The Clarion (Winter 1983/1984) by American Folk Art Museum

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AMERICA'S FOLK ART MAGAZINE The Museum of American Folk Art New York City

NONMANNWIMANI3.11.,•

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Undoubtedl f th ost important recent discoveries in American Folk Sculpture. Signed and dated: "Tom Charlton, Deadwood, South Dakota, October 1926. 62" high

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

The American Folk Art Collection ofFrank and Karen Miele

Double portrait of John Somes and William Collins Dolliver, by William W Kennedy.

Auction: Saturday, January 28 at 10:15 am. Exhibition opens Saturday, January 21. Illustrated catalogue available for $12 by mail. Order by sale no. 5143, and send your check to Sotheby's Subscriptions, Dept. A143CF,PO. Box 4020, Woburn, MA 01801. Inquiries: Nancy Druckman,(212)472-3512. Sotheby Parke Bernet Inc., 1334 York Avenue at 72nd Street, New York, N.Y. 10021.

SOTHEBY'S Founded 1744 2

SUSAN C.1YATERS (1823-1900) Portait of a Boy with a Dog Oil on canvas;43/ 1 2x 29/ 1 2inches Painted circa 1845 Exhibited: "Mrs. Susan C. Waters, 19th Century Itinerant Paintor Longwood Fine Arts Centel; Longwood College, Farmville, Virginia, October 19-November 19, 1979; Arnot Art Museum, Elmira, New York, January5-January 31, 1980; Number 24; Reproduced Recorded: Colleen Cowles Heslip, "Susan C. Waters,"Antiques, Volume CXV Number 4, April 1979, Page 777, Plate II; Reproduced

Wunderlich & Company, Inc. Dealers in Fine Art Since 1874 41 East 57th St., Seventh Floor New York, New York 10022 Telephone(212)838-2555 Tuesday-Saturday 9:30-5:30

NERLICH .&CuMPANYINGA

calffus amencalz-_v filkart ImmimmapaS wimilift"100 bettie mintz p.o. box 5943 bethesda, maryland 20814 near Washington, D.C. 301-652-4626

JoyPiscopo Early 20th-century crocheted table cover from Landis Valley, Pennsylvania, in strong primary colors. Approximately 66" x 70". Provenance on request.

:414 41"

141 Middle St., Portland Maine,(207)7744479 4

KENNETH & IDA MANKO Americana and Quality Folk Art Moody, Maine • Mid-way Between Ogunquit and Wells, Maine Just off Coastal Route 1 • Open Year Round • 207-646-2595

BONNER'S BARN 25 Washington Street Malone, New York 12953 Phone 518-483-4001

Ethnographic Arts Inc. 19th and 20th Century Folk, Outsider and Ethnographic Art

Drawing by George Liautaud

Randall Morris/Shari Cavin-Morris 56 Crosby Street New York City, New York 10012

(212)334-9381 By Appointment Exceptional Grain Painted American Tall Clock, Early 19th Century, Superb Original Paint, 7'21/2"High.

PHYLLIS HADERS

Amish Quilt Double Nine Patch, Lancaster County, Pa. Circa 1930.

I am always interested in purchasing quilts of this quality. By Appointment (212)832-8181 Mail address: 136 East 64th Street, New York, New York 10021 7

QAMERICAN cANTIQUESIA,QUILTS

BLANCHE GREENSTEIN

TOM WOODARD

-*1*, •

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"Tree of Life:' Early nineteenth century applique with stuffed work. 75 x 90 inches.

We are always interested in purchasing exceptional quilts, collections or individual pieces. Mail or telephone inquiries invited. Photos returned promptly. Exhibiting at the Winter Antiques Show,New York City 835 MADISON AVENUE, NEW YORK, N.Y. 10021(BETWEEN 69TH AND 70TH STREETS)TELEPHONE(212)988-2906

THE CLARION

Hooked Rug

WINTER 1983/1984

CONTENTS

Artist unknown

New England mid-I9th century Wool and cotton on burlap 2x 109" 1 105/ Anonymous gift 1978.32.1

by Lea Sneider

by Henry J. Kauffman

by Arthur B.& Sybil B. Kern

by R. Lewis Wright

AUSPICIOUS SPIRITS Korean Folk Paintings and Related Objects

THE AMERICAN COPPER TEA KETTLE The Clarion is published three times a year by the Museum of American Folk Art,49 West 53rd St., New York, NY 10019;(212) 581-2474. Annual subscription rate for MAFA members is included in membership dues. Copies are mailed to all members. Single copy $4.50. The Clarion, America's Folk Art Magazine. WINTER, 1984 Published and copyright 1983 by the Museum of American Folk Art, 49 West 53rd Street, New York, New York 10019. The cover and contents of The Clarion are fully protected by copyright and may not be reproduced in any manner without written consent. Opinions expressed by contributors are not necessarily those of the Museum of American Folk Art. Unsolicited manuscripts or photographs should be accompanied by return postage. The Clarion assumes no responsibility for the loss or damage of such material. Change of Address. Please send both old and new addresses and allow five weeks for change.

THOMAS WARE Vermont Portrait Painter

CARL HAMBUCK Richmond Artist

Current Major Donors

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

Letter from the Director

Calendar

Museum News

Book Reviews

Membership

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.

Index to Advertisers

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

ACQUIRING ANTIQUES THROUGH BROKERAGE... Announcing the publication of our second brochure, AN AMERICAN AESTHETIC; MASTERPIECES OF ART AND DESIGN. Lavishly illustrated with 68 pages,20 in color,focusing on high style country furniture, folk art, paintings and Shaker. A valuable reference work for dealers, collectors and designers. Send S16.00 which includes postage and handling. Allow 8 weeks for delivery.

David A.Schorsch PO.Box 413 South Salem,N.Y. 10590 Telephone: 914-234-9556

JOHN AlVIQUES,

RUSSELL

SPRING STREET, SOUTHSALEM,V10590 (914) 763-8144

Rare Zoarite Bench in Original Ochre Paint Ohio third quarter 19th Cent. 56" x16" x35" H.

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

Letter from the Director Dr. Robert Bishop

From time to time over the last several years I have written to you about the Museum's ambitious building program on 53rd Street, a program which will transform our six buildings with their warren of small rooms and offices into a well-designed and fully-equipped museum with a wide variety of supporting educational facilities. As you may know, the development of these new facilities will require the Museum to relocate for several years during demolition and construction. I am pleased to announce that we have moved sufficiently forward with our plans to have arranged for temporary exhibition galleries at 125 West 55th Street, a charming carriage house which served for a period of time as the Jazz Museum of America and more recently as a design studio. The Museum's new galleries are almost immediately adjacent to New York's famed City Center, a major facility for the performing arts, while our nearest neighbor is the Choir School of St. Thomas Church, with which we have developed cordial relations through the years. We are directly opposite the "vest-pocket" Fisher Park and the Ziegfeld Theatre. We are delighted that the location on 55th Street allows us to remain near our permanent site so that we may closely follow its progress. The new facilities will permit us to enlarge our gallery exhibition space substantially. As opposed to approximately 950 square feet of space in our existing gallery, the new gallery will more than double the available space for exhibition purposes.In addition, we are projecting a flexible educational center and lecture area adjacent to the primary exhibition space. This will permit a greater integration of our educational and exhibition programs. Those members and friends of the Museum who have participated in its educational outreach programs over the years will be pleased, I am sure, with the major improvements being

planned. In addition to these facilities, the new space on 55th Street will permit the Museum Shop to be located in more comfortable surroundings with ,adequate display for its wonderful assortment of books and hand-crafted items. Although the move to 125 West 55th Street is planned for early in 1984, our administrative offices will remain for the time being on 53rd Street. While this will place a burden upon our operations, it is part of the "growing pains" to which we have become accustomed. As the date for demolition and construction on 53rd Street comes closer, those staff functions which are not centered in the 55th Street location will be housed in nearby offices. Among the important exhibitions planned for our new galleries are "Cross Currents," "The World of Grandma Moses," and "The Jewish Heritage in American Folk Art." As of the publication deadline for this issue of The Clarion, it is uncertain whether our presentation of the important collection of American folk art assembled through the years by the well-known collectors, Mr. and Mrs. James 0. Keene,will be the final show presented on 53rd Street or the initial presentation on 55th Street, but it is an exhibition which we are looking forward to with great anticipation. Although the relocation of the Museum looms very large in our current plans, I do not want to end these remarks without referring to the important educational programming now being undertaken. On January 12-14 the Museum is sponsoring a major symposium on religious folk art in America in conjunction with "Reflections of Faith: Religious Folk Art in America," now on exhibit at the IBM Gallery of Science and Art. Through the generosity of the New York Council on the Humanities the Museum has been able to bring together an imposing group of scholars in the fields of Amer-

ican folk art and American folklife. In addition,through the interest ofthe National Endowment for the Arts, Folk Arts Program, the month of January will see several important performances and tours under the aegis of the Museum, including a tour of Trinity Church gravestone sculpture; an ethnic food tour of the Lower East Side; a concert of Black religious folk music by L.D. Frazier; a lecture on stonecarving and religious architecture and a tour of the Cathedral Church of St. John the Divine; a concert of Cuban folk music by Roberto Sorrell y su Kabata; a concertofPuerto Rican folk music by Pepe Castillo; and performances by the Manteo Sicilian Marionette Theater. We were also pleased to be co-sponsors with the American Folklife Center at the Washington D.C. meeting on Folk Art, held at the Library of Congress on Decembpr 5-6, 1983. Four hundred people from the university, museum and collecting communities attended,and more than twenty scholars in the fields of folk art and folklife delivered provocative presentations. The conference succeeded in its purpose of bringing together those who view the folk art object primarily as art and those who emphasize its artifactual content within a cultural context. Looking at both the "art" and the "folk" yields the fullest understanding and appreciation of the object. Our thanks to Peter Bartis, Alan Jabbour and Ray Dockstader of the American Folklife Center for all their fine efforts. The Museum was recently honored for excellence in magazine cover design by The American Institute of Graphic Arts (AIGA). The Spring, 1982 and Spring/Summer, 1983 covers of The Clarion will appear in a special exhibition and the AIGA Annual, AIGA Graphic Design, USA. May 1984 be a banner year for all of you. Please watch for our new banners which will be flying on 55th Street this spring. 13

PHOTO BY C. EISENBERG.

Museum of American Folk Art

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

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

Departments Anne Minich, Director ofDevelop,nent Marie DiMatmo, Museum Shop Manager Nancy Dorer, Curator ofEducation Susan Flamm,Director ofPublic Relations Joan Lowenthal, Director ofPublications Edith Wise, Librarian Daniel Pagano,Development Assistant Adrienne Krug, Membership Coordinator Nancy Mead,Assistant Shop Manager

Programs Irene Goodkind, Nancy Brown, Co-Chairwomen Friends Committee Dr. Marilynn Karp, Director, New York University Master's Program in Folk Art Studies Dr. Judith Reiter Weissman, New York University Program Coordinator Lucy Danziger, Susan Klein, DocentProgram Consultants Eleanora Walker, Exhibitions Previews Coordinator Sallie Nelson,Junior League Liaison Nancy Higgerson, Outreach Coordinator

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

One of three Sideshow Advertisements. Oil on Masonite, 48 x 32'.' Circa 1930.

CARL HAMMER GALLERY

Museum Shop Staff Elizabeth Alouf, Elizabeth Cassidy, Anne DeCamp, Rita Geake, Lisa Haber, Caroline Hohenrath, Pat Hough, Annette Levande, Fran Marsala, Robin McCoy, Isabel Mills, Eileen Murphy, Sally O'Day, Pat Pancer, Saralee Pincus, Rita Pollitt, Linda Ruoss, Eleanor Seymour, Myra Shaskan, Caroline Smith, Jane Sorenson, Claire Spiezio, Paula Spruck, Mary Walmsley, Ann Wilson, Sheila Zuhusky 14

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

Sculptural portrait of a 1930's Main Street, made by Edmund Baurer, Lattrobe, Pennsylvania. 34 x18 x12 inches. Made of wood and canvas.

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

London's outpostfor English non-academic art and Americana

Harvest & sun quilt C. 1855 C19 fruitwood rocking chair with rush seat

C19 portrait of man in top hat on metal panel

Federal painted corner cupboard. Poplar, early C19. Exterior painted yellow, interior painted white

C18 oak tripod table C19 yellowlegs decoy

Crane Galery

( 3 mins. from Harrods)

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

Fine and rare Chippendale cherrywood secretary desk having an architectural cornice with dental molding, a 13-light mullioned upper section with scallopped dividers, fluted quarter-columns and lamb's tongue terminals; shaped cabinet, the lid inlaid with mariner compass points, the base having gadrooned molding, claw-and-ball feet, vine-carved quarter-columns and Iamb's tongue terminals. Connecticut, circa 1780-1805. 40" wide,20"deep,84" high.

Thomas G.Schwenke Fine Authenticated American Antiques 956 Madison Avenue(75th Street)New York, NY 10021 Telephone:(212) 772-7222 Thes. thru Sat. 11 a.m.-6 p.m. 17

Museum of American Folk Art Board of Trustees

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

Members Catherine G. Cahill Karen D. Cohen Adele Earnest Barbara Johnson, Esq. Alice M.Kaplan Jana Klauer William I. Leffler Ira Howard Levy Cyril I. Nelson Kenneth R. Page, Esq. Cynthia V.A. Schaffner Robert N. Wilson William E. Wiltshire III

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

Development Advisory Committee

Virginia W. Brieant, Director, Contributions to the Arts, Warner Communications, Inc. Jeanne R. Kerr, Vice President, Corporate Contributions, Time Incorporated

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

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

Current Major Donors

The Museum of American Folk Art thanks its current major donors for their generous support: Over $20,000 Mr. and Mrs. Frederick M. Danziger Mrs. Eva Feld Estate of Morris Feld Margery G. Kahn Fondation Krikor Fondation Tarex *General Mills Toy Group 18

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

Margery & Harry Kahn Philanthropic Fund J. M. Kaplan Fund, Inc. Henry R. Kravis New York Council for the Humanities Rockefeller Brothers Fund Mr. & Mrs. George Shaskan Estate of Jeanette Virgin

$4,000-$9,999 $10,000-$19,999 *American Express Company

*Bankers Trust Company Bernhill Fund *Chase Manhattan Bank, N.A.

Current Major Donors

Mr. & Mrs. Edgar Cul!mann Adele Earnest Mr. & Mrs. Austin Fine Barbara Johnson Mrs. Ruth Kapnek Mr. & Mrs. Robert Klein Ira Howard Levy *Mobil Corporation Swedish Council of America *Time Incorporated Norman & Rosita Winston Foundation

$2,00043,000 *Bristol-Myers Fund *Caterpillar Foundation *Chemical Bank *Coach Leatherware Joseph E. Cullman III *Exxon Corporation *Grace Foundation *E.E Hutton Foundation *International Paper Company Patricia & Richard Locke *Marsh & McLennan Companies Helen R. & Harold C. Mayer Foundation *Metropolitan Life Foundation *Morgan Guaranty Trust Company *Morgan Stanley & Company *New York Telephone Company *Ortho Pharmaceutical Corporation *Philip Morris, Inc. *Rockefeller Center, Inc. *Schlumberger Horizons, Inc. *Seamen's Bank for Savings Alfred Tananbaum Foundation, Inc. *Warner Communications, Inc. William Wiltshire III Robert N. Wilson *Xerox Corporation

$1,000-$1,999 *American Stock Exchange *American Broadcasting Companies, Inc. Babtkis Foundation *Bank of New York *B.E.A. Associates Mr. & Mrs. Joseph A. Bena, Jr. *Bill Blass Ltd. *Bloomingdale's *Boll & Jacobs *Bunge Corporation *CBS, Inc. *Citibank, N.A. *Chesebrough-Pond's Inc. Mr. & Mrs. Peter Cohen The Compton Foundation *Con Edison Joyce & Daniel Cowin *Culbro Corporation *Echo Scarfs

Susan Zises Green *Gulf+ Western Foundation Sumner Gerard Foundation Justus Heijmans Foundation *IBM Corporation *Institutional Investor *International Telephone and Telegraph *Johnson & Johnson Family of Companies *Macy's New York Estate of Myron L. Mayer Meryl and Robert Meltzer *The New York Times Foundation *Polo/Ralph Lauren *RA Controls Incorporated Richard Ravitch Foundation *Reader's Digest Association *Reliance Group Inc. Marguerite Riordon Mrs. John D. Rockefeller III Jon and Sue Rotenstreich Foundation Lorna Saleh Mr. & Mrs. Samuel Schwartz Rev. & Mrs. Alfred R. Shands III Arman & Louise Simone Foundation Herbert M.& Nell Singer *Sotheby's The Stitchery, Inc. Barbara & Thomas W. Strauss Mr. & Mrs. Stanley Tananbaum Issac H. Male Fund H. van Ameringen Foundation David Walentas

$500-$999 Louis Bachmann Foundation Edward J. Brown Robert & Judith Burger Catherine D. Callegar Colgate Palmolive Corp. Cowen & Company Mr. & Mrs. R.W. Datmnann John K. Davenport Mr. & Mrs. James DeSilva, Jr. Doyle Dane Bernbach E.M.D.L. American Folk Art Richard C. & Susan B. Ernst Foundation Dr. & Mrs. Joseph French Mr. & Mrs. Edward Gardner *General Foods Corporation *Great Northern Nekoosa Corporation Joyce & Stephen Hill Joan & Victor Johnson Theodore & Shirley Kesselman Susan C. Kudlow Mr. & Mrs. Arthur Levitt, Jr. Mainzer Minton Company Enid Michelman *N.L. Industries Foundation Eleanor & Lewis Newman Milton Petrie Mr. & Mrs. Moe Rosenman

Mrs. Robert Steinberg Betty Sterling Jeannemarie Volk

The Museum is grateful to the CoChairwomen of its Special Events Committee for the significant support received through the Museum's major fund raising events chaired by them.

Cynthia V. A. Schaffner Karen S. Schuster

The Museum also thanks the following donors for their recent gifts to the Permanent Collection and Library:

The Americas Foundation Mr. and Mrs. Francis Andrews Anonymous donors(2) Mr. and Mrs. Edwin Braman Dr. Stanley B. Burns Mr. James I. Chesterly Eva and Morris Feld Folk Art Acquisition Fund Dr. and Mrs. Alfred Halpern Mr. and Mrs. Philip M. Isaacson Barbara Johnson Estate of Otto Kallir on behalf of one of the heirs Dr. and Mrs. Arthur B. Kern Mr. Bruce Lacont Jean and Howard Lipman Made in America, New York, New York Mrs. Clara Morthland Dorothy and Leo Rabkin Marguerite Riordan Mr. and Mrs. Gary Stass Mrs. Henry Tumenâ&#x20AC;&#x201D;Education Collection Estate of Jeanette Virgin Bill Weaver in memory of Mr. Quincy Weaver and Mrs. Anna Mahaffey Weaver

*Corporate Member

A portion of the Museum's general operating funds for this fiscal year was provided by a General Operating Support grant from the Institute of Museum Services, a Federal agency that administers to the nation's museums, and with public funds from the New York State Council on the Arts. 19

In 1977 Christie's discovered America. Ever since, America's been discovering us. When we held our first season of sales in America we discovered that the American auction market was thriving, especially for American fine and decorative art. Every year since then Christie's sales of Americana have become high points of the auction season for collectors and consignors alike. The reason is simple: The quality of works consigned is consistently high and our experts are among the best in the business. If you are interested in buying or selling fine or decorative art you won't find a better place to do so than Christie's, as more Americans discover year after year.

(Above)A fine carved and painted wood replica of the U.S.S. Lancaster Firehead by John Haley Bellamy, circa 1885. Sold on September 19, 1981 in New York for $6,600. (Below)A fine carved and painted wood twin eagle plaque by John Haley Bellamy, circa 1885. Sold on September 19, 1981 in New York for $8,800.

CHRISTIE'S

502 Park Avenue, New York, New York, 10022212-546-1000

The Galerie St.Etienne Specialists in 19th and 20th century folk painting Representing the estates of John Kane and Grandma Moses

Greek Revival Interior, Ca. 1830 40" x 51"

24 West 57th Street New York, N Y 10019 Tel (212) 245-6734 Tuesday-Saturday, 11-5

Portraits of Sarah and Timothy Johnston of Boston, Massachusetts attributed to William Matthew Prior. 10/ 1 2" x 15" in untouched condition.

AMERICAN SCHOOL (19th CENTURY) oil on canvas: 30 x 25 inches date: circa 1840

PORTRAIT OF A LADY

Q.1-1. LOVE TOM MIT GALLIUM( 106 E.OHIO ST.,CHICAGO,IL 60611 312/664-9620

SUZANNE FELDMAN

AMERICANA

ROUTE 112 WEST • LAKEVILLE,CONNECTICUT 06039 (203)435-2674 or(212) 734-5885 22

E.M.D.L. AMERICAN FOLK ART

FREDERICK TAYLOR HOUSE WASHINGTON CROSSING HISTORIC STATE PARK WASHINGTON CROSSING,PENNSYLVANIA 215-493-8835

by appointment

28 EAST TENTH STREET NEW YORK CITY NEW YORK 212-477-3442

23 pair of 19th century mourning drapes, carved pine, original black paint and grey edges, 33" high, 37' wide

Photographs: Dana Levy

':7411

Mountain Spirit Artist unknown;Korea;18th/19th century;Ink on paper; H. 49/4 W. 33/ 1 4"; Lent by Kim Ui-San. The Sanshin or Mountain Spirit is usually portrayed with his tiger companion sitting under a pine tree beside a waterfall. Legend has it that Tangun, the founder of Korea, went up to the mountain and eventually became a mountain spirit. Sometimes he wears a crown, here the hat ofa military man. 24

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AliDRELATCD OBACCTS by Lea Sneider

Buddha Artist unknown; Korea; 18th century; Poly1 2': W.5/ 1 27 chrome wood, glue and lacquer; H.14/ D. 6"; Lent by Professor Lee Dai-won. An 18th century wooden country Buddha originally painted with lacquer mixed with glue. An opening in the back once contained the donor's name and dates.

Bright and brash—outgoing, funny and direct—the folk art of Korea is a reflection of her national character. Too long culturally indistinguishable from China and Japan to Western eyes, Korea has historically been not only a battleground, but a bridge between the two. Her cultural roots lie in the religious traditions ofthe Asian mainland and in the mythology of China. However, centuries of survival under foreign domination, during which time inherited traditions have been adapted and imbued with unique national experience, have given Korean art a special quality. Two artistic traditions have evolved concurrently: the literati or classical tradition whose ink paintings oflandscapes,flowers, bamboo and the like bear strong resemblance to Chinese and Japanese art; and the folk tradition, which is rooted in the life of the people and has a specifically "Korean" sensibility. This second tradition is the subject ofa major exhibition which will be seen in the United States this year. "Auspicious Spirits: Korean Folk Paintings and Related Objects" focuses on folk paintings and objects which are the sources of the paintings' iconogra-

phy. All the art was produced during the Yi Dynasty which lasted for more than 500 years, from 1392 to 1910. Confucianism, with its strong emphasis on a heirarchical society, extolling the virtues of filial piety and respect for authority and scholarship, provided the values governing Korean society. Buddhist and Taoist influences were everpresent, however, and running like a river beneath it all was a strong current of native Shamanism centered on its belief in spirits both animal and human. In the folk paintings one finds all these ideas intermingled. These paintings—in the form of screens and scrolls—served a practical function in Korean homes and marked every important occasion and aspect of life, beginning with the First Hundred Days celebration.

CAiLDREN

Because of the high infant mortality rate, families waited until the newborn child was a hundred days old before rejoicing in its arrival into the world. A ten panel screen depicting one hundred children (give or take a few) playing in various stages of undress against a background of Chinese influenced architecture was produced for the occasion. A young son was encouraged to persevere in life against all odds. A painting of a carp jumping out of the water, heading for the sky, turning into a dragon and making the rain, was considered appropriate inspiration. 26

Dragon and Fish Artist unknown; Korea; 19th century; H. 50';' 30";Lent by Mr.and Mrs. Wilbur Daniels. This is known as an 'Above and Below" paintingâ&#x20AC;&#x201D;a style unique to Koreanfolk painting in which one can "see" above and below the earth. In the peaceful seascape one sees the carp which will eventually go up to the sky and become the dragon, who lives in the clouds and produces rain. The swirling energy of the circular dragonform is in marked contrast to the placid serenity ofthe scene below.

MAititiAGE

Traditionally, weddings were the occasion for a variety of symbolic gestures. For the ceremony itself, a peony screen (the peony being the flower of prosperity and fertility) was most appropriate for the ceremony itself. Flower and bird screens, with the birds and insects always in pairs, were considered emblems of connubial bliss and were placed in the bridal chamber. (If occasionally you find a bird missing,it's just behind a bush!)Fish screens with many varieties of underwater denizens, including shrimp and turtles, were believed to be important promoters of fertility and peaceful married life. A metal lock in the form of a fish is an important related design element. Since a fish never closes its eyes, it is the perfect guardian of possessions. One of the more delightful objects of

Korean folk art is the wedding duck, carved of wood and sometimes gaily painted. Since the duck takes only one mate, the bridegroom in times gone by presented a live one to the family of the bride. As the supply of wild ducks dwindled, a wooden one was substituted. In some regions, the groom carved and delivered it himself. In others, he asked the most skillful carver in the village to make one and then selected a family elder whose marriage was reputed to be especially happy to deliver the duck on his behalf. In any event, a single duck was offered, not a pair, as some would have collectors believe.

Single Panel from Birds and Flowers (8 panels) Artist unknown; Korea;19th century;H.52Âź'W 17"; Lent by Mrs. Yoon Gyoung-hyoun. Rabbits pounding New Year's rice cakes with mortar and pestle by the light ofthe moon. These traditional good luck symbols appear here as one of the panels ofa wedding screen.

Wedding Duck Artist unknown; Korea; 19th century; H. 15: W. 12";Lent by Professor Lee Dai-won. A traditional wedding duck, carved from a single piece of wood, was presented by the groom to his bride as a symbol of marital devotion. Many of these ducks are reminiscent of the American decoy, although their purpose was entirely different and there was no attempt at realistically portraying any particular species. 27

Confucian society extolled the scholar and the virtues of truth, loyalty and respect for elders, and produced two important categories of screens: the scholar's screen with its stacks of books, brushes, inkstones and sometimes even eyeglasses; and the calligraphy screen with each of eight panels bearing the character of one ofthe Confucian ethics, often in combination with a specific animal, such as the dragon with "loyalty7 two birds with "justice:' and so on. Another element in the scholar's screen usually portrayed several different kinds of seed bearing fruits, once again echoing the theme of fertility.

SC14OLAR6i4i?

Brush Holder Artist unknown; Korea; 18th century; H. 7', W. 63/4";Lent by Suh Se-ok. An 18th century bamboo brush holder has carved longevity symbols. Seen here is the crane, clouds, bamboo and the pulocho, the flower of eternal life. Such pieces were not only essential accoutrements ofthe Confucian scholars but were painted into the traditional scholar's screens.

OLD AGE AliD DEAT14

Longevity was a major preoccupation of Oriental society and the symbols promoting it, such as the crane, deer, turtle, bamboo and pine, were liberally depicted. An elaborate screen illustrating a "Man's Happy Life" was often produced for his sixtieth birthdayâ&#x20AC;&#x201D;a landmark occasionâ&#x20AC;&#x201D;or filial piety might be chosen as an appropriate theme. Interestingly enough, the event of a man's death was not marked by a particular screen, but by the absence of one. Ancestor worship, nevertheless, did have its artistic place in the form of a "Spirit House" painting. Long ago, it was Buddhist custom to build a small house for the spirits of departed relatives; examples can still be seen in such places as Thailand today, even though, like the wedding duck, an artistic stand-in came to be a substitute for the real thing. Such paintings were brought out on the anniversary of a death, and offerings of food placed before it. 28

Panel of Pictorial Ideographs Artist unknown;Korea;19th century;H.23/ 1 27 W. 14"; Private collection. A panel ofa calligraphy screen with the character for "Justice', one of eight Confucian principles. The two birds which always accompany thisfigure are actually part of the calligraphy.

itEtiGi0/1

Religious or temple painting and sculpture is a fascinating but unclear area of Korean folk art. Taoist, Confucian, Buddhist and Shaman elements intermingle; belief in one faith did not necessarily negate belief in one or more of the others. The symbolism of Taoism, Confucianism, Buddhism and Shamanism could all be represented with one painting, insuring the benevolence of all the spiritual powers. Buddhism was, in fact, somewhat in disrepute during the strongly Confucian Yi Dynasty,and Buddhist temples came to be located in remote places. Shamanism, as well, with its mudangs or mediums to commune with the dead and its ceremonies to exorcise evil spirits, was officially denied but was, in fact, very much alive. Artistically, the temple complexes themselves were a mixture of influences. The central or main hall housed the important painting with Buddha as the central figure. But it was to the smaller pavilions that one went to pray for special blessingsâ&#x20AC;&#x201D;a husband, a sonâ&#x20AC;&#x201D;and here one found the wonderful

paintings of the mountain spirit, or sanshin. Carved and painted dragons upheld the roof beams, and phoenixes flew through the air. Portraits of resident monks, huge colorful paintings and sculpture of menacing mythical guardian figures covered the walls, and sweet wooden statues of attendants stood in the Judgement Hall with its grim depictions of the various hells.

The Sun Spirit and The Moon Spirit Artist unknown; Korea; 19th century; H. 407 W. 22";Private collection. The Sun and Moon Spirits are portrayed as Mudangs, Shaman spirits who could communicate with the dead. The Moon Spirit symbolized thefemale, or Queen,and the Sun the male, or King. The trident and thefan are typical Shaman accoutrements.

Phoenix Artist unknown; Korea;18th century; H. 7/ 1 47 W 19";Lent by Kyung Hee University Museum. The phoenix was a symbol of goodfortune and was frequently depicted in folk paintings. This 18th century polychrome wooden sculpture once hung from a temple beam in Kangwhen-do Province. 29

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Every household had its special amulets to ward off evil spirits. The mythical haet'ae guarded against fire; the rooster shooed away the dark spirits of the night; the imaginary pulgasari ate only metal and protected against smallpox; and the favorite of all Koreans,the tiger, was the most effective of all. Often he was pictured with a magpie, a most common Korean bird which tended to stay in one place. Knowing everyone in the village, it would squawk loudly to alert the tiger if strangers were about. But as the companion of the old mountain spirit, the tiger was full of humor and often looked more like a big pussycat.

Drum Stand in the Form of a Haet'ae Artist unknown; Korea; 15th century; H.50", W. 357D.15";Lent by Kwon Ok-yun and Lee Byungboc. The haet'ae was a mythical beast who protected against fire. Here heforms the base of a large temple drum stand believed to date to the 15th century.

Tiger Artist unknown; Korea; 19th century;Ink on paper;H.54/ 3 47 W.27W;Lent by Kwon Ok-yun and Lee Byung-boc. This beguiling baby tiger hardly looks as if he'd be very effective against evil spirits. The incredible brush work reveals each individual hair and seems to combine a leopard's spots with a tiger's stripes. The magpies are busy on the other side of the pine tree.

The artistic merit of Korean folk paintings varies widely, ranging from the utterly naive to works that were often surprisingly elegant and beautifully executed. Yangban, members of the landed aristocracy, could afford to commission well-known artists to commemorate various family occasions, while poor peasants would call upon the services of the local village painter for special events. One could even rent screens for special occasions; this was a common practice. Since the symbolism of many of these folk paintings was dictated by custom and tradition, it was, in a sense, "painting by formula:' The freedom lay in the fact that there was no rigidity in the brushwork—none of the studied mannerism of classical oriental painting. In the use of color and the addition of more, often decorative, elements, the imagination of the artist was unbounded. Lea Sneider is co-curator of the exhibition, "Auspicious Spirits" (with Robert Moes, Curator of Oriental Art, The Brooklyn Museum). She is the wife of the former United States Ambassador to Korea.

Pulgasari Artist unknown;Korea;18th/19th century;Ink on 1 2," W 29"; Private collection. The paper; H. 49/ wonderfullyferocious-looking mythical Pulgasari has the tail ofa cow, the trunk ofan elephant, the ears ofa donkey andfeetofa tiger. He ate nothing but metal and legend has it that he appeared at the end of the Koryo Dynasty (late 14th century) and ate all the weapons of the king, who lost all his power, enabling the first of the Yi Dynasty kings to take over. According to local beliefin the southern part ofthe country, he was particularly effective against smallpox.

Haet'ae with Flaming Mirror Artist unknown; Korea; 18th century; H.38," W. 250," D. 11"; Lent by Ugo and Jean Tori. In this marvelous 18th century temple sculpture, the mythical haet'ae forms the stand for the traditionalflaming mirror of the Buddhist hell paintings, wherein the "crime" is reflected in the mirror. This samefigure is seen in the exhibition in a painting ofthe "Crushing Hell:' wherein the crime is the theft ofa cow.

AUSPICIOUS SPIRITS: Korean Folk Paintings and Related Objects has been organized and circulated by the International Exhibitions Foundation, Washington,D.C.,and co-sponsored by the Korean Overseas Information Service. The exhibition contains 117 paintings and related objects and opens in New York at Asia House Gallery where it is on view from December 8, 1983—January 22, 1984. It will then travel to the New Orleans Museum of Art(February 11—March 25), the Honolulu Academy of Arts (April 14—May 27), Asian Art Museum of San Francisco (June 15—July 29), the Philbrook Art Center in Tulsa, Oklahoma(August 18—October 14) and the Los Angeles Museum of Art (November 8, 1984—January 6, 1985).

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Fig. 2 A globular tea kettle made by a Pennsylvania coppersmith named Sanderson, whose name is imprinted on the swinging handle. Courtesy, John Remensnyder Collection, Smithsonian Institution.

Recently, the American copper tea kettle has become important to both the antique and museum worlds. The prestige associated with the object, however, is not entirely new. An old story is told of a farmer who lived in the back country of western Pennsylvania. Each year he made one trip to Pittsburgh to sell items he and his family had produced the previous year and to buy equipment needed for the coming year. Traditionally, he would bring back a special gift for his wife, who stayed at home. One year he brought back a cop32

per tea kettle, which made the family proud since they were the only family in the region who had one. Hanging from the crane or sitting on the hearth, the kettle continued to be a source of pride, and each week it was polished with salt and vinegar to brighten its smoked surface. As a matter offact, the kettle was so important that it was traditionally willed to the eldest daughter. Today, copper tea kettles are purchased by serious collectors of Americana and also by distinguished museums. Winterthur,Colonial Williamsburg,the

Heritage Center of Lancaster County, the National Park Service and other cultural institutions own signed examples. The Williamsburg piece was made by a coppersmith named Reed who worked in Winchester, Virginia. Examining the various facets of the American copper tea kettle yields an understanding of its importance. First of all, it held inherent value since it was made of copper, a semiprecious metal. Copper was more costly and attractive than either tin or iron, two other metals used for kettles. When polished it stood

IEI

Fig. 1 An unsigned European tea kettle with a globular body and a lid on the spout. Private collection.

apart from other culinary vessels. Copper, like most metals, was imported during the eighteenth century, but its cost was not prohibitive for use in making an everyday vessel. In addition to its subtle beauty, copper had the added advantage of heating quickly and sustaining heat once removed from the fire. More important, this metal deteriorates slowly, a fact which explains why many kettles have survived until today. To learn the trade ofcoppersmithing, a boy was apprenticed at the age of fourteen to a master craftsman for seven years, during which time the master provided the young man with room and board. Along with his craft, the apprentice learned to read the Bible and to keep accounts. Apprentices were not allowed to marry or to disclose a master's technological secrets to unauthorized persons. With the completion of his training, the young man received a new suit of clothing and a set of tools for the future performance of his craft.

Some masters were good and helpful; others gave their apprentices dull and uninteresting work. Newspaper advertisements of the eighteenth century told of boys who ran away, hoping to find a kind master or to operate a shop of their own. It is interesting that there is no record of an apprentice becoming a partner in his master's business; however, it is known that occasionally an apprentice married the master's daughter. Since he had few skills, the boy's first chores around the shop were unimportant ones. He tended the fire in the forge, traced patterns, polished stakes and filed rough edges from objects his master had made. Learning to make a dovetail joint was of utmost importance to the apprentice, as thisjoint was used by all coppersmiths in Europe and America and was strong and well suited to the work to which it was applied. (See diagram on p. 34.) After cutting the pattern of a kettle to the desired shape, a cylinder was formed. To make a dovetail joint, cuts

were made on one edge; then the two edges were brought together. The tabs were hammered flat, and the joint was cleaned well for soldering by applying a borax solution. Raising the temperature of the joint to a low red heat, the coppersmith applied solder, which flowed through the overlapping metal parts. This heat accelerated oxidation ofthe metal, which wasremoved by dipping the piece in a mild acid solution. After all the parts were assembled, a lump of tin was placed inside the kettle and its temperature raised to the melting point. The molten tin was swished around until the entire inside was covered. The excess was then poured out. Applying the tin was necessary to prevent future contents from contracting an unpleasant copper taste. Just why the tea kettle was so named remains unsure. Obviously, five quarts of tea were not brewed in a five-quart tea kettle. Probably, water was heated for tea in the kettle, and then poured into a teapot where the tea was actually brewed. Tea was not a common drink 33

Steps in the making of a dovetail joint.

Patternfor a copper vessel. Band at right is excessfor the joint.

The dotted lines indicate cuts to be made with snips.

Form pattern into aflaring cylinder.

Cut on the dotted lines and turn one half the tabs perpendicular to the surface ofthe vessel as indicated.

Place the uncut edge against the base ofthe tabs and hammer the tabsfiat against the vessel. Bind with binding wire and solder with hard solder.

Afterjoining there is a double thickness at A

Thejoint is then placed on a stake and hammered until it is as thin as the adjoining sheet.

Uniform thickness at all points.

when the first kettles were made in America, early in the eighteenth century. It was not until the first half of the nineteenth century that a substantial number of pots were made by pewterers. These teapots were made with perforated openings where the bowl met the spout, thus keeping the tea leaves within the pot. One of the first coppersmiths to make the kettles in America was Peacock Bigger, who advertised them in the July 6, 1738 issue of the Pennsylvania Gazette. It is also known that John Getz was making them in Lancaster, Pennsylvania as late as 1840. Their commercial importance is further attested to by the fact that in 1750 Benjamin Harbeson promoted his tea kettles through an illustration on his business card. Harbeson called his shop, "At the Sign of the Golden Kettle!' No doubt he would have been shocked should someone have commissioned one of gold. It should also be mentioned that copper tea kettles were made in many sizes: from a few to twelve inches in diameter. The larger kettle was made when there was a big demand for hot water, but the role of the smaller ones remains a mystery. Possibly, they were made as samples, but coppersmiths rarely traveled to sell their wares; this fact strengthens the theory that they were made as toys, as German craftsmen were known to do. Certainly, one ofthe most interesting aspects of the American copper tea kettle is its design. The American style is easy to distinguish from the European models, although at least one coppersmith did make kettles in the traditional European design. Some of the early European kettles have survived for study, and though there are many varieties, many of them have a shape that might be described as "globular" (Fig. 1). The European kettle illustrated has such a spherical body, a step design in the lid and a lid on its spout.

This kettle is probably of German origin, for it lacks the rigid handle found on examples from England and the straight sides of the Scandinavian kettles. It is most likely that the first American kettles followed the German style. As a matter of fact, in the 1760s a Pennsylvania coppersmith named Sanderson made such a kettle with a globular body and a swinging handle with his name imprinted on it (a new American feature), but lacking the lid on the spout and the steps in the lid (Fig. 2). Both the European and Sanderson lids have brass knobs (Fig. 3). The Sanderson kettle is the only exam-

ple known to me. The kettle finally became Americanized in the last half of the eighteenth century. A new American body shape was devised by an unknown coppersmith whose example was followed by virtually all smiths who made copper tea kettles. One of these men was a coppersmith named Steinman who worked in Lancaster, Pennsylvania late in the eighteenth century. His kettle with its flaring sides is illustrated (Fig. 4). Some comment should be made about the unique feature of an intaglio located on the handle of the kettle and indicating the name of the craftsman. These stamps were made of steel,

which was engraved when soft and then hardened to withstand the constant wear from use. Some of these names have been erased from long and constant polishing, and a kettle with a good sharp stamp often brings a premium price. Finally, the value of American copper tea kettles should be noted. Prices will vary depending upon size and whether or not the kettle is stamped with the maker's name, but the trend seems only to be upward for early examples of American metal craftsmanship. Henry J. Kauffman, lecturer and writer, has written 13 books and 300 magazine articles about antiques, handcrafts and architecture.

Fig. 3 The lid on the Sanderson kettle (left) is much simpler than the European lid with its stepped design. Private collection.

Fig. 4 This typical Pennsylvania copper tea kettle was made by Fredrick Steinman in Lancaster in the late 18th century. Note the angularflaring sides. Courtesy, The Heritage Center ofLancaster County.

The state of Vermont produced several important primitive or naive portrait painters in the nineteenth century. Among the best known and most widely researched are Zedekiah Belknap, Horace Bundy,Sheldon Peck and Asahel Powers. Another Vermont artist whose work is of similar calibre but whose name is largely unknown is Thomas Ware. In fact, to date nothing has ever before been written about his portraits. The only mention of Thomas Ware's artistic activity is in Philip Battell's article on another Vermont portrait painter, Benjamin Franklin Masonl Mason,born in Pomfret, Vermont, was 36

a childhood friend of Ware. When Mason was nine years old and confined to his bed following an operation on his leg, Thomas encouraged him to draw, using engravings in books as his models: "In these are your copies. Why don't you draw? I do. You draw as well as I can:' According to Battell, both boys continued to draw, "with chalk and coal, Ware taking to it more boldly as a pleasure, Mason perhaps more carefully as a study:' Another source remarks, "A quill pen and homemade ink were the only available material for use. It was two years later before a lead pencil was found at a store'Ware then

met Abraham Tuthill, a portrait painter of some note, whose father resided in Pomfret for a few years. From Tuthill, he reportedly learned the technique of painting in oil and, in turn, passed this knowledge on to his friend, Benjamin. A final reference by Battell to Ware is the following: "In 1823-25, he(Mason) was with Ware in Woodstock, at school and painting. His friend already was making a local reputation, and had begun to go out:' Thomas Ware was born in Pomfret on August 7,1803,the son of Frederick and Jemima Manning Ware3/1 He had three step-sisters from his father's first

Thomas Ware: Vermont PortraitPainter byArthur B.& Sybil B.Kern

Fig. 1 The Titus Hutchinson Family (checklist 1). This is the only group portrait by Ware and is byfar his largest. Courtesy of Ottauquechee Chapter DAR Museum, Woodstock, Vermont.

Self-portrait (checklist 34). Collection ofthe Abbott Memorial Library, Pomfret, Vermont.

marriage and was the tenth of twelve children from the second one. His father had been born in Wrentham, Massachusetts, studied medicine with a Dr. Hawes of Foxboro, Massachusetts and later settled in Pomfret, where he married his first wife, Eunice Emerson, on January 25, 1784. At the present time, the whereabouts of Ware's early sketches in ink and in pencil is unknown. Interestingly, in the 1950 publication, "Two Journeyman Painters:" a book about Mason and Tuthill, the authors state that they have been unable to locate any work at all by Thomas Ware. Fortunately, this situa37

47;

Fig. 2 Richard and Cynthia Hayes(checklist 9,10). This is one ofthe three instances in which the portraits ofman and woman areframed together. Courtesy of Woodstock Historical Society. Fig. 3 Amaziah and Hannah Throop Richmond (checklist 11, 12). Private collection. Photograph courtesy ofChilds Gallery, Boston.

tion has been corrected, and we have been able to identify 40 or possibly 41 portraits in oil by his hand. Of these, two are known through their photographic reproductions in the book, "Pomfret, Vermont!' Seven are on canvas, the other 32 on wood panel. With only one exception,the portrait of the Hutchinson family (Fig. 1), each rendering is of a single individual. In three instances (Figs. 2, 3, 4)the portraits ofthe man and woman are framed together, although each is on its own panel. The portraits are bust-length, except for two where each subject is shown full-length and seated on a chair. In each painting, the head and the body are in three-quarter view. The female always faces toward the left and the male toward his right; three exceptions are the portraits of Job Richmond (Fig. 4), Pamelia St. John (Fig. 5) and Unidentified Young Woman (Fig. 6). As a rule, hands are not included, although 38

in some cases the subject holds a book, apple, eyeglasses or other such object. Since all the paintings were done within a period of four to five years, there is little or no development or change in style. The portraits are strikingly similar, especially those of the women. Characteristic are large, fully open eyes, prominent ears and eyebrows, heavy shading along the line of

the nose and a deep depression in the mid-line of the upper lip. The young women generally have prominent ringlets in front of their ears and many wear a tortoiseshell comb high on their heads. Many typically wear a white lace collar, accented by heavy daubs of white paint. Generally, the sitter is sharply outlined against a dark background and fills most ofthe panel, with

the top of the head close to the upper part of the support. An inscription, generally painted in black by the artist, and appearing with his signature on the reverse of the panel, identifies many of the subjects. Of his 41 portraits, the identity of the sitter is known in 35. 31 of these were residents of Pomfret, Woodstock, Barnard or Hartland, Vermont. These towns are no more than fifteen miles away from one another. One sitter(Fig. 7) lived in Alstead, New Hampshire, about 35 miles from Hartland, but he was related to another who lived in Pomfret and may possibly have been visiting there when his portrait was done. A second sitter (Fig. 8) was reportedly from Springfield, Vermont, about 15 miles from Hartland; there may be a marital link between the families of Thomas Ware and this subject. Two portraits (checklists 39, 40) are believed to have been painted in New

Fig. 4 Job Richmond and Mary H. Marcy (checklist 13, 14). Private collection.

Fig. 5 Pamelia St. John (checklist 39). Collection ofJudy Lenen.

Fig. 6 Unidentified Young Woman (checklist 41). Collection of George E. Schoellkopf.

Fig. 7 James Chandler, Jr.(checklist 4). This is the smallest and most atypical of Ware's portraits. Courtesy ofThe Balitmore Museum ofArt. Gift ofEdgar William and Bernice Chrysler Garbisch, New York.

Fig.8 Vienna Goodnow (checklist 2). Collection ofJack Martin. Photograph courtesy of Sotheby Parke Bernet, Inc., New York.

York State, west of Woodstock. It would appear that almost all of Thomas Ware's subjects were residents of the Pomfret-Woodstock area. The Woodstock Observer for the period from 1820 through 1823 does not include any advertisements by Ware, lending support to the concept that he obtained his commissions entirely by word-of-mouth recommendation. The fact that many of those painted were related by marriage strengthens this theory. Two Ware portraits were done in 1820, six in 1822 and the remainder of those with known dates in 1823. The rest ofthe paintings can be placed in the 1820-1823 period, with one or two pos40

sibly having been done in 1824 or 1825. He was active, then, as a portrait painter from the age of 17 to 20 or 21. Why he stopped painting after that is not known, nor do we presently know why he left Vermont to go to Whitehall, New York, about 45 miles west of Woodstock. One possible link between him and Whitehall is Sarah Richmond, daughter of Amaziah Richmond, the latter being one of his subjects(Fig. 3). Sarah moved from Barnard to Brandon, Vermont, in 1820 and after that to Whitehall'. Thomas Ware is reported to have died, unmarried, in Whitehall in 18268 or 182R In his short lifetime of23 or 24 years he produced a significant body of work,a reflection of the people

residing in the Pomfret-Woodstock area of Vermont.

Arthur and Sybil Kern are collectors, researchers and writers in the field of 19th century American folk art. Previous publications have been on Benjamin Greenleaf,J.A. Davis, Almira Edson,Joseph Stone and Warren Nixon. An article on Joseph Partridge is to be published and they are currently researching Royall Brewster Smith and Joseph H. Davis. They have lectured at universities, museums, historical and preservation societies.

CHECKLIST

1. The Titus Hutchinson Family; Attributed to Thomas Ware; c. 1820; Oil on canvas; 30 x 124': Titus, son of the Rev. Aaron and Margery Carter Hutchinson, was born April 29, 1771 in Grafton, Massachusetts. In July 1776, Rev. Hutchinson moved his family to the "Hutchinson farm!' in Pomfret, two miles from the center of Woodstock. Titus graduated from Princeton and then practiced law in Woodstock. He served as postmaster for three years and as town representative in the Vermont legislature for many years. He was appointed U.S. Attorney for the Vermont District by President Madison, March 3, 1813, holding this position for ten years before becoming a Justice of the Vermont Supreme Court. He died in Woodstock August 24, 1857. On February 16, 1800 Titus married Clarissa Sage, who died in Woodstock January 18, 1844. Their six children, all born in Woodstock, are included in the painting. The three oldest, Edwin, Oramel and Henry S., all became lawyers and practiced in Vermont. Titus Jr. was a merchant in Woodstock for some years and later resided in Hancock, Vermont. Clarissa Sage died, unmarried, April 13, 1852. Alexander, the youngest child, born February 3, 1816, was a merchant in Boston for a short time and later in Woodstock. He died July 23, 1850, at the age of 34 years, while crossing the Isthmus of Panama on his way to California during the gold rush.' Each of the three youngest children is portrayed holding an object and Alexander's crossed eye is clearly visible. Collection of the Ottauquechee Chapter D.A.R. Museum, Woodstock, Vermont. 2. Vienna Goodnow; Thomas Ware; 1820; Oil on wood panel; 24/ 1 2 x 19W Inscribed in pencil on the reverse of the panel, "Painted by Thomas Ware Below this is, "Framed by Abiah Smart!' Below the latter is "Picture of Miss Vienna Goodnow/Born/February 6, 1796/Painted when 24 years old/Painting is 73 years old/Died 1886/June/1930â&#x20AC;&#x201D;picture 110 years old!' In a recent reference Vienna Goodnow is reported to have been from Springfield, Vermont, about 25 miles from Woodstock. This has not been confirmed, but Elhanan Goodnow, son of William and Abigail Banks Goodnow, was born in Springfield June 11, 1811 2 Collection of John Martin. 3. Annis Orr Chandler; Attributed to Thomas Ware; c. 1822; Oil on wood panel; 24 x 19W A paper label attached to the reverse of the panel bears the following inscription in ink:"Annis Orr Chandler, born Jan 1795 died Sept 1865, married Laban Chamberlin Nov 1834!' A large capital letter "A" is painted in black on the center of the reverse of the panel. Annis Orr, the third of seven

children of Josiah and Margaret C. Aiken Chandler, was born in Pomfret in January 1795 and died there September 1, 1865. In November 1834 she married, as his second wife, Laban Chamberlin, a blacksmith, who came to Pomfret from Connecticut in 1802. There were no children born of this marriage'` Collection of the Abbott Memorial Library, Pomfret, Vermont. 4. James Chandler, Jr.; Thomas Ware; 1822; Oil on wood panel;9 x 7'.' Inscribed on the reverse of the panel, "James Chandler, Jr./Painted, 1822. AEg 21./By Thomas Ware': This is the smallest and most atypical of the known portraits by Ware. Painted in an oval, the subject is full length and seated in a chair. It demonstrates Ware's problems in perspective and anatomy. James, the first of eight children of James and Abigail Vilas Chandler, was born September 20, 1801 in Alstead, New Hampshire. He was married three times: to Sophia Tuttle on October 20, 1831, to her sister Nancy and to Polly Stowell. James and Sophia had two children, William and Eliza Sophia, born respectively on March 10, 1832 and July 14, 1835!' James Chandler, Jr. was a farmer who resided in Drewsville a few miles from Alstead and about 35 miles from Hartland, where a distant relative, Annis Orr Chandler (checklist 3)resided. He may have been visiting in Hartland at the time his portrait was done, or Ware may have been in Drewsville. James Chandler's date of death is not known. Collection of The Baltimore Museum of Art, Gift of Edgar William and Bernice Chrysler Garbisch, New York.

Huldah Edson Lake (checklist 8)

5. Daniel Lake; Thomas Ware; 1822; Oil on wood panel; 28)4 x 211 / 2'. Inscribed in lower left corner "Daniel Lake/and Susan Lake Painted March/1822 Painted by T. Ware"' Daniel, the seventh child ofGeorge and Sarah Lovejoy Lake, was born in Woodstock March 16, 1784F In 1779, George Lake bought a 200 acre farm in Woodstock, moving his wife and three children to the farm the following year. Daniel took over the farm after his father's death in 1816. He was a fanner and also a cooper!'On June 3,1806 he was married in Woodstock to Susanna Edson (checklist 6)of that town by Silvester Edson, Justice of the Peace" He died July 6, 1852 in Springfield, Vermon0 Present whereabouts unknown. 6. Susanna Edson Lake; Attributed to Thomas Ware; 1822; Oil on wood panel; 28/ 1 4 x 21W Susanna(h), the third child and first daughter of Silvester and Susannah Allen Edson, was born February 5, 1768 in Hartland. She married Daniel Lake (checklist 5)June 3,1806, in Woodstock and died in Bridgewater, Vermont in 1868. 41

7. Sarah Lovejoy Lake; Attributed to Thomas / 4 x 211 / 2'! Ware; 1822; Oil on wood panel; 281 Sarah, daughter of Deacon John and Sarah Pierce Lovejoy, was born in Lunenburg, Massachusetts April 3, 1754. In 1762 her family moved to Rindge, New Hampshire where she married George Lake, of that town, November 13, 1772" She had three children in Rindge between 1773 and 1779;3 moving with them and her husband to Woodstock where she had six more, including Daniel' (checklist 5). Present whereabouts unknown. 8. Huldah Edson Lake; Attributed to Thomas Ware; 1822; Oil on wood panel; 26 x 197 This painting has accompanied the three others of the Lake family. Daniel and Susanna Edson Lake had no children, nor did Richard and Cynthia Edson Hayes (checklist 9, 10). It is probable that the portrait is of Susanna's younger sister, Huldah, born October 13, 1792. Huldah married John Lake(around 1810), brother of Daniel Lake, husband of her sister Susanna. She was a Spirtualist and an active propagandist for this faith, possibly explaining why she is holding a bird in her hand. She died May 25, 1860" Collection of the authors. 9,10. Richard and Cynthia Hayes; Attributed to Thomas Ware; 1823; Oil on wood panels; each 1 4"; the two frames joined by hinges. 23/ 1 2 x 20/ The back of each panel is painted barn red with a green ivy border and in the center are the following inscriptions in yellow paint: "C. Hayes/ Nov-19th/AD, 1823./Aged 29" and "R. Hayes./ Feb, 25th/AD, 1823/AE 357 It has not been possible to obtain any information concerning the ancestors of Richard Hayes. He married Cynthia Edson, sister of Susanna Edson, the wife of Daniel Lake (checklist 5,6). Cynthia, the sixth child and fourth daugther of Silvester and Susannah Allen Edson, was born November 20, 1794 in Hartland!' Richard Hayes was born February 25, 1788. She died in January 1845; he on February 21, 1854; both are buried in the South Woodstock Cemetery!'There is no knowledge of children. Collection of the Woodstock Historical Society. 11,12. Amaziah and Hannah Throop(e) Richmond; Attributed to Thomas Ware;c. 1823; Oil on wood ! 8 The two panels framed panel; each 27 x 205/ together measure 31 x 45W Amaziah(Amasiah), son of Lemuel and Molly Richmond, was born in Middleboro, Massachusetts, March 22, 1758" 42

He was a farmer in Taunton, Massachusetts, and later lived in Bristol, Rhode Island, Woodstock and finally Barnard, Vermont in June 1787. He joined the Revolution at the age of 16 or 17 and fought in three different campaigns. While working on a house he fractured his leg, which was later amputated. Soon after, he began the business of marketing meat in Woodstock, where he purchased the Killam farm, taking up residence there in 1811" He died September 30, 1825. Hannah, daughter of Billings and Hannah Morton Throope, was born January 24, 1763 in Bristol, Rhode Island. She married Amaziah Richmond November 25, 1780, and had 12 children; the first three were born in Bristol, Rhode Island and the last nine in Barnard between 1787 and 1806. She died in Woodstock December 26, 1845" Private collection.

Photographs: Sherman Howe Ag,ociates.

There is no information as to children!' Present whereabouts unknown.

Joseph Marcy (checklist 15)

Mary Cole Marcy (checklist 16)

Sylvester Marcy (checklist 17)

13,14. Job Richmond and Mary H. Marcy; Thomas 1 2'.' Ware; 1823; Oil on wood panels; each 26 x 20/ The two panels framed together measure 30 x 45W On the reverse of the portrait of Mary Marcy is the following inscription in black paint: "Mary H. Marcy,/Aged 21 years,/Painted in I823,/By Tho, Ware!' Job, eighth child of Amaziah and Hannah Richmond (checklist 11,12), was born April 19, 1797 in Barnard. He married Mary H. Marcy March 8, 1827, and moved to Pomfret. In 1837 they moved to Hartland, Vermont and in 1843, two years before his mother's death, to the Richmond family farm in Woodstock!' He taught school for 20 winters, was Justice of the Peace, a Selectman and Captain in the militia. Mary H., the third of five children of Joseph and Mary Cole Marcy(checklist 15,16), was born June 8, 1802 in Hartland!' Two of her siblings were Sylvester and Eliza Throop Marcy (checklist 17,18). She had two children, James Sylvester and Lauriston Amaziah. According to the inscription on the reverse, Mary's portrait was painted four years prior to her marriage; it is assumed that the portraits of Job Richmond and of his parents were painted about the same time. Private collection. 15. Joseph Marcy; Attributed to Thomas Ware; 1 4 x 213 / 47 Inscribed 1823; Oil on wood panel; 27/ in black paint on the reverse of the panel,"Joseph Marcy/aged 65,in 1823:' Joseph,the third of nine children of Stephen and Mary Hayward Marcy, was born in Woodstock, Connecticut November 22, 1758. He was a sergeant in the Revolutionary Army and later a physician in Hartland. In 1798 he married Mary Cole of Middleboro, Massachusetts. He died in Hartland October 13, 1838 and is buried in the Marcy tomb at Hartland'? Private collection.

16. Mary Cole Marcy; Attributed to Thomas Ware; 1823; Oil on wood panel; 27 x 22W!Inscribed in black paint on the reverse of the panel, "Mary Marcy's Likeness/Painted in I823/Aged 58 yrs7 Mary, daughter of Isaiah and Eleanore Nichols Cole, was born in Middleboro, Massachusetts October 2, 1765. She married Joseph Marcy in 1798, had five children in Hartland, three of whom were Sylvester and Eliza Throop (checklist 17,18) and Mary, wife of Job Richmond (checklist 14). She died August 9, 1854 and is buried in the Marcy tomb, Hartland' Private collection. 17. Sylvester Marcy; Thomas Ware; 1823; Oil on wood panel; 27 x 22W.' Inscribed in black paint on the reverse of the panel, "Sylvester Marcy/ Aged 23 years/T, Ware./Sculp./June 30th/18237 Sylvester, son of Joseph and Mary Cole Marcy (checklist 15,16), was born August 9, 1799 in Hartland. He was the brother of Mary H. Marcy (checklist 14), who married Job Richmond, and of Eliza T. Marcy (checklist 18). A physician like his father, he died, unmarried, in 1840 and is interred in the Marcy tomb, Hartland His portrait shows him preparing medication for a patient. Private collection.

rial Library. 20. Lydia Hayes Snow; Attributed to Thomas Ware; c. 1823; Oil on wood panel; 23/ 1 2x 19W! Painted on the reverse in large block letters is "Lydia Hayes Snow/1810-1866r The daughter of Philomon and Polly Hayes, she was born in Sharon, Vermont April 25, 1790. It is possible that she may have been related to Richard Hayes(checklist 9). She married Martin Snow (checklist 19) March 28, 1810, had four children between 1815 and 1830 and died December 2, 1860Collection of the Abbott Memorial Library. 21. Nathan Snow; Attributed to Thomas Ware; c. 1823; Oil on wood panel (assumed). A photographic reproduction of the painting is illustrated in Vail's, "Pomfret, Vermont!' Nathan, the sixth son of Samuel and Betty Perkins Snow, was born in Pomfret on September 26, 1792.42 He was a general merchant and also the first postmaster of Pomfret. He died October 13, 1872. Present whereabouts unknown. Kimball Dustin (checklist 23)

18. Eliza Throop Marcy; Thomas Ware; 1823; Oil / 2'.' Inscribed in black on wood panel; 2614 x 211 paint on the reverse of the panel, "Eliza T. Marcy,/Aged 17 years./Painted by T. Ware,/in 18237 Eliza Throop, youngest child ofJoseph and Mary Cole Marcy (checklist 15,16), born in Hartland January 20, 1805, was the sister of Sylvester Marcy (checklist 17) and of Mary H. Marcy (checklist 14), wife of Job Richmond. She married Lewis Merritt of Charlton, Massachusetts and died April 27, 1878r Private collection. 19. Martin Snow; Attributed to Thomas Ware; 1823; Oil on wood panel; 24/ 1 2 x 19W:Painted on the reverse of the panel in large block letters, "Martin Snow/1788-18657 Inscribed in pencil above the latter, "Painted by Jonathan Ware/1823/Varnished by A.H. Snow Aug. 20, 1856:' Both of these inscriptions were obviously done long after the execution of the painting, with an erroneous attribution to Jonathan Ware, Thomas' uncle. Martin, the fourth son of Samuel and Betty Perkins Snow, was born in Pomfret July 1, 1788. His parents moved from Middleboro, Massachusetts to Pomfret in 1799. A younger brother was Nathan (checklist 21). Martin was a farmer and also ran the sawmill at Snow's Store in Pomfret. On March 28, 1810 he married Lydia Hayes(checklist 20)and died August 21, 186538 Collection of the Abbott Memo-

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22. Rhoda Miller Snow; Attributed to Thomas Ware; c. 1823; Oil on wood panel (assumed). A photographic reproduction of the painting is illustrated in Vail's "Pomfret, Vermont:'" Rhoda, the sixth child of Eliphas and Esther Doud Miller, was born in Granville, Massachusetts September 17, 178814 She married Nathan Snow, March 18, 1819, bore him four children and died in Pomfret, December 13, 1859. Present whereabouts unknown. 23. Kimball Dustin; Attributed to Thomas Ware;c. 1823; Oil on wood panel; 25 x 17/ 3 47 A pencil inscription on the reverse of the panel reads "Father's Mother's Brother Kimball Dustin!' Nothing is known of the subject. The 1820 Vermont Census Index lists a Nathaniel Dustin in Sharon, Vermont, seven miles from Pomfret and a Gardener Dustin in Rochester, Vermont, about 20 miles from Pomfret. Kimball may have been a member of one of these families. Collection of Allen McDonough. Photograph courtesy of Robert W Skinner, Inc., Bolton, Mass.

Mrs. Kimball Dustin (checklist 24)

24. Mrs. Kimball Dustin; Attributed to Thomas Ware; c. 1823; Oil on wood panel; 25 x 17/ 3 4'.' This portrait has accompanied the one of Kimball Dustin and is assumed to be his wife. Collection of Allen McDonough. Photograph courtesy of Robert W Skinner, Inc., Bolton, Mass. 25-30. Mr. & Mrs. Hale and Four Children; Attributed to Thomas Ware;c. 1823; Oil on canvas; each 24 x 20! These are the only paintings by 43

Ware, with the exception of the large Hutchinson family portrait(checklist 2), which are on canvas rather than wood panel. The group of portraits is reported to have passed along through descendants of the Hale family who supposedly moved from the Pomfret area to New York State. The subjects have not been specifically identified, but the 1820 Vermont Census Index lists 12 different Hale men living in Windsor County, the county which includes Woodstock and Pomfret. Collection of Taconic Art Services, Inc. 31. Leora Skinner; Attributed to Thomas Ware; c. 1823; Oil on wood panel; 233/4 x 18'! Inscribed on the reverse of the panel in pencil, "Portrait of/ Lora S. Skinner/Painted 108 years ago/Loaned by Lora I. Blood/Cavendish, Vt./19227 This inscription, written about a century after the portrait was painted, is obviously incorrect relative to the date of execution. The subject's name was ! "Leora" rather than "Lora': born June 16, 17961 the fifth of six children of Captain Benjamin and Sarah Skinner. Her father, a blacksmith of Woodstock, Connecticut, moved to the land he had bought in Pomfret in February 1778. The six children were born in Pomfret between March 1788 and January 1801, then the family moved to Windsor, Vermont in 180316 Benjamin Skinner died in 1813 and is buried in Windsor!' However, in 1820 Sarah Skinner was living in Rochester, Vermont!' so that it can be assumed that Leora was probably in Rochester, a town about 25 miles from Woodstock, when her portrait was painted. Collection of Walter A. Backofen. 32. Cullen Friend Sturtevant; Attributed to Thomas Ware; c. 1823; Oil on wood panel; 27 x 207 The son of Dr. Friend and Sarah Porter Sturtevant, he was born in Pittsfield, Massachusetts April 21, 1795. The family moved to Woodstock in 1804 and to Hartland in 180719 Cullen Friend Sturtevant began manufacturing wool products in 1822. In 1826, he and his brother, Foster, bought the Aaron Willard mill; in 1840 they built a new mill, and Cullen became full owner in 1850. The manufacture of wool cloth was continued until 18651' He married Harriet Morey (checklist 33) November 27, 1833 and died in Hartland February 2, 18891' Collection of the Shelburne Museum, Shelburne, Vermont, 33. Harriet Morey; Attributed to Thomas Ware; c. 1823; Oil on wood panel; 27 x 19/ 3 4'.' Harriet, daughter of Reuben and Martha Frizzell Morey, was born December 11, 1807 at Strafford, Vermont, about 15 miles from Pomfret. She married Cullen Friend Sturtevant (checklist 32) on November 27, 1833, 10 years after their portraits 44

were painted. She died in Hartland June 20, 1874 and is buried in the village cemetery!' Courtesy Shelburne Museum, She!bourne, Vermont. 34. Self-Portrait; Attributed to Thomas Ware; c. 1823; Oil on wood panel; 25 x 19W Inscribed in ink on a paper label attached to the front of the panel is "Gift of Ellen M. Wood to the town of Pomfret, Vt:' This striking painting of an artist holding brush and palette is probably a self-portrait. The possibility does exist that it may be a portrait of Ware's friend, Benjamin Franklin Mason. Collection of the Abbott Memorial Library.

Cullen Friend Sturtevant (checklist 32)

35. Unidentified Young Man;Attributed to Thomas Ware; c. 1823; Oil on wood panel; 217/s x 19W Inscribed in ink on a paper label accompanying the painting is "Portrait painted by Thomas Ware/Given by Mrs. Ellen M. Wood7 Not only is this subject's clothing almost identical to that worn by the artist (checklist 34), but there is a striking facial similarity between the two. This leads to the possibility that this unknown young man may be Thomas Ware's brother, Leonard, who was two years older, or his cousin, John, son of his father's brother, Jonathan, who was born in 1798 in Pomfret and who married there in 1822.If the subject was John it might have been a wedding portrait!' Collection of the Abbott Memorial Library. 36. Unidentified Middle-Aged Man; Attributed to Thomas Ware;c. 1823; Oil on wood panel;24/ 3 4x 203/47 Collection of the Abbott Memorial Library. 37. Unidentified Middle-Aged Woman; Attributed to Thomas Ware;c. 1823;Oil on wood panel;25 x 205/ ! 8 The subject is probably the wife of the Unidentified Middle-Aged Man (checklist 36). Collection of the Abbott Memorial Library. 38. Unidentified Young Woman; Attributed to Thomas Ware;c. 1823; Oil on wood panel;24/ 1 2x 18W Collection of Charles and Olenka Santore.

Harriet Morey (checklist 33)

39. Pamelia St. John; Attributed to Thomas Ware; c. 1824; Oil on wood panel; 211 / 2 x 19W! This painting, and another of an almost identical young woman, were obtained by Hazel Marcus more than 30 years ago from a dealer who had purchased them directly from the family. On the back of one a letter was attached which reported that the subjects were Pamela and Lydia St. John, whose father was General St. John, a Revolutionary War officer for whom St. Johnsbury, Vermont was named. "Pamela" was written in old script on the reverse ofone painting and "Lydia" on the

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other!' Although the identification of the subject of this portrait is apparently correct, the facts recorded in the attached letter are not. The town of St. Johnsbury was named after the Frenchborn Michel-Guillaume Jean de Crevecoeur, whose adopted American name was Hector St. John!' He and his family returned to France, and there is no evidence of any of his descendants in the United States 6 The young women were, in fact, the sixth and seventh of eight children born to John and Hannah Fitch St. John. Their father was born in Ridgefield, Connecticut in 1753 and died in 1825 at Greenfield,Saratoga County,New York. John St. John, in 1775, enlisted in the Revolutionary Army, his highest rank of Captain (not General) being reached in 1778. Lydia was born in 1798, married Daniel A. Bockes,had one child by the name of Judge, and died June 7, 1832. Pamelia (not Pamela) was born April 10, 1800, married John Reed and died April 10, 1843F The girls' older brother, Samuel, was born in Ballston Springs, New York, 10 miles from

FOOTNOTES 1. Philip Battell, Benjamin Franklin Mason, New-England Historical and Genealogical Register and Antiquarian Journal, Vol. XXVI, July 1872, pp. 226-227. 2. Henry Hobart Vail, Pomfret, Vermont, Vol. II, Boston, 1930, p. 358. 3. Emma Forbes Ware, Ware Genealogy; "Robert Ware of Dedham, Massachusetts, 1642-1699, and His Lineal Descendants," Boston, 1901, pp. 129-130. 4. Pomfret, Vermont Town Records, Births, 1929, p. 70. 5. Alfred Frankenstein and Arthur K.D. Healy, Two Journeyman Painters, Middlebury, Vermont, 1950, p. 9. 6. Vail, Vol. I, pp. 162a, 174a. 7. Joshua Bailey Richmond, The Richmond Family, 1594-1896 and Pre-American Ancestors 1040-1594, Boston, 1897, p. 255. 8. Ware, p. 130. 9. Vail, Vol. II, p. 593. 10. Henry Swan Dana, History of Woodstock, Vermont, Boston, 1889, pp. 470-475. 11. Catalogue for Sotheby Parke Bernet Sale #4784M, January 28, 1982, lot #4. 12. C.Horace Hubbard and Justus Dartt,History of the Town of Springfield, Vermont, 1752-1895, Boston, 1895, p. 313. 13. Vail, Vol. II, p. 458. 14. George Chandler, The Chandler Family, The Descendants of William and Annis Chandler Who Settled in Roxbury, Mass. 1637, Worcester, Mass., 1883, p. 420.

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Greenfield, in 17895.s Daniel A. Bockes and John Reed are both listed in the New York 1830 Census Index as living in Greenfield. It can be assumed, therefore, that the girls were born in the Ballston Springs-Greenfield region. The portraits were possibly painted between 1824 and 1825, during the period when Ware was in the area of Greenfield, 35 miles from Whitehall where he is reported to have died in 1826 or 1827. Collection of Judy Lenett. 40. Lydia St. John; Attributed to Thomas Ware; c. 1824; Oil on wood panel; 215A x 19/ 1 4"(assumed). Present whereabouts unknown. Unidentified Young Woman (checklist 38)

15. Chandler, pp. 380, 716. 16. C.H. Vilas, A Genealogy of The Descendants ofPeter Vilas, Madison, Wisc., 1875, p. 60. 17. Woodstock Births (1773-1863) and Deaths (1822-1857), Book A, p. 28. 18. Dana, p. 130. 19. Woodstock Births and Marriages (1760-1851), Book B, p. 134. 20. Carroll Andrew Edson, Edson Family History and Genealogy, Ann Arbor, Mich., Vol. II, p. 929. 21. Edson, p. 929. 22. Clarence Earle Lovejoy, The Lovejoy Genealogy, 1930, pp. 93-94. 23. Erza S. Stearns, History of the Town of Rindge, New Hampshire, 1736-1874, Boston, 1875, p. 591. 24. Woodstock Births and Deaths, Book A, p. 28. 25. Edson, p. 930. 26. Edson, p. 931. 27. Death Records from Graveyards in So. Woodstock, Vermont, p. 2. 28. Richmond, pp. 52, 120. 29. Dana, pp. 83, 84. 30. Richmond, p. 120. 31. Richmond, p. 257. 32. Charles Edney Marcy, History and Genealogy of John Marcy 1662-1724 Woodstock, Conn. and Many ofHis Descendants Eleven Generations, p. 303. 33. Marcy, pp. 294, 303. 34. Marcy, p. 303.

41. Unidentified Young Woman; Attributed to Thomas Ware; c. 1824; Oil on wood panel; 24 x 181 / 27 Because of the marked facial similarities, one may speculate that the attractive young woman portrayed is Lydia St. John, sister of Pamelia (checklist 39). Collection of George E. Schoellkopf.

35. Ernest B. Cole, The Descendants of James Cole ofPlymouth, New York, 1908, pp. 71, 107. 36. Marcy, pp. 303, 349. 37. Marcy, p. 303. 38. Vail, Vol. II, p. 574. 39. Vail, Vol. II, p. 574. 40. Vail, Vol. I, p. 162a. 41. Pomfret, Vermont Town Records, p. 64. 42. Vail, Vol. II, p. 574. 43. Vail, Vol. 1, p. 174a. 44. Vail, Vol. II, p.541. 45. Pomfret, Vermont: Town Records, p. 62. 46. Vail, Vol. II, p. 569. 47. Lawrence Brainerd, Epitaphs, Old South Burying Ground, Windsor, Vermont, 1914, p. 81. 48. Vermont 1820 Census Index, p. 189. 49. Nancy C. Muller,Paintings and Drawings at the Shelburne Museum, Shelburne, Vt., 1976, p. 151. 50. Hartland, The Way It Was: 1761-1976. No date. No author. p. 7. 51. Muller, p. 151. 52. Muller, p. 151. 53. Vail, Vol. II, pp. 593-594. 54. Personal communication from Hazel Marcus. 55. Edward T Fairbanks, The Town ofSt. Johnsbury, Vt., St. Johnsbury, 1914, pp. 21-27. 56. Orline St. John Alexander, The St. John Genealogy, New York, 1907, p. XIII. 57. Alexander, pp. 187-189. 58. Alexander, p. 318. 45

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Grt,qemiCtreleThe German-born painter Carl Hambuck left his native country in 1873 or 1874 to seek his fortune in America. Nothing is known of his early life or education. The scant information that survives has been handed down by descendants of two families who engaged his services and found in three brief Richmond newspaper accounts of the late nineteenth century. His obituary in The State (Richmond)of August 18,1879 stated that he had come to Richmond completely by accident. Retained for a period, as was then customary for immigrants, at

ricmont)arnaby R.Lewis Wright Staten Island in New York Harbor, he intended to board the ferry boat for Hoboken, New Jersey, to visit friends who resided there. Instead, he boarded •

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Fig. 1 The Lambert Home Carl Hambuck;Richmond, Virginia;1874; Oil on canvas;24 x 34.5";Private collection.

a steamship of the Old Dominion Line and arrived in Richmond. He remained here for the rest of his life. Hambuck painted in a meticulous but simple style, which was unique for a Virginian artist at that time. His three known surviving paintings are offarms of prosperous butchers and meat handlers in Richmond in the 1870s. When they were painted, all were still in Henrico County just north of the city. Owners, children and various hired hands are depicted and sometimes identified, and the owners and locations of each of the paintings are also

recorded. Hambuck's style, while precise, in no way suggests that he was academically trained in Germany at institutions such as the then prestigious Dusseldorf Academy. It has been suggested that he may have been trained as a coach or sign painter. The earliest of these paintings, executed in 1874, is of the home and farm of Mr. and Mrs. Philip Lambert, which was in the 900 block of West Moore Street (Fig. 1). Mr. Lambert was a prominent butcher and meat dealer in Richmond. According to Richmond city directories, he moved to the house that same year from his former home at 418 Catherine Street. In the foreground are Mr. and Mrs. Lambert and the daughter offriends, Amelia Nickel. On the porch is Annie Belle Coots, the younger sister of Mrs. Lambert, who later married Henry L. Nickel, Amelia's brother. The frame for the picture was hand-carved by Amelia and Henry's father, Henry Nickel (1830-1911). Nickel was born in Bavaria and was well established in Richmond on North Gilmer Street as a cabinetmaker. The painting is still in the possession of the Nickel family. In 1878 Carl Hambuck painted the working farm of"Theodor Frick, porkpacker, at Brook Avenue" (Fig. 2). Frick was born in Boblingen, Germany in 1830 and is said to have come to Richmond prior to the Civil War and to have returned to Germany during the War. Back in Richmond thereafter, he became a prominent butcher and sausage maker. He married German-born Christine Wunsch (1826-1904). In the late 1860s he purchased the home depicted in the painting (Fig. 2). This house had been built in 1830 by Philip Snider, another butcher of German origin. Theodore Frick maintained his market shop at 306 North Sixth Street. Although he died in 1881, the house remained in the family until 1920 and was finally demolished to give way to the early nineteenth century suburb of

Fig. 2 The Farm of"Theodor Frick, porkpacker" Carl Hambuck;Richmond, Virginia; 1878; Oil on canvas;44 x 44";Private collection.

Ginter Park. Located at 1417 Brook Avenue, the Snider-Frick house is depicted in a photograph in Mary Wingfield Scott's Old Richmond Neighborhoods. Stripped of its dependencies, the home was then in a state of disrepair. Descendants of the Frick family survive in Virginia, and tales of the artist and the painting have been transmitted from one generation to another. It is said that Hambuck painted the vista from the roof of a house across the street and that his fee was ten dollars. A self-portrait of Hambuck is in the lower left corner. Mr. Frick is in the carriage in the center of the foreground of the painting. Also in the foreground are daughters Caroline, Emma,Lizzie, Al-

vina and Paulina, as well as an unidentified young lady. In the carriage to the right was a "ne'er-do-well" nephew from Germany who lived for a period with the Fricks. It has been stated that Mrs. Frick wished to remove the laundry from the clotheslines but that Hambuck insisted this not be done. The last of Hambuck's Richmond paintings, completed in 1879, depicts the "C. Holzhauer house on Brook T.P:' (Fig. 3). Located diagonally across Brook Road from the Frick house, this was the house and farm of Charles H. Holzhauer (1843-1913). He also was a prominent butcher and meat dealer of German origin and had a shop in stall 4 of Richmond's second Market 47

Fig. 3 C. Holzhauer House on Brook T.P. Carl Hambuck;Richmond, Virginia;1879; Oil on canvas;28 x 39.5";Private collection.

during the 1870s. No survivors of this family have been located, but judging from burial records in Richmond's Hollywood Cemetery, the couple in front of the entrance represents Charles Holzhauer and his wife Catherine (1848-1931). The young lady to the right, pruning a camellia bush,is probably their daughter Henrietta, who was eleven at the time of the painting and who died in 1883. The infant in the arms of the Black servant is probably Rosa, who was born and died the year the painting was done. The boy in the black suit is unknown and may represent a neighbor's son. The Holzhauers' only son was born in 1881 and died the next year. The young lady at the extreme right is probably Laura, their daughter, who was born in 1877 and was two years old when depicted in the painting. She never married and died in Richmond in 1967 at the age of ninety. This house and its farm were also demolished in the early twentieth century for the then-developing suburb of Gin48

ter Park. Of special interest in this painting is a distant view of the first building of Richmond College, later to become the University of Richmond. At that time it was located near Grace and Lombardy Streets. As a painter in the naive style, Hambuck's informality in depicting these families and their residences is unusual and refreshing. In all three paintings the owners and their servants are well dressed and neatly groomed. They are posed informally in carriages, cutting flowers, leaning against porch columns and splitting firewood. Stacks of firewood, lace curtains at the windows, pots of blooming flowers, birdhouses and nursing dogs are depicted in fine detail. The laundry drying on the line of the Frick house even includes a blanket that has been made out of an old Confederate flag. Most painters in the naive style in America in the late nineteenth century presented impeccably groomed individuals and houses in sterile detail. Hambuck's informality

presents family groups and working farms with a graphic slice of the working day. His paintings are filled with activity, a vitality readily perceived by the viewer. Although only three paintings by Carl Hambuck are known at this time, he undoubtedly completed many others. The State (Richmond) of August 17, 1876 mentions his recently completed painting of the Planters' Warehouse owned by the Richmond Tobacco Association. An early morning vista from east Cary Street to the dock where tobacco was being unloaded is depicted through the open doors of the warehouse. The newspaper account says, "The picture was painted by Carl G. Hambuck, one of the old masters, and attracted much attention by the tobacconists:' The Richmond Whig of September 6, 1876 mentions a recent painting of a family group, though the family is not identified. During his five or six year period in Richmond, he is listed in a single Richmond directory, for 1877-1878. At that time he had a studio on the second floor of the Columbian Block and resided in Manchester. Hambuck's obituary states that he died on August 15, 1879. Having been found in a comatose state in West End Park(now called Monroe Park), he was taken by city ambulance to the almshouse, where he expired within an hour. The newspaper account comments, "The chief obstacle to his success was inebriety!' His mother survived in Stuttgart, Germany. Carl Hambuck's paintings possess the unusual mixture of naive simplicity presented in meticulous but casual detail. One can only hope that more of his work will be discovered. Dr. Wright is a Richmond neurosurgeon with a wide interest in the early arts of Virginia. He is the author of several papers and of Artists in Virginia Before 1900, published in the autumn of 1983 by The University Press of Virginia.

.4444444 Yolanda Fine Arts The Midwest Galleryfor Folk Art

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Barbara Olsen Linda Lee Ominsky Patricia Palermino Julian Parada Helga Viet Gommel

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PATRICIA ADAMS Box959 Evanston, Illinois 60202 Phone:312-869-6296 By appointment 30 minutesfrom downtown Chicago

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

Victor Joseph Gatto (Pen and ink on paper,8/ 1 2x 11)

ERNEST "POPEYE" REED (1924)

Bruce Brice David Butler Rev. Howard Finster Clementine Hunter 0. W. "Pappy" Kitchens John Landry Sr. Gertrude Morgan Nellie Mae Rowe Mose Tolliver Bill Traylor Chief Willey

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Book available on the life and work of ADELARD COTE by NORMAND R. BEAUPRE Represented by Leslie Eisenberg 51

Photo: Beth Hughes Hall ©

Carving,"Woman in Red" by William Dawson. Painting,"Hotel Oshkosh" by Harold Kuettner.

The Ames Gallery features the work of contemporary California artists and American folk art & artifacts. Concurrent with the changing exhibits, our extensive collection of tramp art, cookware, quilts, contemporary folk painting, and sculpture are always on view. For current exhibit information, hours, or for an appointment, phone us or write to: Ames Gallery 2661 Cedar Street Berkeley, CA 94708 415 845.4949

AMES•GALLERY

an exhibition of the work of Thomas Langan, contemporary american folk artist.

T.P. Langan american folk art gallery 320 SeaCliff Avenue •SeaCliff NY 11579(516)671-5875 Thursday through Sunday 12 to 5

Calendar

FINISHED IN BEAUTY:SOUTHWEST INDIAN SILVER FROM THE DONEGHY COLLECTION December 6—February 26,1984 The Natural History Museum of Los Angeles County Los Angeles, California More than 300 pieces of Southwest Indian silverwork detail the skills of both early and contemporary Zuni and Navajo silversmiths.

CIRCLES OF THE WORLD: TRADITIONAL ART OF THE PLAINS INDIANS December I4—February 26, 1984 The Museum of Fine Arts Boston, Massachusetts After a highly acclaimed two-year tour to museums in Great Britain, Austria, France and Italy, this exhibition returns to the United States to travel to Boston, then to the Cooper-Hewitt Museum in New York (April 24), the New Orleans Museum of Art (August 10) and The Fine Arts Museums of San Francisco (December 22). Organized by the Denver Museum of Art, "Circles of the World" is the first major exhibition devoted to the artistic accomplishments of the Plains Indians. More than 150 examples of Plains Indian art are shown, including two full size tipis, quilled and beaded buffalo hides, war headdresses, ceremonial sacred pipes and a ghost dance dress.

BEHOLD THE LABOUR OF MY TENDER AGE: CHILDREN AND THEIR SAMPLERS 1780-1850 Through January 30, 1984 Rochester Museum and Science Center Rochester, New York "Behold the Labour of My Tender Age:' a major exhibit, focuses on the place of samplers and samplemaking in the social environment of late 18th and early 19th century children. Six sectional themes focus on: the practical skills samplers taught, their use in education, their emphasis on religion, virtue, family, and their own artistic style. More than 60 samplers from the Rochester Museum Collection are on display, along with a few fine examples from local collections not normally available for public viewing. Other artifacts contemporary with the samplers, including other textiles, textile tools, furniture, glass and ceramics, are used to round out the exhibit's picture of the period and to show how samplemakers sometimes adapted patterns from other decorative arts for use in their work. An illustrated catalog accompanies the exhibit.

MIMBRES POTTERY: ANCIENT ART OF THE AMERICAN SOUTHWEST January 12—March 11, 1984 The Heard Museum Phoenix, Arizona The most comprehensive exhibition ever assembled of this unique native American art begins its national tour at the Heard Museum. It brings together approximately 125 outstanding examples of Mimbres bowls, which are painted with a broad range of distinctive geometric and figurative images. The vessels are representative of the remarkable artistic achievements of this ancient pueblo culture, which, until recently, have been relatively unknown except to a few archaeologists, art historians, artists and private collectors.

KENTUCKY QUILTS 1800-1900 January 21—February 26, 1984 Owensboro Museum of Fine Art Owensboro, Kentucky This highly successful exhibition, the fruit of the Kentucky Quilt Project—a one-year search for the best and most unusual quilts from the hills, hollows and towns of the Bluegrass State—is now touring the nation through the Smithsonian Traveling Exhibition Service. A widely acclaimed book, Kentucky Quilts 1800-1900, accompanies the exhibit and is available for $14.95 by writing to: The Kentucky Quilt Project: 1800-1900 Inc., PO. Box 22286, Louisville, Kentucky 40222.

UNEARTHING NEW ENGLAND'S PAST: THE CERAMIC EVIDENCE January 29—September 29,1984 Museum of Our National Heritage Lexington, Massachusetts Produced in collaboration with ceramic scholars and archaeologists from the China Students' Club, which is celebrating its 50th anniversary, "Unearthing New England's Past" introduces visitors to both the process and findings of historical archaeology. The exhibit,including over 250 ceramic objects from the early 17th to the mid-I9th centuries, reveals the richness of sites in New England by focusing upon the ceramic evi-

Detail from Cross Stitch sampler by John Scantlebury at the Rochester Museum and Science Center.

dence from ten excavations. A "mock" dig and laboratory exercises are included in the presentation. A catalog will be published.

AMERICAN FOLK ART LEARNING WEEKEND February 16-19,1984 Colonial Williamsburg Foundation Williamsburg, Virginia This special weekend, sponsored by the Abby Aldrich Rockefeller Folk Art Center, will feature the exploration of new discoveries and current directions in folk art studies. American folk artists, the tools of their trades and a variety of folk art forms are a part of the program. Registrants will be able to participate in a series of hands-on workshops where they can hone their skills in a number offolk art techniques,including theorem painting and stenciling. Speakers will include Tom Armstrong, Director of the Whitney Museum; Beatrice Garvan, Associate Curator at the Philadelphia Museum of Art; and Beatrix T. Rumford, Vice President for museums at Colonial Williamsburg.

CARPINTEROS AND CARPENTERS: NEW MEXICO FURNITURE 1600-1900 Through mid-Apri11984 Museum of New Mexico Sante Fe, New Mexico The Museum of New Mexico's Museum of International Folk Art's exhibit, "Carpinteros and Carpenters:' traces the evolution of a unique New Mexican furniture style and illustrates how two major streams of cabinetmaking tradition combined to produce an entirely different kind of furniture. In addition to many types of furniture, tools and photographs have been included to indicate historical and manufacturing context. The exhibit will travel to the New Mexico State University in Las Cruces in May, the Museum of Albuquerque in July and the Taylor Museum in Colorado Springs in September.

QUILTS AND COVERLETS Through June 10, 1984 Denver Art Museum Denver, Colorado A representative group of quilts and coverlets is always on view in the Meyer Neusteter Gallery with periodic changes made to protect the objects from over-exposure and to give museum visitors the opportunity to enjoy the full scope of this 300-plus piece collection. Recent acquisitions include an unusual pieced quilt and a fanciful Jacquard coverlet. 53

Museum News

HURRAY FOR THE RED,WHITE AND BLUE! THE FALL ANTIQUES SHOW AT THE PIER'S BENEFITFOR THE MUSEUM October 5,1983

This year's opening night benefit was the most successful the Museum has ever enjoyed. More than 1000 friends of the Museum and folk art devotees attended and partook of the visual and edible feast. Such an evening does not occur without the dedication, hard work, imagination and generosity of a great many people working together. This is true for all of the people who worked on behalf of the Museum as well as show manager, Sanford Smith,and his staff. Our thank you's extend first to our indefatigable co-chairmen, Cynthia V.A. Schaffner and Karen S. Schuster, whose planning and organization began nearly six months before the event and continued until the last shuttle bus left the pier that night. The loan exhibition, "Uncle Sam: An American Folk Hero;'curated by Jane Walentas, was a splendid visual presentation with thought given to every detail. These striking examples of folk art were lent by: the Ricco-Johnson Gallery; John W.Zan & Robert C. Brandegee; Bert Hemphill; John Reyes; Harvey Antiques; Jay Johnson; James Abbe,Jr. & Joanna Badami; Charles Brown; Ronald E. Van Anda; William Wiltshire; Susan & Sy Rappaport; Susan Parrett & Rod Lich, Folk-

And the crowds pour in!

The Museum's star-spangled installation, "Uncle Sam: An American Folk Hero," curated by Jane Walentas.

Karen Cohen, new member ofthe Board ofTrustees, with Dr. Robert Bishop.

Delicacies from The Silver Palate and Dennis Howe's inimitablefloral arrangements grace the buffet tables.

Beaming (and successful) Marie DiManno and lbby Mills, Manager/Buyer and Special Events Coordinator, respectively,for the Museum Shop.

Congratulating Uncle Sam are (from left to right): Dr. Robert Bishop, Director of the Museum;Karen S.Schuster, co-chairman ofthe gala benefit; Jane Walentas, Curator of "Uncle Sam: An American Folk Hero"; and co-chairman, Cynthia VA. Schaffner.

ways; Mrs. Lena Kaplan; Aarne Anton; Poster America; Judy & Alan Goffman; and Egon & Joan Teichert. Our kudos to their sense of aesthetics and their willingness to share. To the individuals and corporations who generously gave their time, products and services to make this evening such a resounding successâ&#x20AC;&#x201D;MANY, MANY THANKS: The Bankers Trust Company; the Buckingham Corporation for the wine, through the kind efforts of Friends Committee Chairman, Nancy Brown; Canada Dry for the soft drinks; Davida Deutsch, Walking Tour Chairman; Friends Committee Members: Irene Goodkind, Dianne Butt, Catherine Calleffer, Helaine Fendelman, Jane Greer, Heather Hamilton, Gwen Kade, Nancy Pelz-Paget, Kennetha Stewart, Phyllis Tepper and Julia Weissman; Dennis Howe for the flowers; Ira Howard Levy, Design Chairman; Myra Shaskan, Tickets Chairman; The Silver Palate, caterer: Sheila Lukins, Elly McGowan and Ellen Gibson. A special note of gratitude to the Museum Shop staff and volunteers, especially Manager/Buyer, Marie DiManno, and her Special Events Coordinator, Ibby Mills, whose selfless loyalty helped make the Shop the success it was, Myra Shaskan for always "being there;' Marshall and Company for the Shop's flower arrangements and the invaluable assistance of freelance display artist, Timothy Korns, for his inventiveness and style.

Co-chairmen Karen S.Schuster and Cynthia VA. Schaffner share a relaxed moment at the gala. 55

Bookshelf

GRANDMA MOSES: THE ARTIST BEHIND THE MYTH By Jane Kallir. 160 pages, black and white and color illustrations. Clarkson N.Potter,Inc.,New York. $25.00 Jane Kallir, the co-director ofthe Galerie St. Etienne in New York and the author ofthree other art historical books, has written an intimate study ofthe life and art of Grandma Moses. Dr. Robert Bishop, Director of the Museum of American Folk Art, has praised the book, calling it "a valuable and significant contribution to the study of American folk are: Indeed, the volume is a masterful presentation. Ms. Kallir has had access to a great deal of important, previously unpublished material, including letters, scrapbooks, sketches and sources used by Grandma Moses to develop her images and iconography. Otto Kallir, Ms. Kallir's grandfather, represented Moses and hung the artist's first one-woman show, entitled "What a Farm Wife Painted," in 1940(at the Galerie St. Etienne). So it is as academic and nearly as family that the author has rendered this rich and sensitive account. In 1940, Grandma Moses was already eighty years old, having raised her family and taken up painting as she found herself unable to do some of the more physically laborious household tasks. By that time she had completed 100 small paintings; by the time she died in 1961 she had produced 1600. Kallir stresses, and rightly so, the themes of memory and hope running strong in the work of the artist. While the abstract expressionists were debating their philosophies under the shadow of war and the technological age, Moses was observing and recreating the passage of the days and seasons, and the everyday and ritual activities of each. She remained independent, developing her style in the purity of her own environment, under her own critical eye. Ms. Kallir's candor and insight, her understanding of the wry practicality and the true artist's sensibilities and love of beauty in Moses bring the painter to life for the reader. In brilliantly combining her firsthand knowledge of Grandma Moses with a scholarly evaluation of the growth and development of the artist Ms. Kallir presents a fine and precise understanding of her work. Although Moses had often said, "If I didn't 56

start painting, I would have raised chickens," she was serious about her art. She would sit at the window to study the colors of the landscape and the way they changed as the daylight changed and examined photographs of vistas of the areas nearby that she intended to paint in order to know the undulations of a hill, a river or a road. Stylistic development is carefully traced and illustrated with full photographs and details of the paintings. The author discusses folk art, source materials (such as magazine clippings and Currier and Ives lithographs), recurring motifs (the female figure in the doorway and men with plows), color, texture, composition and Grandma Moses' own perspective, based on a rule of diminishing sizes and delineation ofcolor in a landscape. Ms. Kallir states that Grandma Moses' late style represents the triumph of her creativity: impressionism, pointillism and a certain abstract, subjective quality that allowed the artist to reach beyond the narrative of a landscape and figures to the more profound levels of the emotions evoked by a vision of an entire environment appear in the most mature works. Grandma Moses had said on television,the reader is told,'lam not afraid to die.' Her art is testimony to that statement, for it is imbued with a remarkable strength and faith—in her own work and in the goodness of man. Grandma Moses: The Artist Behind the Myth is a landmark study. The book is written in clear, evocative prose and truly celebrates Grandma Moses as an integral, magical force in the American folk art tradition. Sara Robinson Farhi

KENTUCKY QUILTS 1800-1900 Introduction and quilt commentaries by Jonathan Holstein. Historical text by John Finley. Published by The Kentucky QuiltProject,Inc.,Louisville, Kentucky, 1982. 80 pages: color plates throughout. $14.95 This attractive book, with its fine photographs and engaging social history of both the quilts and of the Kentucky women who made them in the years 1800 to 1900, deserves the special attention of quilt collectors and connoisseurs. It might be said that

every quilt tells a story, for the authors of this book have delved into and portrayed the lives of many a quiltmaker. The Kentucky Quilt Project was founded in 1980 in order to draw forth family quilts from the state's residents to photograph and document the finest and most interesting of them, and in so doing, to establish Kentucky's quilt legacy. After a series of Quilt Days (twelve in all, held in such cities as Louisville, Lexington and Bowling Green) in which the quilts were brought to the events to be photographed and critiqued by experts, the best examples were selected for further study and exhibition. Prairie Star, New York Beauty, Pineapple and Rose of Sharon, Baby Blocks, Ship's Wheel, Coxcomb and Rose and Log Cabin Star are some of the many quilts gracing and illuminating the pages of the volume. The reader is drawn to the quilts for their simple and splendid beauty, and drawn to the people who made them for the richly historical text accompanying the description of the objects. Grief, courage, joy and generosity—the full range of human qualities and emotions—are narrated by the art of the quilts as well as by the authors of the book. The somber Graveyard Quilt depicts a burial ground and coffins of deceased family members. Another, a Baby Blocks variant rendered in rich rose, pink, white and green, was made by a remarkable woman named Isabella Fleming, whose husband freed his slaves when the Civil War began and went to fight with the North, against many of his own family members. His wife's courage was equal to his, for Isabella rode on horseback through the dangerous countryside to show her long absent husband their two month old baby girl when she heard that he was camped not far from their home. Other quilts tell of the generosity of the Southern communities; a crazy quilt of satin, velvet and silk owned by the Kentucky Baptist Homesfor Children was made in 1882 by individual Baptist groups each piecing and embroidering a square and donating it, along with eighteen dollars, for the benefit of the financially ailing Kentucky Baptist Orphan's Home. Many quilts were made for or by young brides, and all speak of the delight in beauty and respect for utility felt by the women who endeavored to produce the unique and colorful quilts examined.

Kentucky Quilts is a captivating study of the quilts and quiltmalcers of the state: it praises and pays homage to the women who expressed their originality in the loving creation of warm,vibrant and utilitarian objects for the comfort and pleasure of those dear to them. Best of all, the project members encouraged the present owners of the magnificent history laden quilts to keep,and not to sell, their treasures,to"preserve Kentucky's quilt heritage': Sara Robinson Farhi

KANBANâ&#x20AC;&#x201D;SHOP SIGNS OF JAPAN By Lea Sneider, Dana Levy and Frank Gibne. John Weatherbill, Inc. $14.97 The word kanban literally means "signboard"and is a universal art form; however, the kanban gathered for this catalogue and exhibition are the first ever to be shown in this country. Though created to be used,the kanban have appeal and message bridging any language barrier, and they perform their function with elegance and style. The authors remind us that the creators of these arrestingly beautiful wooden signs were promoting the goods of the tradesmen who were the forefathers ofthe highly developed business society of today's Japan. Sneider and Levy then proceed to trace the history of Japanese merchandising, beginning with travelling peddlers who carried their wares on their backs, to the development of a merchant quarter in Kyoto where the kanban served as advertising since so many stores selling the same items were grouped so closely together. It is interesting to trace the social history of Japan through the development of the kanban. As feudal restrictions and class consciousness eased, the kanban grew bigger and more elaborate; gold, silver and mother of pearl became state of the art. As Japan modernized, beginning with the Meiji Restoration in 1868, the old kanban gave way to newspaper advertising, poster balloons, neon lighting and, ultimately, the TV commercial. The gallery of beautiful photographs, which is divided into sections, is fascinating, for it illustrates the kanban's use of puns and figurative allusions to the businesses of the stores concerned. The book makes thoroughly enjoyable reading for anyone inter-

ested in functional art as well as the history of the Japanese merchant class. Collectors of American and English signs and early advertising will find the obvious similarity in form an additional delight. Pat Locke

CIRCLES OF THE WORLD: TRADITIONAL ART OF THE PLAINS INDIANS By Richard Conn. Published by the Denver Art Museum,Denver, Colorado, 1982. 151 pages: 97 color and black and white plates. $14.95 Richard Conn,Curator of Native Arts at the Denver Art Museum, chose the title of his book and the theme of the traveling exhibition it accompanies because, as he says, "The Plains people considered it [the circle] an ideal form. Having neither beginning nor end, it reflected the eternal continuity of life:' In the introduction he explains the meaning of each of the five major circles: the family, the tribe, humanity, the natural world and the unknowable, spiritual world. After discussing the art ofthe Plains Indians within the context of Western concepts of art, Conn then turns to the esthetics of the tribes, stressing the qualities ofappropriateness, harmony and sacredness so important to these people. The author has amassed a great deal of information about the history, art, ethics and social settings of the Indians of the Plains. Presenting each of the increasingly larger concentric circles in turn, he focuses upon the arts relevant to the realms: everyday life, etiquette, dress clothing, gift giving, ethics, military societies, vision and rituals are all treated. The circle figures strongly in the art: in the geometric decoration ofa war regalia case, in the shape ofthe tipi and in a symbol of a prayer for a child's unfailing wisdom embroidered in quillwork on a cradle, for example. The accompanying photographs (full page color and black and white) of the objects on exhibition comprise the majority of the pages. Because the pieces are arranged according to type, the reader can easily compare variations in style from tribe to tribe. An extensive catalog at the back ofthe book contains important and elucidating

material necessary for a full appreciation of the art. Creativity and dignity recur and echo throughout the book like a symphony's primary motif. The reader is reminded that these were a people who expressed their admiration of a man with the phrase "brave and courteous:' Conn traces the artistically rich, yet difficult lives of the Plains Indians with insight and the deepest respect. Sara Robinson Farhi

BASKETS AND BASKET MAKERS IN SOUTHERN APPALACHIA By John Rice Irwin. Schiffer Publishing Ltd., Exton, Pennsylvania. $14.95 In the introduction to his book, John Rice Irwin evokes fond memories of Southern Appalachia and places the basket indelibly in the rural experience of the region. Sadly, the advent of technology caused this functional art form to fade from everyday life. He states that his purpose in writing this book is "... to record the history, background, maker, owner and human interest relating to baskets..." He is well qualified to do this study, as he set out a quarter of a century ago collecting such baskets, which are now in the Museum of Appalachia. The text is punctuated with firsthand experiences; the photographs of both the basket makers and the baskets are a delightfully personal addition. A unique chapter in the book is devoted to biographical and social portraits of some of "the very old time Appalachian basket makers and some younger ones:' Again, it is the intensely personal tone that makes this volume such an engaging, human study rather than solely a technical craft book. It eloquently conveys a sense of what life was like, and to some extent still is, in this rural part of America. It is immediately understandable why the basket is one ofthe oldest surviving craftforms,for pictures show baskets filling every need. Such needs are now served, far less artistically, by paper and plastic. The book has a fascinating "how to" section written and illustrated by Jessie Jones who, according to the author's recollection, is the only such basket maker ever to record the whole process. Of particular interest to bas57

Bookshelf

ket collectors will be the section devoted to miniatures, toys, keepsakes and decorated baskets, objects which show conclusively that while the lives of these mountain folk were concerned mainly with survival, it was these small treasures that contributed joy and pleasure to their otherwise hardy existences. Pat Locke

MUSICAL INSTRUMENTS IN SOUTHERN APPALACHIA By John Rice Irwin. Schiffer Publishing Ltd., Exton, Pa. $8.50 (Paperback) John Rice Irwin has spent the past twenty-

five years gathering musical instruments in the mountains of Southern Appalachia. This delightful book discusses the role of music in the life of the people who inhabit this remote part of America. Peppered with charming anecdotes and personal reminiscences, it offers a glimpse into the grass roots formation of that truly American musical expression known as "country'? There are photographic examples of many familiar instruments,such as the banjo and fiddle, as well as variations, such as the cigar box fiddle and ham can banjo. The pages are enriched by wonderful pictures ofthe country artisans who created the instruments. The largest section ofthe book is devoted to the dulcimer, believed by some to be the traditional instrument of the folk of Southern Appalachia. Mr. Rice contends that its

fate appeared to be doomed until the musician Jean Ritchie took it with her to New York in the 1920s. Her success revived interest in the dulcimer, and it has now been enthusiastically adopted by thousands of musicians. What makes this book so special is its thoroughly non-academic style. The author leaves historical documentation to future scholars, but the joy he has taken in assembling this collection (it is now on display at the Museum of Appalachia) is obvious. His firsthand photographs of these colorful mountain music men and women make this book a must for anyone interested in the roots of musical expression in general and American country music in particular.

Pat Locke

Our Increased Membership Contributions Aprilâ&#x20AC;&#x201D;August 1983

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

Mr.& Mrs. Gerald T. Dimanno,Breezy Point, NY Carl Ned Foltz, Reinholds, PA

Patty Gagarin, Fairfield, CT Leonora Goldberg, Brooklyn, NY Howard M. Graff, Townsend, VT Dr. & Mrs. S. Greenberg, New York, NY Mrs. Theodore Greenebaum, Scarsdale, NY

Mr. & Mrs. Frederick Hill, New York, NY Mr. & Mrs. Morton Huff, New York, NY

Bernard Barenholtz, Marlborough, NH Lissa A. Barry, Vienna, VA Mrs. Charles H. Beach, Hickory, NC Denny Beach, New York, NY Alice K. Berglas, New York, NY Cynthia Blumenthal, Stamford, CT Barbara A. Bushway, New York, NY Betty Cooke, Baltimore, MD 58

Kenneth MalikÂ°, Moody, ME Hermine Mariaux, New York, NY Frances & Paul Martinson, New York, NY Kathleen 0. Meyers, Fairfield, CT Jeean Mitchell, Lawrence, KS

Mattie Lou O'Kelley, Decatur, GA Paul L. Oppenheimer, Columbus,OH Philip V. Oppenheimer, New York, NY

Jinx R. Cutter Richmond, Hyannis, MA Marguerite Riordan, Stonington, CT Diane Roskind, Purchase, NY

Mr. & Mrs. Thomas C. Israel, New York, NY

John Kallir, Scarsdale, NY Mary Kettaneh, New York, NY

Mr. & Mrs. William E. Laverty, Brooklyn Heights, NY Jean K. Lovell, Ojai, CA

Mrs. R.D. Schreiber, Oak Brook,IL W Simmons, Grosse Point, MI Peter E & Lynn Solana, Jr., White Plains, NY Dr. L.E. Southworth, Fredericksburg, VA Elaine S. Storey, Annapolis, MD Cynthia & Dennis Suskind, New York, NY Michael Tsangaris, New York, NY

Our Growing Membership Aprilâ&#x20AC;&#x201D;August 1983

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

Mr. & Mrs. C.D. Aberle, Beverly Hills, CA Mimi Ackerman, San Bernardino, CA Mr. & Mrs. Barton C. Aikman, Lacanada, CA Madeleine Appel!, Brooklyn, NY Jeanne L. Asplundh, Bryn Athyn,PA Frank Attardi, New York, NY Gayle Austin, Toledo, OH Mrs. Joan B. Austin, Berwyn,PA

Mr. & Mrs. Arnold Badner, Brooklyn, NY Anne G. Batbirnie, Wayne,PA Judith E Banks, Bethesda, MD Jane Bardon, St. Paul, MN Janet Barnet, Los Angeles, CA H. Barnstone, Houston, TX Thelma Baruch, Wayne, NJ Molly Batchelder, Chestnut Hill, MA Joan Beckon, Lansing, MI Donna Bell, Chicago, IL Cynthia Benjamin, New York, NY Mrs. William M. Berry, Mequon, WI Becky R. Beyer, Brooklyn, NY Sandra Bigstel, Allentown, PA Sharon Blaustein, New York, NY Gerald Bleiweis, New York, NY Jamie E. Bolane, Rochester, NY Barbara Borne, Wallingford, CT Mrs. James H. Brandi, New York, NY Sherry I. Brandt-Rauf, New York, NY Joan M. Broas, Mequon, WI J. Howard Brosius, Northwoods, PA Diane R. Brown, San Francisco, CA Polly McRee Brown, Washington, DC Susan Browning, Houston, TX Sheila Brummel, Roslyn Heights, NY P Patricia Byrd, New York, NY

Mrs. Martha Cade, Atlanta, GA Nancy P Caleshu, Kentfield, CA Mr. & Mrs. Eric Carle, Hawley, MA Laurie Carmody, Darien, CT Dorothy Carpenter, Bernardsville, NJ Steve Carter, New York, NY Karen C. Cauble, Jamestown, NC C.K. Chen, Philadelphia, PA Pearl Chin, New York, NY Christiane H. Citron, Denver, CO Jeanne G. Clay, Powell, OH

Mr. & Mrs. Charles W Clute, New York, NY Eva L. Coben, New York, NY Mrs. Peter Coladarci, Winnetka,IL Leslie Cooper, New York, NY Country Finds, Annapolis, MD Mr. & Mrs. James Crawford, Walton, NY Jean Crommett,Portland, OR Marcia P Crosby, Glen Ellyn, IL Lauren Cummings, Bel Air, MD

John A.B. Davies, Jr., Virginia Beach, VA Joanne Davis-Slotkin, Southold, NY Mr. & Mrs. Richard K. Day, Vienna, VA Susan Day, Tucson, AZ Leslie Keffer De Rego, Antigua, Guatemala Keith Degi, M.D., Hartford, CT Mrs. Allan Dixon, Troy, NY Mrs. Donald Truax Doherty, Fayetteville, NY Domodidovo Ltd., New York, NY Mrs. Robert M. Dorwart, Hammondsport, NY Count-Countess Richard Douglas, New York, NY Donna Downing, Matairie, LA Susan & Edward Duffy, St. Charles,IL Mrs. B.C. Dunham,Troy, OH

Raymond C. Egan, Evansville, IN William H. Egan, M.D., Berwyn,IL Mrs. David W Enoch, Denver, CO

Firth Fabend, Upper Montclair, NJ Katherine Fay, Houston, TX Claire Fazzina, Tolland, CT Leona Fein, Douglaston, NY Ann Fenichel, New York, NY Carp Ferrari, South Natick, MA Mr. & Mrs. K. Richard Fiala, Jr., St. Louis, MO Polly Fiddler, New Haven, CT Margaret Finch, Lancaster, CA Dorothy Finn, New York, NY Grandma Fran, Berryville, AR Mary M.Frank, Harrisburg, PA Mrs. Lois Stalford Freeman, New York, NY Elly Friedman, Jeannette, PA Daniel R. Fusfeld, Ann Arbor, MI

Mrs. Jane Dorman Gaddis, New York, NY G.B. Gaynor, Pittsburgh, PA Richard & Linda Gehringer, Noblesville,IN James & Lora Gelbort, Chicago, IL Arline Genis, Los Angeles, CA Catherine Gran, San Francisco, CA Cheryl Green, New York, NY Karen J. Green, Yakima, WA Lynne Green, Fresh Meadows, NY Muriel T. Greenberg, Los Angeles, CA Margaret Griffin, St. Paul, MN Laddie L. Griglak, Perryopolis, PA Virginia Guenzel, Lincoln, NE

Naomee Guest, Harrison, NY Jean L. Guritz, Evanston,IL Carole M. Guyton,Tampa, FL

Marilyn Hamel, Upper Saddle River, NJ Jean Hamsberger, Lincoln, NE Polly P Hart, Doraville, GA Anne R. Hearst, New York, NY Mr. & Mrs. Richard E. Hefler, Jr., West Simsbury, CT Christine Henehan, Canandaigua, NY Peggy Henretig, Yakima, WA Phyllis Hensberry, St. Petersburg, FL Heritage House of Lancaster, Lancaster, PA Linda D. Heslin, New York, NY John C. Hill, Phoenix, AZ Marylou H. Hill, Laguna Hills, CA Mr. & Mrs. C. Hineline, Ridgefield, CT Barry Hirsch, New York, NY Myra Hischberg, Brooklyn, NY Hitchcock Chair Company, New Hartford, CT Kay Hodge, Mt. Crawford, VA Karen C. Hodges, Phoenix, AZ Barbara Honn,Jeffersonville, IN Dr. & Mrs. D.H. Horst, Nutley, NJ

Nancy A. Iliff, Lexington, KY

Dolores Jacobs, Wheaton,IL Ardis B. James, Chappaqua, NY Susan Johnson, Olympia, WA Mrs. Richard L. Jones, Jr., Swarthmore,PA Shirley B. Jones, Homer, NY

Adele Kandel, New York, NY Charlotte A. Kay, San Francisco, CA Judith Kelius, Audubon, PA Francesca Kelly, New York, NY Carlotta Kerwin, New York, NY Sha King, New York, NY Lenny Kislin, Bearsville, NY Anne Baxter Klee, Easton, CT Teresa Klimowicz, Bowling Green, NY Mrs. Dorothy Knapp, West Nyack, NY Amy Kolozsi, Salem, OH Ann Marie Koshuta, Washington, DC Romany Kramoris, Sag Harbor, NY N. Krompotich, San Francisco, CA Herb Krug, Evanston, IL

Bonnie Lacher, New York, NY Sandra L. Lahaye, Woodside, CA Miss Liz-Anne Landis, Sharon, CT Fay Lansner, New York, NY Barry Leader, Elizabethtown, PA June G. Lelong, New York, NY Audrey Lentz, Meitland, FL

Our Growing Membership Aprilâ&#x20AC;&#x201D;August 1983

James Leonard, Millburn, NJ James Lieu, Jamaica Estates, NY Ms. Helen Link, New Canaan, CT Mrs. Sally Lorey, Stone Mountain, GA Susan Anna Lu,Forest Hills, NY Linda M. Lundborg, Minneapolis, MN

Louise A. Pittawax, Stonington, CT Nicholas J. Pompeo,Brooklyn, NY Lee Porter, Washington, DC Posh Pineapple Antiques, Belleair Bluffs, FL Dr. & Mrs. Howard Pottak, Baldwin, NY Mrs. FE. Prebble, Chappaqua, NY

Main St. Antiques, Independence, OR Margaret Majua, San Francisco, CA Philip Mandelker, Los Angeles, CA Mrs. Robert L. Manns, Canton, OH Paula Marks, Darien, CT Emily Marlin, New York, NY Mrs. Sandra G. Marshall, Huntingdon Valley, PA Kay Martin, Belleville, IL Suzanne Mathews,San Antonio, TX Margaret A. Mayhill, Knightstown, IN Miriam McKinnie, Berryville, AR Mrs. Mary McKown, Wichita, KS Richard L. McNeel, Clifton, NJ Barbara Merriman, Concord, NH Pat Meyers, Cannel, CA Kathleen A. Miciak, New York, NY Linda Miller, Forest Hills, NY Priscilla Miller, New York, NY Mrs. Joyce Mintz, New York, NY Eileen Mondanile, North Haledon, NJ Mr. & Mrs. Murray Mondschlein, New York, NY Denyse Montegut, Brooklyn, NY Ms. Bobba Moody, New York, NY Roberta & Bob Mora-Randle, Alexandria, VA Deb Mores, Fair Haven, NJ Peter & Marilyn Mulcahy, Lumberville, PA Susan A. Murray, Toronto, Canada Henri & Leslie Muth, Houston, TX

H.C. Randolph, Sr., Plymouth Meeting, PA Mary K. Reeber, Miami, FL Diana Reed, Clayton, MO Peter A. Renzetti, West Chester, PA Mrs. R. Reunart, South Africa Ellen P. Ribaldi, New Hyde Park, NY Mrs. Alice Richardson, Huntington, NY Linda Robak, New York, NY Marty Rockett, Lebanon, NJ Joseph A. & Eugenie F. Rosen, Scarsdale, NY Mr. & Mrs. Lee Rothberg, New York, NY Matthew & Carol Lynn Rothert, Holland, MI Leonard Rubin, Longmeadow, MA Mrs. Linda Ruoss,Pawling, NY Alison Ryley, Huntington, NY

Gail B. Nameche, Sewickley,PA Laura Nash, Hatboro, PA Maureen E. Nash, Hackettstown, NJ Gail G. Newman,Cleveland, OH Ann Nicholson, Norwood, MA Pat Nickols, Anaheim,CA Mrs. Nancy Nicolescu, Elizabeth, NJ Mrs. Malcolm K. Nielson, Pleasant Hill, CA Mrs. Joan Orr, South Huntington, NY

Mrs. Deane B. Pape, Madison, CT Geraldine M. Parker, Mayville, NY Mrs. Paul E. Patten, Grinnell,IA Barbara Patterson, Belfast, ME Barbara Pearl, New York, NY Miss Elizabeth Peiser, San Francisco, CA Nancy Pell, Bloomfield Hills, MI Lucia Perrin-Lewis, Lunenberg, MA Mrs. Alice Wood Petrie, Patter Calley, CA Dr. & Mrs. Joseph A. Pierce, Jr., San Antonio, TX 60

Ms. Susan Salazar, New York, NY Carolyn Salyer, Garden City, KS San Antonio Museum Association, San Antonio, TX Mrs. Harry K. Saraeant, Woodbridge, CT Cathy Savolaine, Matawan, NJ Jack T. Scalia, Sherman Oaks, CA Margaret Schauer, Washington, DC Dr. Ofelia Schnipper, Tenafly, NJ Gale Schuckman, Medina, OH Mrs. Philip A. Schwartz, Elkins Park, PA Kim Segur, Charlotte, NC Janet E Seidenberg, Long Lake, MN Kathe Serbin, Roseland, NJ Eleanor C. Seymour, New York, NY Mrs. Genevieve Sharp, New York, NY Robin Shenkel, New York, NY Merrit Sher, Ross, CA Ms. S.M. Shutts, Tombal, TX Milton Simpson, Newark, NJ Barbara J. Smith, Kew Gardens, NY Ellen J. Smith, Canoga Park, CA Tom Somerville, Dallas, TX St. James Antiques, Oak Park, IL Kathie R. Stanley, Richmond, VA Barbara A. State, Buffalo, NY Kathleen E Steams, East Bridgewater, MA Linda T. Stein, St. Louis, MO Judy Stephens, Santa Rosa, CA Luanda Wanner Stoll, Larclunont, NY Lisa Stone, Milwaukee, WI Adrienne Sullivan, New York, NY Nancy Swain, Avon,CT

Wilma Tarr, Ashville, NY Gaylord Tate, Sycamore,IL

Joseph Taveroni, River Vale, NJ W.R. Teel, Hemdon, VA Diana Temple, New York, NY Ethel Terrell, New York, NY Mrs. Gordon A. Tillson, Menlo Park,CA Katherine Tinker, Ashland, VA Town of York Antiques, Toronto, Canada Mrs. Anne Townley, New York, NY Dennis Travis, Glen Head, NY Kathleen S. Traynor, New York, NY Mrs. Richard Trcka, Richardson,TX Tulane University Library, New Orleans, LA

University of Georgia, Athens, GA The University of Mississippi, University, MS

Mrs. William Van Dusen, Boulder, CO

Sarah J. Wachter, New York, NY Cheryl Wadleigh, Crete, IL Ward Foundation, Salisbury, MD Warren County Historical Society, Lebanon,OH Katherine W. Watts, Baton Rouge,LA Sidney & Anne Watts, Reading, PA Allan Weiss, Louisville, KY Davison M. Welch, Hopkinton, MA K.M. Welsh, New York, NY Len Wexelblatt, Narberth, PA Jean C. Weyand, Needham, MA James & Susan Widder, Cincinatti, OH Russell & Judith Wilks, Manhasset, NY E. Morgan Williams, Washington, DC Jeanne Williams, Orlando, FL Marna E Wilson, Lansing, MI Jennifer Wineman, Birmingham, MI Edith Croft Wise, New York, NY Sue Wolf, Newton, MA Patricia A. Wood, Ames,IA Marianne Woods,Fayetteville, AR Wendy Worth, New York, NY Betsy Wright, New York, NY Ester Wurtzel, Merion, PA Ann Wyatt, New York, NY Peggy Wylie, Monroe, NC

Sheila York, Mexico

Tracey Zabar, New York, NY Nancy Zavelson, Shaker Heights,OH

174

The American Art Journal and Kennedy Galleries are pleased to announce publication of

Edward Hicks His Peaceable Kingdoms and Other Paintings by ELEANORE PRICE MATHER and DOROTHY CANNING MILLER

Another in The American Art Journal Book Series Hicks Edward Peaceable His Kingdoms and Other Paintings

Mather and Miller Eleanore Price Text by Dorothy Can Matter Catalogue by Eleanore Price and

The text of Edward Hicks: His Peaceable Kingdoms and Other Paintings has been written by Eleanore Price Mather,a specialist in Quaker history. Dorothy Canning Miller,aformer curator ofpainting and sculpture at the Museum ofModern Art, has compiled with Eleanore Price Mather the annotated catalogue of 158 works by the artist. Edward Hicks: His Peaceable Kingdoms and Other Paintings. By Eleanore Price Mather and Dorothy Canning Miller, 224 pages. 166 illustrations including 8 color plates. Bibliography. Index. Cloth.9/ 1 4 x 12/ 1 4 inches. $40.00. The American Art Journal Book Series is published by The American ArtJournal/Kennedy Galleries, the University of Delaware Press, and Cornwall Books.

Kennedy Galleries Publisher of The American Art Journal 40 West 57 Street, New York, N.Y. 10019 Name Address City

State Please send me

Zip

copies of Edward Hicks: His Peaceable Kingdoms and Other Paintings at $40.00 each $ plus $4.00 postage and handling and tax where applicable Total enclosed $ Please make checks payable to Kennedy Galleries, Inc.

America's most exciting antiques show!

WINTER ANTIQUES SHOW a benefitfor EAST SIDE HOUSE SETTLEMENT

44, -

January 21 through 29, 1984 Seventh Regiment Armory, Park Avenue at 67th Street, New York City Patron's Reception: Friday, January 20, 5 p.m. Tickets $150. Preview: Friday, January 20, 6:30 p.m. Tickets $90.

For tickets, information on special events and list of exhibitors: Winter Antiques Show, East Side House Settlement, 337 Alexander Avenue, Bronx, New York 10454

Telephone (212)665-5250

The whole panorama offolk art in America!

AMERICAN FOLK ART OF THE TWENTIETH CENTURY By Jay Johnson and William C. Ketchum, Jr. Introduction by Robert Bishop. From Grandma Moses and Morris Hirshfield to such contemporary masters as Kathy Jakobsen and Ralph Fasanella, the work of 114 remarkable artists is illustrated in this enchanting book by two eminent authorities in the field. With painters and sculptors from Texas to Maine, and subjects both rural and urban, this handsome book spans a century of folk art in America. 352 pages. 9"x12". 230 illustrations in full color. $45

AMERICAN FOLK ART OF THE TWENTIETH CENTURY Ketc.hum.)t,

kZ , ZOLI NEW YORK

712 Fifth Avenue New York, NY 10019 Enclosed is a check for $ in payment for copies at $45 each plus $2 per order (not per book) for shipping and handling. Include local sales tax. Or charge my 0American Express 0 VISA 0 MasterCard 0 Diners Club. Card # Exp. Date Signature Name Address City / State / Zip Also available at all better bookstores.

MILES B.CARPENTER ************************************

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

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

THE SARGENT FAMILY Unknown American Artist, Circa 1800, National Gallery of Art, Washington D.C. Fine art print meticulously reproduced from the original. 22" x 30" Only $20.00 shipped prepaid.

HEDGEROW HOUSE Publishers of quality fine art prints. Offering the finest collection of American folk art reproductions available today. For a free color brochure write to: HEDGEROW HOUSE,230 FIFTH AVE., NEW YORK, NY 10001 (212)679-2532 We welcome inquiries from museums, private collectors and owners of American folk art paintings. 65

limn your likeness Paintings done in 1800's costume. Submit photos, one unsmiling. Backgrounds may be plain, scenic, with pets, art objects.

Arlene Strader golk Art Portraits 100 S. Montgomery St., Union, Ohio 45322 Phone (513) 836-6308 â&#x20AC;˘ By appointment

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

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

:•XXX.U.eie0IXXXXUEU9KXXXUelSlIXXXUIXXUIUSiSKXXXUSla "After viewing the first edition of The Quilt Digest, one feels that the 1984 offering cannot arrive too soon." — The Indianapolis Star

florence schwartz

The Book for Quilt Lovers - - - -- -7------ - -THE QUT PJGEST . .— s lilt .. V I -!. ..

COUNTRY ANTIQUES QUILTS, COVERLETS FOLK ART, PHOTOGRAPHS

BOX 8193 • PITTSBURGH, PA. 15217

( 4 I 2) 521-1005

INTERESTED IN BUYING SINGLE ITEMS OR COLLECTIONS. kicxxxxxxxxxxxxxxxxxxxxxF:mu4KosnKxHaxme.icxx.:

\._ The Quilt Digest 2, our 1984 offering, is enlarged and improved with:

• More pages • More color photographs • A sewn-and-glued binding • A heavier, laminated cover

• Patsy Orlofsky, author and a leading quilt conservator, returns to writing with "The Collector's Guide for the Care of Quilts in the Home." It is handsomely illustrated; •Penny McMorris, producer and host of the PBS television series Quilting and Quilting II, contributes the introduction to "Victorian Style," a pictorial essay of vintage sepia-tone photographs taken in a turn-of-the-century Chicago home; • Linda Upsets,quilt historian and collector, shares "A Piece of Ellen's Dress," the true story of a native Vermonter, her quilt and her struggles as a pioneer wife in the Wisconsin wilderness of the i850's; • Elizabeth Akana, quiltmaker and author, presents new discoveries about the Royal Hawaiian Flag quilt in a lavishly photographed article entitled "Ku'u Hae Aloha"; • Michael Kile, in the second of The Collector series, introduces a Cape Cod fatherdaughter team's extraordinarily comprehensive collection of American quilts,in full color; • Roderick Kiracofe, in response to reader demand, expands Showcase, introducing twenty-four pages of remarkable antique and contemporary quilts in large, full-color photographs. 8o pages 6o color photographs 15 black-and-white photographs and illustrations If you are a quilt lover, you won't want to miss The Quilt Digest. Available in fine antique, quilt, book and museum shops across the country, including: Museum of American Folk Art Book and Gift Shops 55 West 53 Street 610 Fifth Avenue, Rockefeller Promenade New York City or directly from the publisher by using the convenient order form below.

HARTL

anques A/Center- naftbrtaly known qualqy assemiled-by 23 dit2ierS irontAiw O'n .gland to Cali nua,and beauEffully a'isplayed fit z6uildoig5, one a handsome isagederal fiome Cu wiIt melthe to earl /9th &Iffuy isuitie,feuniee4 count dmaljuindure, an ezeittnsr van ce aecessorie.5 tncludinf stoneware, cTperrbra.s.11k art, early.0(m baskets, perifivs, rare tools &aka/ and Oriente rip, elock4 and the unusua4 to deliShiyour qe and enjoy years' to comc_}

,A..__...4 The Quilt Digest 1, our inaugural edition, Rielik—A-Pit—iiiii is still available. il41Just fill in the appropriate blanks on the order form. St** THE QUILT DIGEST FN.

KIRACOFE AND KILE 955 FOURTEENTH STREET SAN FRANCISCO

Address City

State_ Zip

THE QUILT DIGEST z 0[984)._ copies @ Siz.95 each

BARBARA E. MILLS, MANAGER ROUTE 5 HARTLAND, VERMONT 05048 MILES NORTH Or EXIT 9 ON 1NTERSTAT/r

MAY 1 TO OCT. 31-OPEN EVERY DAY 9T0 6 NOV1 TO APRIL 30-WED.THROUGH SUN. 10 TO 4 "NI

94114

Send Us: Your name

THE QUILT DIGEST 1 (1983) _ copies iez 59.95 each California residents add 6% sales tax Postage & handling ($1.5o x number of copies ordered) Total amount S Enclose your check made payable to Kiracofe and Kik for the total amount shown, and mail it to 955 Fourteenth Street, San Francisco 94114. Allow 4-6 weeks for delivery. We are happy to send gift copies directly to recipients.

liTance pectalists HUNTINGTON T. BLOCK INSURANCE 2101 L Street, N.W. Washington, D.C. 20037 Telephone 202/223-0673 or Toll Free 800/424-8830 Telex 892596

41 / 4 . Oncord flintiquts Fairs THE E.M.C. FRENCH

0 19th and c1) 20th Century American Folk Art Books and -\_Th Catalogues C3

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

Olana Caller 10509

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

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

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

TEXTIL &QUIL • .IESTORATION• .

BRENDA 0VERSTROM-212 608-3290 55 HUDSON ST. NEW YORK, NY 10013

braita of purtiy. cI 2,t,6 - tic Atic

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52n cifri oqr-frails coO/Y2.-5iZeddlOoked ,[ease kno til in ctarYance Choi on, Fu2, a6ove co-mmissione4 erea-five. rcorWarfe I ifems 250-4 be Trapeesonat dontfi6ufion_ Aiseum ofcilmericangikolrt

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The Aged Ram Suzanne C. and Cleland E.Selby The Brickyard B- 7 Essex Junction,Verrnont 05452 802/8T8-4530

(Park. cAr:J: 07q32. 69

And The Arts"eek,ly

Felicity Quilts and Patchwork

The Museum of American Folk Art and

antique Bow* invite you to make an important contribution to the Museum of American Folk Art Hand Quilting of Antique Quilt Tops Authentic Quilt Reproduction Traditional and Contemporary Karen F. Berkenfeld 150 West 79 Street N.Y.C. 10024 (212) 799-3321

E : V1M

BACK ISSUES OF

THE CLARION

While subscribing to Antique Monthly at a special, low members' rate. When you return the coupon below, MAFA will receive one-half of your subscription price as a donation in your name. Subscribe now! You save one-third off the regular single copy price and MAFA receives needed financial support for the upcoming season! Each month Antique Monthly, the nation's only fine antiques newspaper, will bring you the latest information you need to enjoy your antiques to the fullest. Take advantage of this fantastic opportunity to support the Museum of American Folk Art while enjoying a full year of Antique Monthly's comprehensive coverage of the international antiques sceneâ&#x20AC;&#x201D;all for only $12!

The following back issues of The Clarion may be ordered through the mail: Spring 1979 Summer 1979 Fall 1979 Spring 1980 Winter 1981

Spring 1981

Fall 1981 Winter 1981/82

Spring 1982

includes "American Folk Paintings" catalog includes "Hawaiian Quilts" catalog includes "Shaker" articles includes "John Blunt" catalog includes "Records of Passage: New England Illuminated Manuscripts in the Fraktur Tradition" catalog includes "Anonymous Beauty: Quilts, Coverlets, and Bedcoversâ&#x20AC;&#x201D;Textile Treasures from Two Centuries" catalog includes "The American Decoy" catalog includes "Accessions from the Lipman Collection" and "Woven for Work: American Baskets" catalogs includes "The Art of Scherenschnitte" and "The Chalk Menagerie" catalogs

The cost of each back issue of The Clarion is 56.40 per copy (price includes postage and handling). Orders must be prepaid by sending a check or money order to: The Museum of American Folk Art, Mail Order, 49 West 53 Street, New York, N.Y. 10019

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

=0 I= =I

Still Life Crocks and Onions by Sylvia Alberts

JOHNSON JAY America's Folk Heritage Gallery 1044 Madison Avenue, New York, N.Y. 10021 628-7280 Tuesday through Friday, 10 a. m.-6 p.m.

Saturday, noon-6 p.m.(212)

EZMI

Index to Advertisers

Patricia Adams Aged Ram Industries All of Us Americans American Folk Art Company American Primitive Gallery Ames Gallery Marna Anderson Antiques and the Arts Weekly Antiques Center at Hartland Antique Monthly Bonner's Barn Betty Carrie Christie's Crane Gallery Leslie Eisenberg E.M.D.L. Epstein/Powell Ethnographic Arts Inc. 72

50 69 4 64 10 52 21 70 67 71 6 69 20 16 51 23 50 6

Suzanne Feldman Felicity S.K. French Galerie St. Etienne Pie Galinat Gasperi Folk Art Gallery Phyllis Haders Carl Hammer Gallery Hedgerow House Huntington T. Block Jay Johnson Kelter-Malce Kennedy Galleries T.P. Langen R.H. Love Galleries Kenneth & Ida Manko Steve Miller Diana Galleries

71 68 21 66 51 7 14 65 68 72 15 61 52 22 5 1 68

69 Brenda L. Overstrom 4 Joy Piscopo 67 The Quilt Digest Ricco-Johnson Gallery Inside Front Cover Back Cover Marguerite Riordan 63 Rizzoli 12 John Keith Russell 50 Schoolhouse Antiques 11 David A. Schorsch 17 Thomas G. Schwenke 67 Florence Schwartz 66 Arlene Strader 2 Sotheby's 62 Winter Antiques Show 8 Thomas K.Woodard 3 Wunderlich & Company,Inc. 49 Yolanda Fine Arts Inside Back Cover Zephyr Press

Text by Tobin Fraley Photography by Gary Sinick The History, Construction, and Restoration of these hand carved turn-of-the-century masterpieces is contained in this 81/2 x 11, 128 page book complete with over 60 Full Color Photographs.

Available through bookstores or by sending $19.95 + $2.00 shipping to: Zephyr Press P.O. Box 3066 Berkeley, CA 94703

Marguerite Riordan STONINGTON,CONNECTICUT 06378 Telephone: (203) 535-2511 Appointment suggested