Milton Fletcher Nick Funicello Clementine Hunter

20th Cent. ALCIDE COTE, Bidde ford, Maine Moved to 820 Madison Avenue, N.Y. 70

(212)628-5454

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May Kugler Sr. Gertrude Morgan Helen Pickle Mose Tolliver

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

Current Major Donors, 1980-1981: Amax Foundation, Inc.*; Estate of Effie Thixton Arthur; Bankers Trust Company*; William Bernhard; Bernhill Fund; Bloomingdale's*; Catherine Cahill; Lilly Cates; CBS, Inc.*; Chase Manhattan Bank, N.A*; Chemical Bank*; Coach Leatherware; Consolidated Edison*; Coopers & Lybrand*; Joseph F. Cullman III; Louise B. & Edgar M. Cullman Foundation; Mr. & Mrs. Frederick M. Danziger; Adele Earnest; Ralph Esmerian; Exxon Corporation*; Eva Feld; Estate of Morris Feld; Howard J. Feldman; Austin Fine; Grace Foundation, Inc.*; Gulf & Western Foundation*; Justus Heijmans Foundation; Edgar C. Hyman Company; IBM Corporation*; Institute of Museum Services; International Paper Company Foundation*; Japan-United States Friendship Commission; The Junior League of the City of New York; Mrs. Margery G. Kahn; Margery & Harry Kahn Philanthropic Fund; The J.M. Kaplan Fund, Inc.; Estate of Theodore H. Kapnek; Mrs. Francis Kettaneh; Jana Klauer, Anne Baxter Klee; Mr. & Mrs. Robert Klein; Krikor Foundation; Jo Carroll Lauder; The Lauder Foundation; William I. Leffler, Ira Howard Levy; R. C. Lilly Foundation; Mr. & Mrs. Howard Lipman; Joyce Longworth;

FA-1W

Manufacturers Hanover Trust*; Marsh & McLennan Companies, Inc.*; The Joseph Martinson Memorial Fund; Elizabeth McCormack; Mobil Corporation, Inc.*; Morgan Guaranty Trust Co.*; The Helen R. and Harold C. Mayer Foundation, Inc.; Phillip Morris, Inc.*; National Endowment for the Arts; New York State Council on the Arts; New York Telephone Co.*; Otis Elevator Company*; Mr. & Mrs. Leo Rabkin; The Richard Ravitch Foundation, Inc.; RCA Corporation*; The Reader's Digest Association*; Thomas G. Rizzo; Rockefeller Center, Inc.*; Dorothy Roberts; Mrs. John D. Rockefeller 3rd; Mr. & Mrs. Jon R. Rotenstreich; Lorna Saleh; Cynthia V.A Schaffner; Schlumberger Horizons, Inc.*; Karen S. Schuster, Mrs. Samuel Schwartz; The Seaman's Bank for Savings; The Seven-Up Company; Sanford & Patricia Smith Galleries, Ltd.; Sotheby Parke-Bernet, Inc.*; Martha Stewart; The Stitchery, Inc.*; Sumner Gerard Foundation; Maureen Taylor, Alfred Tananbaum Foundation, Inc.; Tarex Foundation; H. Van Ameringen Foundation; David Walentas; Warner Communications, Inc.*; The Xerox Foundation*. *CORPORATE MEMBERS

A portion of the museum's general operating funds for this fiscal year has been made available through a grant from the Institute of Museum Services, a Federal agency that offers operating and program support to the nation's museums.

1982 The E.M.C. FRENCH SUNDAY

Concord Ontiques Fairs

1982 JANUARY 17th FEBRUARY 21st MARCH 21st APRIL 4th

Managed bt S.K. FRENCH Exeter, N.H.

New Hampshire Highway Hotel Concord, New Hampshire 71

EUGENE EPSTEIN AMERICAN PRIMITIVES and others

Uncle Jack Dey Justin McCarthy Inez Nathaniel Pucho Odio Joe Polinsky Old Ironsides Pry

Bill Roseman Nellie Mae Rowe Jack Savitsky Mose Tolliver Chief Willey Mose Tolliver

22 Wooster St., NYC 10013, By Appointment 212226-7316

Index to Advertisers Aarne Anton, American Primitive.... 15 Eisenberg Folk Art Gallery OBC Eugene Epstein America Hurrah American Country Store

IFC Fearless Design

American Folk Art, Sidney Gecker...62 S. K. French 62 Galerie St. Etienne Mama Anderson

70 Newcomer/Westreich

72 NYâ&#x20AC;&#x201D;PA Collector

63 Ohio Antique Review

71 Anthony Petullo

5,61

17 Rainbow Movers

67 1

Antiques & the Arts Weekly

68 Pie Galinat

67 John Keith Russell

Antiques Center, The

69 Gasperi Folk Art

70 Kathy Schoemer

Art Voices

60 Hammer & Hammer

63 School House Antiques

Authentic Designs

66 Jay Johnson

IBC Sotheby Parke Bernet, Inc

Huntington T. Block

64 Just Us on Court

11 Winter Antiques Show

Childs Gallery

14 Thomas K. Woodard

Bea Cohen/Russell Scheider

8 R H Love Galleries 16 Made In America

Country Curtains Thomas and Pamela Cushman

70 Steve Miller 64 Miller, Addison, Steele, Inc

17 2

6 Museum of American Folk Art

9 Yolanda Fine Arts

"SUMMER BAPTISM"BY MATTIE LOU O'KELLEY

JAY JOHNSON 72 East56th Street, New York, N.Y. 10022 Tuesday thru Saturday 12 p.m. to 5 p.m. (212)759-7373

America's Folk Heritage Gallery

JOEL and KATE KOPP SI 316 EAST 70thSt

NEW YORK 10021

* 212

535-1930

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Pieced and appliqued quilt, made by Harriet J. Dishong with the assistance of her sister. Mary, near McConnellsburg, Fulton County, Penn. This masterpiece of American Folk Art was started in 1875 and -completed March 20, 1890. In addition to the exceptional quality of needlework in the applique borders, this remarkable quilt contains nearly 25,000 individual pieces of fabric. 95"x 88".

Although we are best known for QUILTS and TEXTILES, our shop and gallery always offer a choice selection of FOLK SCULPTURE, PRIMITIVE PAINTINGS,WEATHERVANES, SAMPLERS, HOOKED RUGS, and COUNTRY ACCESSORIES. Please visit us when you are in New York City our hours are Tuesday窶認riday 12-7 pm, Saturday 12-6 pm Closed Monday.