Folk Art (Spring 1999)

)

) MAGAZINE OF THE MUSEUM OF AMERICAN FOLK ART * SPRING 1999 * 96.00

7

111

25274 74382

91 >

7

1

RICCO/MARESCA GALLERY

529 WEST 20TH STREET THIRD FLOOR NYC NY 10011 TEL 212/627-4819 FAX 212/627-5117 E-MAIL rmgal@aol.com WEB www.riccomaresca.com

STEVE • AMERICAN FOLK ART •

WANTED AMERICAN FOLK ART OF HIS QUALITY 17 East 96th Street, New York, New York 10128(212)348-5219 Gallery hours are from 1:00 pm until 6:00 pm,Tuesday through Saturday.

Other hours are available by appointment.

Robert Cargo

FOLK ART GALLERY Contemporary Folk Art • Haitian Spirit Flags Southern, Folk, and African-American Quilts

All1111:11111111\11111\11111111111111111111111

African-American Quilt. 70 x 69 inches. Wools and cottons. Alabama. Ca. 1930.

This masterpiece of improvisational art and six other quilts comprise a group made between 1930 and 1960-70 by the same maker. Complete documentation--name, dates, photographs--will be provided the purchaser. For sale, preferably as a group, but will separate.

The seven quilts were shown in 1998, along with other African-American quilts, in an exhibition titled "From the African Loom to the American Quilt" at the National Humanities Center, Research Triangle Park, North Carolina.

2314 Sixth Street, Downtown, Tuscaloosa, Alabama 35401 • Home Phone 205-758-8884 Open weekends only and by appointment • Saturday 10 a.m. to 5 p.m. and Sunday 2 to 5 p.m.

CHRIS MURRAY it atiittii 11/ 0111 ,ilttifilti i.II!,11. i1tITI1 .liiftlfr10$111-F C0 I1101:t . ;1"011.061;11$1414411,141110Etri, + .II litqfritir tinItotioillcv •

tRitosrolit,KvolvE04 , lumiloraiti '

iniel MI. *NM '114

MDR

rum Nam oar IMMO IMP MM4

:swim

MONO OWN OMNI Mid

um

Vtlits01.1

own mom a

VIM Itilitil itiiti 1111100$ , f13117 ' 411.011ii -w

isms mum mom mum lima maw Rion! Imo sna Non am, mu MIR Ism= UM. NEE NEM NEM MOM 111IM IN

WM OMR MIMI I. all mini NM. MIN SEM IMMM MUM MEM

I.

OMB IMO

11,11.1

MOM WPM Urn

1111u..

GRAND CENTRAL STATION,

1998

acrylic and pencil on collaged paper 34 x 39 inches

April - May

Gallery Hours: Saturday & Sunday 11:00 - 6:00 and by appointment

K.S. Art 73 LEONARD STREET NY NY 10013 212 219 9918

,

.0 41• • •11.• 11,11*• * *4. ***** •1•IF **V .1.4.

111.11.111111K1 1111111111111111111111111 1 101, 111111.11.11.11.0

411001ar 00 .

SIIIIIIIIIM101

WALTERS BENISEK ART &ANTIQUES ONE AMBER LANE • NORTHAMPTON • MASSACHUSETTS •01060 • • ( 4 1 3) 5 8 6 • 3 9 0 9 • • BENISEK WA LT ER 5 • MARY DON

Uncle Sam Whirligig By "Henny Penny" Sargent Wilmington, Massachusetts Dated 1900 Painted wood and metal Overall height: 56 inches

FOLK ART VOLUME 24,NUMBER 1 / SPRING 1999

FEATUR

Cover: Detail ofSUN RISE: Jack Savitsky (1910-1991), Lansford, Pennsylvania, 1964, oil on Masonite, 24 x 48", Museum ofAmerican Folk Art, promised gift of David L Davies, P4.1998.26

Folk Art is published four times a year by the Museum of American Folk Art, 555 West 57th Street, New York, NY 10019-2925, Tel. 212/977-7170, Fax 212/977-8134. Prior to Fall 1992, Volume 17, Number 3,Folk Art was published as The Clarion. Annual subscription rate for members is included in membership dues. Copies are mailed to all members. Single copy $6.00. Published and copyright 1999 by the Museum of American Folk Art, 555 West 57th Street, New York, NY 10019-2925. The cover and contents of Folk Art 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. Folk Art assumes no responsibility for the loss or damage of such materials. Change of address: Please send both old and new addresses and allow five weeks for change. Advertising: Folk Art endeavors to accept advertisements only from advertisers whose reputation is recognized in the trade, but despite the care with which the advertising department screens photographs and texts submitted by its advertisers, it cannot guarantee the unquestionable authenticity of objects or quality of services advertised in its pages or offered for sale by its advertisers, nor can it accept responsibility for misunderstandings that may arise from the purchase or sale of objects or services advertised in its pages. The Museum is dedicated to the exhibition and interpretation of folk art and 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 Folk Art that illustrate or describe objects that have been exhibited at the Museum within one year of placing an advertisement.

ES

BUILDING FOR THE FUTURE Stacy C. Hollander

28

QUEENA STOVALL: REFLECTIONS OF A COUNTRY LIFE Barbara Rothermel

38

A TOOTH FOR A TOOTH:THE DENTIST IN AMERICAN FOLK ART Arthur and Sybil Kern

46

DEPARTMENTS

EDITOR'S COLUMN

6

DIRECTOR'S LETTER

MINIATURES

20

MUSEUM REPRODUCTIONS PROGRAM

60

TRUSTEES/DONORS

62

MUSEUM NEWS

68

TRAVELING EXHIBITIONS

74

SPRING PROGRAMS

75

BOOKS OF INTEREST

78

INDEX TO ADVERTISERS

BO

SPRING 1999 FOLK ART 5

EDITOR'S

COLUMN

ROSEMARY GABRIEL

arch is fmally here, and the Museum is expecting an exciting spring season with plans to break ground for our new building before summer. In anticipation of this expansion, a campaign to solicit important artworks for our already distinguished permanent collection is underway. Recently,four good friends of the Museum collectively donated more than one hundred paintings, sculptures, and textiles.

Because Curator Stacy C. Hollander couldn't wait for us to see them installed in our new home, she's written "Building for the Future," starting on page 28,in which she gives us a sneak preview of ten of these exceptional works of art. Hollander also tells us a little bit about the spirited collectors—Cyril I. Nelson, David L. Davies, and Anne Hill and Edward V. Blanchard—who are responsible for these magnificent gifts.

In addition to "Building for the Future," this issue of Folk Art features "Queena Stovall: Reflections of a Country Life," an essay by Barbara Rothermel, the director of the Daura Gallery of Art, Lynchburg College,in Lynchburg, Virginia. Stovall, a resident of Lynchburg, started painting in 1949, when she was sixty-two years old, and captured the day-today life of a rural Virginia that no longer exists. Rothermel sums up Stovall's art when she quotes Dewhurst, MacDowell,and MacDowell in Artists in Aprons: Folk Art by American Women:"The genre quality of her paintings stresses with careful accuracy her people and the subtleties of their lives [with] a visible sensitivity to human relationships."

This essay is illustrated with seven beautiful images, among them Stovall's first painting, Hog Killing (1949), and one of her last, End ofthe Line (1960).

Another bygone era is captured by renowned researchers Sybil and Arthur Kern. BARS QUILT unidentified In"A Tooth for a Tooth," the Kerns trace the QuiRmaker Lancaster County, Pennsylvania early practice of dentistry through traditional 1910-1920 Wool with cotton backing folk art. Their illustrations include a circa 87¼>< 72/ 1 2" 1780 oil on board in which the artist graphi- Museum of American Folk Art, gift of cally depicts a blacksmith attempting to Mr. and Mrs. William B. Wigton, extract a tooth; a rare piece of scrimshaw that 1982.25.2 shows a seated subject undergoing a dental procedure; two examples of the most common trade sign employed by the early "tooth drawer," an oversized carved figure of a human tooth; and a beautiful Erastus Salisbury Field painting of the family of itinerant dentist Joseph B. Moore (which many critics consider Field's masterpiece). As usual, the Kerns have been "painstaking" in their research, and they offer a very interesting read, indeed.

Because I, like Stacy Hollander, am also a little impatient,I'd like to let you know now that our summer issue will feature Amish quilts from the Museum's collection to highlight "Beyond the Square: Color and Design in Amish Quilts," an exhibition organized by Elizabeth V. Warren that opens on May 22. And the fall issue will spotlight the wonders and surprises of"Millennial Dreams: Utopian Visions in American Folk Art," a fall exhibition organized by the Museum's director, Gerard C. WertIcin.

M

FOLK ART Rosemary Gabriel Editor and Publisher Jeffrey Kibler, The Magazine Group,Inc. Design Tanya Heinrich Associate Editor Jocelyn Meinhardt Production Editor Benjamin J. Boyimgton Copy Editor John Hood Advertising Sales Mel Novatt Advertising Sales Patrick H. Calkins Advertising Graphics Craftsmen Litho Printers MUSEUM OF AMERICAN FOLK ART Administration Gerard C. VV ertkin Director Riccardo Salmona Deputy Director Jeffrey S. Grand Director ofFinance and Operations Susan Conlon Assistant to the Director Cecilia Popkowslci Accountant Daniel Rodriguez Mailroom Beverly McCarthy Mail Order/Reception Collections & Exhibitions Stacy C. Hollander Curator Ann-Marie Reilly Registrar Judith Gluck Steinberg Assistant Registrar/ Coordinator, Traveling Exhibitions Sandra Wong Assistant Registrar Dale Gregory Gallery Manager Brian Pozun Weekend Gallery Manager Gina Bianco Consulting Conservator Elizabeth V. Warren Consulting Curator Howard Lanser Consulting Exhibition Designer Kenneth R. Bing Security Departments Cheryl Aldridge Director ofDevelopment Beth Bergin Membership Director Marie S. DiManno Director ofMuseum Shops Susan Flamm Public Relations Director Alice J. Hoffman Director ofLicensing Joan D.Sandler Director ofEducation and Collaborative Programs Janey Fire Photographic Services Chris Cappiello Membership Associate Jennifer Claire Scott Special Events Mary C. Thomas Development Associate Kathy Maqsudi Membership Assistant Wendy Barret° Membership Clerk Edith C. Wise Consulting Librarian Eugene P. Sheehy Volunteer Librarian Rita Keckeissen Volunteer Librarian Katya Ullmann Library Assistant Programs Lee Kogan Director, Folk Art Institute/Senior Research Fellow Madelaine Gill Administrative Assistant/Education Barbara W.Cate Educational Consultant Dr. Marilynn Karp Director, New York University Master's and Ph.D. Program in Folk Art Studies Dr. Judith Reiter Weissman Coordinator, New York University Program Arlene Hochman Docent Coordinator Lynn Steuer Outreach Coordinator Museum Shop Staff Managers: Dorothy Gargiulo, Caroline Hohenrath, Rita Pollitt, Brian Pozun, Suzanne Sypulski; Security: Bienvenido Medina; Volunteers: Marie Anderson, Olive Bates, Angela Clair, Sally Frank, Millie Gladstone, Emily Mann,Nancy Mayer,Judy Rich,Frances Rojack, Phyllis Selnick, Lola Silvergleid, Maxine Spiegel, Marion Whitley Museum of American Folk Art Book and Gift Shop Two Lincoln Square(Columbus Avenue between 65th and 66th Streets) New York, NY 10023-6214 212/496-2966 Administrative Offices Museum of American Folk Art 555 West 57th Street, New York, NY 10019-2925 212/977-7170,Fax 212/977-8134, http://www.follcartmuse.org

6 SPRING 1999 FOLK ART

Photographer: lben Molenkamp

Apothecary Chest (detail) from Sprague Country' Store in Roscoe, New York, circa 1881. $8500.

American Quilt (detail) from Lancaster, Pennsylvania, circa 1900. $1500.

THE AMERICAN FOLK ART GALLERY

at 374 Bleecker Street New York, New York 10014 Phone: 212-366-6566

Fax: 212-366-6599

e-mail: amfogal@aol.com

Mondayâ&#x20AC;&#x201D;Saturday 11-7, Sunday 11-6

gSPLENDID PEASANT' AMERICAN FOLK ART

Martin and Kitty Jacobs • South Egremont • Massachusetts 01258 •(413)528-5755 http://www.splendidpeasantcom

ELIJAH

Queen Esther, 1977, enamel/canvas, 35.25" x 43"

CAVIN-MORRIS GALLERY 560 Broadway, Suite 405B New York, NY 10012 tel: (212) 226-3768 fax:(212) 226-0155 e-mail: Mysteries@aol.com * wwwarthet.comicavinmorris.html

SHELDON PECK (1797 - 1868)

Portraits of a man and a woman, oil on pine panel, in the original painted frames, painted by Sheldon Peck, circa 1825-30. 12 `/2" x 10 1/2"including frames. A note on reverse of one states, "The Van Vechten family of Greene Co..

NY/Town of Leeds/ One of the earliest Dutch Settlers." A second note states, "Born 180I/Age 26 when done in 1827."

These rare early Pecks resemble the earlier Peck family portraits. See ANTIQUES (August 1975, p. 273-284.)

Yet both portraits contain elements that point toward Peck's more mature style â&#x20AC;&#x201D; the high cheek bones and molded features in the male portrait and the variation of the "rabbit's foot" design on the dress of the female portrait.

These small early portraits are an exciting new discovery in Sheldon Peck's work.

SAMUEL HERRUP ANTIQUES Box 248, 435 SHEFFIELD PLAIN RD., SHEFFIELD, MA. 01257 (413) 229-0424 â&#x20AC;˘ FAX (413) 229-2829

DIRECTOR'S

LETTER

GERARD C. WERTICIN

n effective, dedicated Board of Trustees is essential to the development of any cultural organization.

This truism is especially apt when an institution—like the Museum of American Folk Art—is about to take giant steps in new directions. I have used this column previously to call attention to the election of members of the Museum's Board. I am delighted to have that opportunity once again.

Although Barry D. Briskin of Bloomfield Hills, Michigan, attended his first meeting as a newly elected Trustee last December, he was deeply involved in support of the Museum throughout the year. With an impressive record in business as chairman and president of the TBS Group of Companies in Detroit, it was natural for Barry to join with Marie DiManno, director of the Museum Book and Gift Shop, and a group of other Trustees to consider ways of enhancing shop operations and earned revenues. Barry also has agreed to participate actively in our corporate outreach programs, working closely with Deputy Director Riccardo Salmona and Director of Development Cheryl Aldridge.

Also new to the Board is Margaret Z. Robson of San Francisco and Santa Fe, New Mexico. Margaret brings a distinguished career in public service and community activities to her Trusteeship. Among many other associations, she is a member of the boards of the Santa Fe Art Institute and the College of St. Benedict, St. Joseph, Minnesota, and has served on the President's Advisory Council on Historic Preservation. She was a Commissioner of the Georgia Boxing Commission and has held a variety of volunteer positions at Northwestern Memorial Hospital, where as president of the Leadership Council she united all fund-raising arms of the institution under one umbrella.

In welcoming Barry Briskin and Margaret Robson to the Board,I note that they are reflective of a widening geographic diversity in the governance of the Museum, which in turn highlights the Museum's status as a national and international organization. Fully half the members of the Board of Trustees reside outside the city and state of New York.

Over fifty percent of the Museum's membership lives beyond the New York metropolitan area. Indeed,there are Museum members in every state of the Union, most Canadian provinces, and several dozen foreign countries. But this should not be surprising. The Museum's programs reach a national constituency and attract audiences far and wide. In the last twelve years, for example, exhibitions organized by the Museum have been seen in almost 150 venues throughout the country and abroad. These are all indications of the reach of the Museum of American Folk Art and the enthusiastic support and encouraging interest of its members and friends.

As the Museum continues to broaden its horizons, it is also aware of the need to be an effective presence in the local community. One of the most moving programs at the Museum in which I have been privileged to participate was one developed for World AIDS Day,December 1,

A

1998. Over the last several years, the Museum has participated in the Day Without Art(the artworld's way of marking this annual event) by shrouding works of art on exhibition and introducing the texts of contemporary poetry relating to a disease that has taken such a terrible toll on the creative soul of the nation(and indeed, of the world). In the past, Stacy C. Hollander, the Museum's curator, and I have chosen the poetry from several published collections. This year, however, working with Deputy Director Riccardo Salniona and Development Associate Mary C. Thomas, we helped turn this day of mourning and introspection into one of affirmation of the human spirit.

In a program supported by grants from William Louis-Dreyfus and an anonymous donor, a group of fifty honors students from nearby Fiorello H.LaGuardia High School of Music and Art and Performing Arts visited the Museum under the auspices of Visual AIDS. Here they met with Michael Ransom,an artist living with AIDS, who exhibited Remembering...

REMEMBERING ...

Momentsfrom a Life, a deeply moving MOMENTS FROM A LIFE Michael Ransom miniature construction depicting the room New York City in which his partner, Julio Exavier Leon, 1995 had lived and died. The students had an Mixed media 12 12" opportunity to hear the artist's reflections Photo courtesy Visual AIDS on living with the disease as well as on the impact of the disease on his art. In a writing This is one of fourteen artworks by HIV-positive artists used to illustrate workshop conducted by their teacher, a 1999 calender, "Positive ReflecKaryn Kay,the students were encouraged tions on Art." The calendar was made possible by Visual AIDS, a to write poems reflecting their encounter New York—based organization with the artist and the candid interchange founded in 1988 to promote AIDS of ideas that they shared with him. The awareness through the visual arts and to provide direct support to results were overwhelming. On December 1, artists living with HIV/AIDS, and by the students returned to the Museum and Abbott Laboratories. several were invited to read their poems before a Museum audience; the texts of the poems were also displayed among draped works of art, and Michael Ransom's construction was placed on exhibit to underscore the message of the day.

On the basis of statistics alone, the poetry project may not appear to have been a major undertaking. In fact, it was of great importance. It introduced a group of students to the Museum and to the field of folk art. More specifically, it spoke to them about the process of making art and encouraged their own artistic creativity. Finally, it offered inspiration to them—and to us—about the transcendent nature of the human spirit, even when faced by adversity. My warmest thanks go to Dr. Paul Saronson, principal of LaGuardia High School; Karyn Kay; Mary Thomas; the Poetry Project supporters; and all the participating student poets, especially Hehni Hunin,Thomas Louie, Gregory Sinacori, and Sarah Wong.*

SPRING 1999 FOLK ART LI

American Folk Art Sidney Gecker EXTREMELY RARE SGRAFFITO PIE PLATE ATTRIBlUTED TO SOLOMON GRIMM PENNSYLVANIA,BERKS COUNTY,CIRCA 1820 DIAMETER:9%INCHES POTTERY BY GRIMM SELDOM APPEARS.Two VERY SIMILAR PLATES,WHICH WERE DEACQUISMONED BY THE NEW YORK HISTORICAL SOCIETY(FROM THE COLLECTION OF MRS.J.INSLEY BLAIR),WERE SOLD

BY SOTHEBY'S ON JANUARY 29,1995,ITEMS 301& 304.

A RARE SGRAFFITO JAR,FORMERLY IN THE LOIUMER COLLECTION,WAS SOLD BY THE LEVY GALLERY IN 1976.

A SGRAFFITO PIE PLATE WAS SOLD BY PENNYPACKER'S, READING,PENNSYLVANIA,IN 1956.

GRIMM'S WORK IS PROBABLY THE MOST BRILLIANTLY DECORATED OF ALL PENNSYLVANIA POTTERS.HIS USUAL MOTIF IS THAT OF TULIPS,PORTRAYED IN VIVID COLORED GLAZES.HIS WORK REMAINS EXCESSIVELY RARE. 226 West 21st Stree4 New York, N.Y. 10011 (212) 929-8769, Appointment Suggested Subject to prior sale.

THE

AMES GALLERY

2661 Cedar Street, B

1.2 SPRING 1999 FOLK ART

e ey.

Dealers in exceptional self-taught, visionary, naive, and outsider art.

Also early handmade Americana— including quilts, carved canes, tramp art, and whimsies.

4708• Tel: 510/845-4949 • Fax: 310/845-6219 • Bonnie Grossman, Director

Pictorial Album Basket Quilt with Padded Applique Birds, Fruits and Flowers.

Signed and dated in quilting—Anna M.Bass 1874. 66" x 80"

John.Sideli Art& Antiques Stylish Objects ofthe 18th,19th &20th Centuries 139 SOUTH MAIN STREET • PO BOX 1234 • SHEFFIELD, MA 01257 • 413. 229. 8424

MELISSA GREENE, ASSOCIATE • WESTPORT, CT • 203. 227. 2638

) NEW YORK STATE

FOLK ART APRIL 1 - DECEMBER 31

FENIMORE ART MUSEUM

New York State Historical Association 100 Years 1899-1999 Lake Road, Cooperstown, New York 13326 1-888-547-1450 â&#x20AC;˘ www.nysha.org ALBUM

QUILT, 1857, ANNA PUTNEY FARRINGTON, WESTCHESTER COUNTY

PAT GUTHMAN ANTIQUES 340 Pequot Avenue, P.O. Box 686 Southport, CT 06490 Tel.(203)259-7069 Fax (203) 259-2029 www.pa tgu th man.com

An impressive American Trade Sign for a veterinary surgeon. Original red paint. Circa 1860.

Height: 39" Width: 43"

Our hours arefrom 10 to 5

14 SPRING 1999 FOLK ART

Funded in part with a grant from the National Endowment for the Arts, a Federal Agency

Maria and Peter Warren Antiques 340 Pequot Avenue,P.O. Box 686 Southport, CT 06490 Tel.(203) 259-7069 Fax (203) 762-0475 www.warrenantiques.com

Carved miniature wood modelfor a Carousel Horse. Horse hair tail and mane.

Original paint.

Circa 1880.

Height: 101A" Width: 27"

Thursday - Saturday, or by appointment.

Portrait of a woman with a red book, oil on canvas circa 1830-1840 attributed to George Hartwell

DAVID WHEATCROFT 220 East Main Street, Westborough, Massachusetts 01581 508-366-1723

GREY CARTER Objects of Art

Jack Savitsky Eve, 16" X 20", Oil on Board, 1977 Paul Lancaster Butterfly Summer Flight 24" X 36", Oil on Canvas, 1996

Arlington, Virginia • By appointment (703) 685-1050 • gcarter@pressroom.com

EZEKIEL GIBBS

WEBB GALLERY

16 SPRING 1999 FOLK ART

209-211 W. FRANKLIN WAXAHACHIE,TX 75165 http://rampages.onramp.nethwebbart/

972-938-8085

CHRISTIE'S

AMERICAN FOLK ART

Christie's is now accepting consignments for our June 1999 auction.

Inquiries: Susan Kleckner at 212 546 1181

rgIOK"' P?"41,/14),

;•':;••

V7,

'

Abraham Parse!!(active 1825-1847), Portrait Miniature of a Man and a Woman watercolor on ivory, 21, x 2 in. each Estimate: S1,200-1,800 The Chieffo Collection To be included in the June 1999 sale of Important American Furniture, Folk Art and Decorative Arts.

502 Park Avenue. New York. New York 10022 Catalogues. 800 395 6300 www.christies.com

CLEM VINE 1

8

8

9

1

6

8

INTER

8

Collection Includes: Sarah Rakes Royal Robertson Nellie Mae Rowe We!mon Sharlhorne Herbert Singleton Jimmy Lee Sudduth Myrtice West And others

David Butler Sam Doyle Minnie Evans Howard Finster Reginald K. Gee Tim Lewis Albert Louden J.B. Murray

GALLEY

GILLEY8

A

M

E

8750 Florida Blvd Baton Rouge, LA 70815 www.eatel.nethoutsider 225 922.9225

"Zinnias" circa 1940, 171/2" x 211/2" Oil on Canvas Board. Photo by John Owen

ri,km v\i' 4 le v\YTy

•

\r

Gallery

•

Barbara Brogdon

Y'Y •1t*..S...*. ##### OVACIONP•i•mt0,7.•••••41.1.

•4 up,•••111.111

1111

MAY

,11

"

-••• ••••

1611 Hwy. 129 S. Cleveland, GA 30528

(706) 865-6345 FAX (706) 219-3112 www.rosehipsart.com email: rosehips@stc.net "Waitingfor Baby"— Mary Greene 36"x 24"

18 SPRING 1999 FOLK ART

"Happy 5th Birthday"

"Silver Street Service Station"

Anne Bourassa Archival Iris prints on Somerset Satin, Printed by Cone Editions Visit our website at: www.AnneBourassa.com Represented by: Morgan

E-mail: abourassa@erols.com

Rank Gallery

East Hampton, New York

(516) 324-7615

MINIATURES

VAN BERGEN OVERMANTEL, attributed to John Heaten, New York, c. 1732-1733, oil on wood, 15/ 1 4 74/ 3 4", New York State Historical Association, Cooperstown, New York, N-366.54

COMPILED BY TANYA HEINRICH

Richard Walker

DRESS SHOP, Ralph Fasanella, New York City, 1972, oil on canvas, 45 x 92", New York State Historical Association, Cooperstown, New York, N-3.83

LADY OF FASHION or GIRL OF THE PERIOD, artist unknown, New York, c. 1870, painted wood, 79 x 213 / 4 x 19/ 1 4 , New York State Historical Association, Cooperstown, New York, N-148.61

20 SPRING 1999 FOLK ART

Three Centuries of New York State Folk Art In celebration of the New York Historical Association's 100th anniversary, its Fenimore House Museum (888/547-1450)in Cooperstown, N.Y., will present "New York State Folk Art"from April 1 to Dec. 31. Organized by curator Paul D'Ambrosio,the exhibition will feature more than 100 pieces spanning the 18th to the 20th centuries. Highlights

New George Ohr Museum Planned The George E. Ohr Arts and Cultural Center in Biloxi, Miss., has announced that its major collection of the work of potter George E. Ohr(1857-1918) will be housed in the new Ohr-O'Keefe Museum, which will be designed by architect Frank Gehry. Ohr, a strident individualist known as the Mad Potter of Biloxi, was largely unrecognized in his lifetime. His delicate, thin-walled earthenware pots pushed functionality to the point of abstrac-

tion and were an exploration of the elasticity of clay. The distinct twisted and collapsed walls of his vessels were often coated in textured, luminous glazes; his experimental works anticipated many developments in contemporary ceramics. Groundbreaking will begin in the spring, and the museum is expected to open in early 2001.

will include works by Anuni Phillips, Grandma Moses, and Ralph Fasanella, as well as a very early Masonic ritual tracing board and the Van Bergen Overmantel, the earliest known American genre painting and the only known scene of everyday life among the Dutch settlers in New York.

New Site for Collection of American Indian Art The Southwest Museum in Los Angeles(323/933-4510) has opened a satellite exhibition space at LACMA West,a branch of the Los Angeles County Museum of Art, to showcase its comprehensive collections of Native American art. The new space is located on the city's Museum Row and is significantly more accessible than the main venue."Common Threads: Pueblo and Navajo Textiles in the Southwest Museum"is on view through Sept. 26.

THE ART OF NELLIE MAE ROWE

Arirtet-Nine artd a Natf 112ttret Da

By Lee Kogan

Published by the Museum of American Folk Art

The first major exhibition catalog to explore the full range of creativity and technical virtuosity of Georgia

112 pages 84 color illustrations

artist Nellie Mae Rowe.

hardbound 12 x 9"

In this full-color, beautifully illustrated volume, with a foreword by Gerard C. Wertkin and an introduction by Kinshasha Holman Conwill, Lee Kogan tells Nellie Mae Rowe's story and discusses her exuberant art with great insight, understanding, and sensitivity.

The Art of Nellie Mae Rowe is a must for anyone interested in the exciting field of twentieth-century folk art.

$30.00 10% discount for Museum members To order your copy, call the Museum's Book and Gift Shop at 212/496-2966 The Art of Nellie Mae Rowe Ninety-Nine and a Half Won't Do is on view at the Museum of American Folk Art January 16â&#x20AC;&#x201D;May 16, 1999

MINIATUR

ES

rrf Ati=ft ESTABLISHED 1973

The Lynch Collection

Major Exhibitions and Special

"Celebrating the Art of the Coastal Plain: Selections from the Robert Lynch Collection of Outsider Art and Contemporary Self-Taught Art from 1952" is on view at The Four Sisters Gallery (252/985-5100) at North Carolina Wesleyan College in Rocky Mount, N.C.,through June 10. The exhibition features several works by North Carolina artist Leroy Person, who created a distinct body of decoratively incised woodcarvings and furniture pieces that were often brightly colored with several layers of heavily buffed wax crayon.

Three major exhibitions featuring American folk art are on view at Colonial Williamsburg in Williamsburg, Va."The Kingdoms of Edward Hicks," a traveling exhibition on view at the Abby Aldrich Rockefeller Folk Art Center(757/229-1000) through Sept. 6,features more than 80 objects, including 30 Peaceable Kingdom paintings completed between the early 1820s and the artist's death in 1849. Hicks, a Quaker minister, used animal symbolism in many of his paintings to impart his morals and faith in peaceful and harmonious living. The exhibition is organized by curator Carolyn J. Weekley and is accompanied by a comprehensive illustrated catalog.

"Am I Not a Man and a Brother: Abolition and Anti-Slavery in the Early Chesapeake," an exhibition that examines how abolitionism and antislavery found expression in the decorative arts in England and America,is on view at the DeWitt Wallace Gallery (757/220-7724) through Jan. 2,2000.

Of special focus is the influential role of women; objects on view include medallions, ceramics, needlework, portraits, silhouettes, and pamphlets.

"Furniture of the American South," a major exhibition of more than 150 examples of early southern furniture, is on view at the DeWitt Wallace Gallery through December 2000. The

"Rocking Horse with Rider"

by Carlton Garrett(1900-1992) Painted Wood Carving, 9"x 10"x 3" (Other works bB barrett available)

The jinest in Southern jolk LArt 5325 Roswell Road,NE/ Atlanta, GA 30342 404-252-0485/FAX-252-0359

22 SPRING 1999 FOLK ART

AFRICAN THRONE, Leroy Person, Occhineechee Neck, North Carolina, C. 1975, wood, 2 23, / 35 . 261 The Robert Lynch Collection of Outsider Art, The Four Sisters Gallery, North Carolina Wesleyan College, Rocky Mount, North Carolina

Programming at Colonial Williamsburg

PEACEABLE KINGDOM, Edward Hicks, Pennsylvania, 1822-1825, oil on canvas, 371 / 4 • 44/ 1 2", Abby Aldrich Rockefeller Folk Art Center, Colonial Williamsburg Foundation, Williamsburg, Virginia, 1967.101.1

lamb eleopard shall lie down with the kid:Z

MANHATTAN ART & ANTIQUES CENTER The Nation's Largest and Finest

Antiques Center.

Over 100 galleries offering Period Furniture, Jewelry, Silver, Americana, Orientalia, Africana and other Objets d'Art. 1050 SECOND AVENUE(AT 55TH ST.) NEW YORK, N.Y. 10022 PRESENTS

•1 •

+No

.oft

An,

••••0 ••••/

;re)

... _ :-. _ _. together; and a little child ,s ha i lead them. = ,1) 4C. -••••4

exhibition highlights cabinetmaking traditions and diversity of the Chesapeake, Low Country, and Back Country regions of the south and is accompanied by an illustrated catalog.

From March 11 to 13, the Williamsburg Institute (800/6030948) will present "Folk Art Favorites," a three-day conference featuring tours, gallery talks, and panel discussions, with an emphasis on works that attracted pioneer collectors.

Guest speakers will include Thomas N. Armstrong III, Nancy Druckman, Sandi Fox, Helen and Nel Laughon, Sumpter Priddy III, Beatrix T. Rumford, Elizabeth Stillinger, and Charles Umstott.

Spring is eternal in a Pearl McGown hooked rug with profuse blooms, 5'10" x 7'9".

Nary A nnCoopeKs,

LAURA FISHER ANTIQUE QUILTS &AMERICANA Gallery #84

worKate 12 years, febuary re rfol 47. dirrican ,5-chool Pi

SAMPLER, Mary Ann Cooper, probably New York, dated February 16, 1841, wool and possibly silk on linen ground, 171 / 4 • 12/ 1 2", Colonial Williamsburg Foundation, Williamsburg, Virginia, 1992-212

9

#.

-.:-.-14.i:i:i:i , i --.. 2_;•:i..- .I; ., •

New York City's largest, most exciting selection of Antique Quilts, Hooked Rugs, Coverlets, Paisley Shawls, Beacon Blankets, Vintage Accessories and American Folk Art.

Laura Fisher: Tel: 212-838-2596 Monday—Saturday 11AM-6PM The Manhattan Art&Antiques Center:

Tel: 212-355-4400 • Fax: 212-355-4403 WWW.g1enwoodmanage ment com/maac Open Daily 10:30-6, Sun. 12-6 Convenient Parking

• Open to the Public

SPRING 1999 FOLK ART 23

MINIATURES

-k6f43 Gallery

Ellsworth Miniatures in Massachusetts A folk art exhibition featuring the work of itinerant artist James Sanford Ellsworth is on view at the Connecticut Valley Historical Museum (413/263-6800)in Springfield, Mass., through Oct. 20,1999.

"Folk Art from the Museum Collection" includes 39 of the artist's miniature watercolor portraits of middle-class New England families, several silhouettes, and

MARY CURTISS, lames Sanford Ellsworth, probably New Marlborough, Massachusetts, c. 1849-1856, watercolor on paper, 2% x VA", Connecticut Valley Historical Museum, Springfield, Massachusetts, 78.144

three of his rare large portraits, as well as paintings by other 19thcentury folk artists.

Flower Shower by Jim

Wagner

22" x 48" Acrylic on Canvas

Lots of Folks Art â&#x20AC;˘ Fanciful Gifts Creative Furnishings â&#x20AC;˘ Jewelry )3410 Civic Center Way Malibu,CA 90.)65 310,Q56.8677 H8.81-48.8677 bob_dawn@topsigollery.corn www.topsgallery.com

24 SPRING 1999 FOLK ART

Benjamin Margo

George Morgan Exhibition "George E. Morgan: Maine Streets" is on view at Intuit: The Center for Intuitive and Outsider Art(312/2439088)in Chicago through April 10. Morgan (1870-1969), who began to paint in his early nineties while confined to a rest home, completed a small body of works recalling the landscape of his ordinary life in the towns of inland Maine.

His map-like images display a pictorial sophistication, with many of them combining a conventional frontal perspective with an aerial view.

HALLOWELL RIVER, George E. Morgan, Maine, 4", / 4 >. 161 / 1963, oil on canvas board, 121 private collection

Semiannual HSEAD Convention The Historical Society of Early American Decoration(HSEAD) will hold its semiannual convention and exhibition at the Sheraton Hotel in Burlington, Vt., the weekend of April 23 to 25. On view will be a special exhibition of original decorated tinware, reverse glass painting, and

American country painting. The public is welcome, and admission is free on Saturday from 9 A.M. to 11 P.M. and on Sunday from 9 A.M. to 11:30 A.M. For more information, please call chairperson Dolores Fumari at 802/247-3847.

GIFT DRAWING ("From Mother Ann to Amy Reed"), Sarah Bates, New Lebanon, New York, dated 4, / 2 . 153 / January 7, 1848, blue ink with green, red, and yellow watercolor on blue paper, 91 Shaker Museum and Library, Old Chatham, New York

le • si°

Jimmy Lee Sudduth Born 1910 Alabama

4S oft

•

Art sf the Shakers in New York "Shaker Gifts, Shaker Genius: The Collections of the Shaker Museum and Library" is on view at the PaineWebber Art Gallery (212/713-2885)in New York City through April 2. Organized by the Shaker Museum and Library in Old Chatham, N.Y., the exhibition explores twin themes in the Shaker experience—the gifts received through

spiritual revelation and the genius that found expression in the furniture, architecture, clothing, and music they created. Nearly 400 artifacts are on view,including religious objects, documents, historical prints, and photographs, as well as popular icons of Shaker design, such as rocking chairs and oval wooden boxes.

Cow Named Maud 3'x4' Mud and housepaint

Chanffing Clothes The way in which boys and girls are identified by the clothing they wear has changed significantly over the last two centuries."Is It a Girl or a Boy? Gender,Identity and Children's Clothing, 1800-1990" will be on view at The Valentine Museum

(804/649-0711)in Richmond, Va.,from April 8, 1999, to Feb. 28,2000. The exhibition will explore the varying attitudes toward children and childrearing using children's clothing and period images.

San Dewey "Buddy" Martin 1926-1998 was most comfortable carving Alabama woodcarver Sam figural walking canes from sourDewey "Buddy" Martin died on wood, bay, maple, and various Aug. 30, 1998. Born Sept. 3, other woods. The canes were usu1926,in the community of Straally carved from a single piece of ven in Shelby County, Alabama, wood using only a pocketknife.

Martin was a fourth-generation Over the years he also produced a carver. He is represented in number of carvings of animals, numerous private collections and ranging in scope from those cut his work is included in Animals from peach pits to a few lifein American Folk Art, by Wendy size eagles.

Lavi t(Knopf, 1990).

He is survived by his wife, Although he was adept at Bonnie Martin; two sons, Sam Jr. carving the traditional puzzles or whimseys, such as the caged balls and Timothy, also woodcarvers; and several grandchildren. and chains used by woodcarvers —Robert Cargo to demonstrate their skills, Martin

Circus Horse with Rider 4' x4' Mud and housepaint

American Pie Self-taughtFolk Art Gallery Elaine Johansen 113 Dock Street • Wilmington, NC 28401 (910) 251-2131 www.americanpieart.com

SPRING 1999 FOLK ART 25

Ginger Young Gallery Southern Self-Taught Art By appointment 919.932.6003 Works by more than four dozen artists, including: Rudolph Bostic • Raymond Coins • Howard Finster Sybil Gibson Willie Jinks M. C. Jones • Joe Light • R. A. Miller Reginald Mitchell • Sarah Rakes Royal Robertson • Nellie Mae Rowe • J. P. Scott • Lorenzo Scott • Earl Simmons Jimmie Lee Sudduth • Mose Tolliver • John Henry Toney • Myrtice West Willie White • Purvis Young

For a free video catalogue or a price list please contact: Ginger Young Gallery, 5802 Brisbane Drive Chapel Hill, NC 27514 Phone/Fax 919.932.6003 • E-mail: gingerart@aol.com Website: http://members.aol.com/gingerart2/

Stop and Rest If You Must But Don't You Quit

by James "Buddy" Snipes Housepaint, metal, and twigs, 14" x 16"

MINIATURES

Daniel Farber 1906-1998 Gravestone scholar, photographer, civic leader, and business executive Daniel Farber died May 23, 1998, of ventricular fibrillation at the University of Massachusetts Hospital after a short illness.

Born in Worcester, Mass.,to Louis and Rose(Barsky)Farber in 1906, he graduated from Commerce High School in the twenties and later received an honorary doctorate of fine arts from Worcester State College in 1992.

Farber was an executive of the L. Farber Co., a shoe insole and welting business founded by his father.

Both Farber and his wife, Jessie Lie Farber, were experts in early American gravestones, and he was a founding member and past president of the Association

26 SPRING 1999 FOLK ART

for Gravestone Studies. In the 1960s, Farber located longoverlooked burial grounds on Worcester Common and supervised the transfer of many of the formerly buried gravestones when Worcester Center was redesigned.

On several occasions, Farber and his wife lectured on historic gravestones at the Museum of American Folk Art. In 1988,they served as curators of the Museum's exhibition "Portraits in Stone," a presentation of92 of their photographs of early American gravestones, which was held in New York City at Federal Hall National Memorial on Wall Street.

The Farbers donated these and other photographs and a collection of glass plate negatives to the Museum.Four traveling shows of the Farbers' collection of photo-

I, I 1,i4nrit

,+1

Ill

I h.-ntlash' l'..11 Timken

Park ,its

1- 1111'404r; I If I I, art.,. I. P

graphs have been exhibited in 70 museums; several thousand of their photographs and gravestone rubbings are in the collections of 115 museums and galleries, including the Smithsonian Institution in Washington,D.C.

n

I

!

, 1,„") ,„; it III, 11 Ii,

Farber is survived by his wife, Jessie Lie Farber; a son, Louis; a stepson, Henry Lie; a brother, Allen; a sister, Lillian Feinberg; and five grandchildren.

—Lee Kogan

SISTER GERTRUDE MORGAN

, 0,

YOUR SOURCE FOR At

CHARLES W. HUTSON & SISTER GERTRUDE MORGAN

r

_

11Mr .6.

Man Riding Horse, Revelation /4, 12" x 19"

WILLIAM PELTIER • FINE AND FOLK ART 376 Millaudon St. • New Orleans, LA 70118 • By Appointment tel: (504) 861-3196 • fax: (504) 862-7403 e-mail: wpeltier@aol.com • web site: http://www.peltierart.com

ANGELA USREY GALLERY an

american

art

gallery

JIMMY LEE SUDDUTH works dating from

1976 - 1993 101 FRAZIER AVENUE CHATTANOOGA, TENNESSEE 37405 ausrey©mindspring.com

423.265.2760 (FORMERLY NORTH SHORE GALLERY)

-JIMMY LEE SUDDUTH, SUNFLOWERS, c. 1978

SPRING 1999 FOLK ART 27

By Stacy C. Hollander

,g

Something remarkable is happening at the Museum of American Folk Art. In Winter 2001, the Museum will embark on its own "space odyssey" when it opens its permanent headquarters at 45-47 West Fifty-third Street in New York. Designed by the internationally recognized architectural firm of Tod Williams Billie Tsien and Associates, the building will comprise approximately 30,000 square feet of space and will herald the widespread recognition of folk art as an essential element in American cultural history.

In conjunction with plans for the Museum's expansion, a campaign to solicit important artworks for the collectionâ&#x20AC;&#x201D;spearheaded by consulting curator Elizabeth V. Warrenâ&#x20AC;&#x201D;is currently underway. These gifts will be highlighted in the inaugural exhibition that celebrates the Museum's return to Fifty-third Street, its original site, and will also become a significant feature of the architecture itself through the many long-term installation opportunities offered by Williams and Tsien's elegant yet unconventional structure.

Taking the initiative in this effort to expand the collection have been four of the Museum's close friends, all of whom are discerning collectors in their 28 SPRING 1999 FOLK ART

for t

re own rights: trustees Cyril Irwin Nelson, David L. Davies, and Anne Hill Blanchard, along with her husband, Edward V. (Monty) Blanchard. Individually, their gifts are a radiant reflection of the particular passion each collector has brought to the field of American folk art. Together, they paint a vivid picture of the Museum of American Folk Art as a major repository of American visual and cultural expression. The encompassing interests of these four collectors fairly represent those of the Museum's primary constituencies, from nineteenth-century paintings, regional painted furniture, and textiles to autobiographical works by contemporary folk artists who first gained enormous popularity during the 1960s and 1970s and more recent compelling works of self-taught artists whose paintings and sculpture may be less immediately accessible, such as William A. Blayney and Adolf Wolfli.

We salute these four great friends and their families.

Their gifts to the Museum at this exciting moment are a harbinger of great things to come in the new millennium. The Museum of American Folk Art invites you to sample its future, courtesy of Cyril Irwin Nelson, David L. Davies, and the Blanchards.

SPRING 1999 FOLK ART 29

Cyni N

SOfl

yril Nelson's generous gifts demonstrate his enduring commitment to the Museum and to aesthetic excellence. Cy first became acquainted with the Museum through its initial loan exhibition in 1962 at the Time-Life Building. His ties were strengthened in 1974, when he was invited to join the board as a trustee. Through his position as an editor at E.P. Dutton, now Penguin Books USA, Cy was familiar with some of the finest American folk and decorative arts, and he was able to establish a relationship between Dutton and the Museum; the most recent product of this partnership is Elizabeth Warren and Sharon Eisenstat's Glorious American Quilts, a detailed catalog of the Museum's quilt collection.

The slightest acquaintance with Cy Nelson quickly reveals his intense love of quilts and other early American textiles, inspired in part by the needlework skills of his mother and grandmother. In fact, the Museum's premier collection of American textiles is largely the result of Cy's dedication to having the Museum benefit from this great interest. Fittingly, his most recent gifts include two remarkable bedcovers from the early nineteenth century: a rare type of bedcover called a bed rug and a spectacular indigodyed calimanco quilt.

The bed rug, dated 1803, belongs to a small group of home-produced textiles made throughout New England but especially associated with the Connecticut River Valley.

Bed rugs resemble hooked rugs in their raised, looped, and often clipped surfaces, but they were actually made using an embroidery technique of a running stitch through a foun-

BLANKET CHEST-ON-CHEST Maker unidentified Maine c. 1830s Painted pine 3 4 19" deep 41 39/ Promised gift of Cyril Irwin Nelson in memory of Robert Bishop, P1.1998.5

30 SPRING 1999 FOLK ART

dation of hand-loomed wool or linen. The patterns on these large textiles are usually oversized floral designs, and they often feature a tree of life emanating from a small urn. This motif probably derives from imported Indian palampores (chintzes brought from India and often finished in that country as bedcoversâ&#x20AC;&#x201D;they were sometimes stuffed with cotton and quilted), while other common designs recall Jacobean embroideries of carnations and various other flowers. The name of the maker, or her initials, is typically a prominent feature on these textiles dating from the first part of the eighteenth century through the early nineteenth.

The example donated by Nelson is dated and initialed Lâ&#x20AC;&#x201D;. According to tradition, it was made by Lucretia Rockwood Fairbanks, wife of Reverend Drury Fairbanks of Plymouth, New Hampshire, who was a direct descendant of Jonathan Fairbanks of Dedham, Massachusetts.

Nelson's spectacular indigo whole-cloth quilt is made from seamed lengths of a single-colored glazed wool known as calimanco. This worsted wool, often professionally produced, provided a wonderful foundation for elaborate quilting. In Glorious American Quilts, Warren and Eisenstat conjecture that the particularly rich embroidery seen in this example may have been professionally stitched as well. The beautiful saturated deep blue was the result of indigo-dyeing, which also may have been accomplished outside the home, as the dye process was unpleasant and arduous.

In 1972 Cy published American Painted Furniture 1660-1880, illuminating another abiding interest. Author Dean A. Fales Jr. and picture editor and designer Robert

BED RUG Member of the Fairbanks Family New Hampshire Dated 1803 Wool on wool foundation 100 c 99" Promised gift of Cyril Irwin Nelson, P1.1995.12

SPRING 1999 FOLK ART 31

Bishop, who served as director of the Museum of American Folk Art from 1977 until his death in 1991, illustrated the magnificent blanket chest-on-chest from Maine that is included in Cy's gift. This uncommon furniture form is further enhanced by an extraordinary paint surface of wood patterns in black on red. The color scheme is typical of Maine furniture, especially when used in imitation of rosewood, but is used to unusual effect here. Although the Museum boasts a wealth of regional painted furniture, the blanket chest-on-chest is a significant addition because of its stunning visual qualities, and because it introduces a stellar example from a region that is presently underrepresented.

Particularly touching is Cy's gift of a delicate watercolor of a mother and child. Depicting members of the

32 SPRING 1999 FOLK ART

Chase family of Deerfield, New Hampshire, the painting descended in Cy Nelson's family through his grandmother Elinor Irwin (Chase) Holden. The first work by the artist J. Evans to enter the collection, the watercolor has been shown in several important exhibitions, including "The Flowering of American Folk Art," presented in 1974 at the Whitney Museum of American Art. More than twenty works by this artist, who worked primarily in New Hampshire and Massachusetts, are known, though no biographical material has yet been discovered. Many of his watercolors feature a decorative floor covering such as the flowered rug in this portrait that echoes the stenciled elements on the original frame. The subjects are painted in exquisite detail, recalling the work of the better-known but just as elusive painter Joseph H. Davis.

INDIGO CALIMANCO QUILT Quiltmaker unidentified Probably New England 1800-1820 Wool 86 95" Promised gift of Cyril Irwin Nelson in honor of Joel and Kate Kopp, P1.1995.4

MOTHER AND DAUGHTER OF THE CHASE FAMILY Attributed to J. Evans (active 1827-1834) Deerfield, New Hampshire c. 1831 Watercolor on paper; original grained and stenciled frame 91 / 2 13/ 1 2" Promised gift of Cyril Irwin Nelson in devoted memory of his grandmother Elinor Irwin Holden and of his mother Elise Macy Nelson, P1.1998.6

TWO DREAMERS Harry Lieberman (1880-1983) Great Neck, New York c. 1966 Oil on canvas 24 . 30" Promised gift of David L Davies, P4.1998.24

ne of the Museum's very finest pieces of sculpture, the monumental Bicycle, Livery, Carriage, and Paint Shop Trade Sign, by Amidee Thibault, was a 1983 gift to the Museum from David L. Davies. David, a trustee since 1990, is perhaps best known for his superlative collection of weathervanes and other early American sculptural forms, many of which were illustrated in A Gallery of American Weathervanes and Whirligigs (1980) and American Folk Sculpture (1974). But David's friendships with Robert Bishop and Herbert Waide Hemphill Jr. led to another great interest: the work of contemporary self-taught artists. Through the 1970s, David assembled a large collection of paintings with Bert's encouragement, often visiting the artists, and it is no accident that so many of themâ&#x20AC;&#x201D;Harry Lieberman, Alexander Maldonado, Jack Savitsky, and Malcah Zeldis, among othersâ&#x20AC;&#x201D;are included in Hemphill and Julia Weissman's seminal book, Twentieth-Century American Folk Art and Artists, pubfished in 1974.

0 a 1 1 0 L5

SPRING 1999 FOLK ART 33

I was especially excited and gratified to realize that David's recent gift of thirty-five paintings included a very important work by Great Neck, New York, artist Harry Lieberman that I have long coveted for the Museum.

Lieberman was born in Eastern Europe into a Hasidic family. He immigrated to the United States in 1906 and worked for many years on the Lower East Side, where he and his wife owned and operated a candy store. It was not until six years after retirement, at the age of seventy-six, that Lieberman began to paint. For inspiration he turned to Jewish religious writings and traditions, as well as to Yiddish stories and folktales, and he always attached a narrative to the back, handwritten in Yiddish. In 1991,I had the pleasure of

34 SPRING 1999 FOLK ART

organizing a one-person exhibition, "Harry Lieberman: A Journey of Remembrance," for the Museum. Two Dreamers introduced the theme of Hasidism in both the exhibition and the accompanying catalog. This painting is at the heart of the artist's conflict between his Hasidic roots and his assimilation to life in America. It illustrates a secular philosopher and a Hasid, whose ways may seem incompatible, but as Lieberman said,"You got to have both in yourselfâ&#x20AC;&#x201D;philosopher and dreamer."

Jack Savitsky is another painter whose colorful work often belies a serious undertone. Savitsky began working full-time in the coal mines of Pennsylvania when he was only twelve years old. When the No. 9 Col-

he Museum's involvement with twentiethcentury works dates back to its earliest years and the leadership of Herbert Waide Hemphill Jr. This interest was further nurtured under the directorship of Robert Bishop, and has continued to mature under the guidance of the Museum's present director, Gerard C. Wertkin. It is in Gerry's tenure that the Museum has presented "Self-Taught Artists of the 20th Century: An American Anthology," its most ambitious project to date in this area. Included in the national tour of this exhibition are several works from the collection of Anne Hill Blanchard and her husband, Monty.

The Museum of American Folk Art has been in the vanguard of a growing number of institutions that have acknowledged the significance of the Blanchard-Hill Collection by consistently turning to it as a rich resource for their exhibitions. The Blanchards first started visiting the Museum in 1979, shortly after they moved to New York.

In the ensuing years, their involvement with the Museum deepened considerably. In 1995, Anne accepted a position on the Board of Trustees; she has since actively served on the Museum's education committee, as well. I am pleased to take this opportunity to announce Anne and Monty's remarkable gift to the Museum of more than seventy-five works of art from their collection.

The artworks that comprise this gift were selected

by Anne and Monty, along with their daughters, Lydia, Catherine, and Cordelia, specifically to reflect their own developing interests since their first purchase in 1984. The gift introduces several new artists into the Museum's collection, notably Joseph E. Yoakum, P.M. Wentworth, William A. Blayney, and Eugene Von Bruenchenhein. It also greatly expands the Museum's holdings of important works by artists such as Bill Traylor, Elijah Pierce, Thornton Dial, and William Hawkins. And, with the acquisition of a work by the European master Adolf Wolfli, the Museum recognizes the increasingly global concerns of the field offolk art.

Anne and Monty began their collecting journey in New York City's East Village, but did not became aware of the work of self-taught artists until 1984, when Monty saw a private collection in Philadelphia that included works

by Bill Traylor, Howard Finster, and others. From the first, it was a family affair, as each of their three daughters grew up, a new voice was added to the decision-making process.

Although the collection has been guided by a cooperative family partnership, it is, not surprisingly, particularly rich in the work of southern artists—Anne and Monty are originally from Alabama and North Carolina,respectively.

One of the prevailing themes in discussions of contemporary folk art is the concept of animating materials through transformation. Bessie Harvey brings this notion to startling life in her powerful, almost dangerous root sculpture, the haunting Faces of Africa. Although Harvey did not manipulate or change the actual structure of the roots she transformed, her addition of materials that were applied to or embedded in the surfaces seem to stir to life an animistic spirit that had lain dormant in the discarded wood.

T

SUN RISE Jack Savitsky (1910-1991) Lansford, Pennsylvania 1964 Oil on Masonite 24 48" Promised gift of David L. Davies, P4.1998.26

liery in Coaldale, Pennsylvania, closed in 1959, Savitsky was already suffering from black lung disease. By this time, he was living in Lansford, and at the instigation of his son, he began to paint as a way of filling time. Savitsky's pop aesthetic features bright, flat colors and stillframes that form action sequences. In the early work Sun Rise, dated 1964, many of the hallmarks of Savitsky's style are already intact, but the use of repetitive motifs— in this case the line of people marching along the bottom—is not yet contained in individual cells. Sun Rise is also significant for its use of a thick impasto with incised rays to create dazzling sunshine that forms an umbrella over the daily activities of the miners.

SPRING 1999 FOLK ART SS

MT. MAGAZINE POINT Joseph E. Yoakum (1890-1972) Chicago 1967 Colored pencil and pen on paper 18 x 12" Blanchard-Hill Collection, gift of M. Anne Hill and Edward V. Blanchard Jr., 1998.10.73

In 1994 William Blayney's double-sided Church and State/Spiritual Powers in the Nations was included in an exhibition at the Museum of American Folk Art that examined the potent confluence of word and image in American folk art through three centuries. Words are an important element in Blayney's religious paintings, and they frequently take the form of shorthand references to passages from the books of Daniel and Revelation. His work as an auto mechanic and body repairman (before he was ordained a Pentecostal minister) probably influenced his use of brightly colored enamel paints in his apocalyptic paintings that show a preoccupation with the struggles of Christianity against the tyranny of despotic rulers.

Blayney is one of thirty-two artists included in "American Anthology"; Joseph E. Yoakum is another.

Yoakum's organic landscapes of winding paths, secret falls, and geologic creases are aptly described by his name for them: "spiritual unfoldments." Rendered in colored pencils, pastels, and ballpoint pen, the drawings are dreamlike interpretations of places Yoakum may have actually visited through his years of traveling with circuses and his work on the railroads.

Although Yoakum did not devote himself to drawing until he was in his seventies, he had completed 1,500 to 2,000 drawings by the time of his death at the age of eighty-two. Mt. Magazine Point, which was recently on view at the High Museum of Art in Atlanta, is one of three works by Yoakum that are included in the Blanchard-Hill gift to the Museum's collection.

36 SPRING 1999 FOLK ART

CHURCH AND STATE / SPIRITUAL POWERS IN THE NATIONS Reverend William A. Blayney 11917-19851 Sandy Creek, Pennsylvania, or Thomas, Oklahoma 1970/1971 Oil on Masonite 24 x 24" Blanchard-Hill Collection, gift of M. Anne Hill and Edward V. Blanchard Jr., 1998.10.10

FACES OF AFRICA Bessie Harvey (1929-1994) Alcoa, Tennessee n.d.

Wood, paint, shells, marbles 32 x 25 x 13" Blanchard-Hill Collection, gift of M. Anne Hill and Edward V. Blanchard Jr., 1998.10.24

SPIRITuAl POWIR$

P Till NATioNs.

IS All rRo Poroucx oP IR 4 MP P's gu,,, , Werr e et, ...I, OV,PPITS MOM. 5,tgrs PIMOVS â&#x20AC;˘ ,,vv, ,1,0, 1100

.c4,

Au. 1(Y-1 TS RESFRV.cr

REY,61-8 CoPIr5!6AP1E1'

â&#x20AC;˘

onr..

G,Gt-115a 70 AYNEY

L'3 DAS KANDER THAL IM BEINER OBERLAND Adolf Wolfli (1864-1930) Waldau Sanitarium, near Bern, Switzerland 1926 Mixed media on paper 181 / 2 24/ 1 4" Blanchard-Hill Collection, gift of M. Anne Hill and Edward V. Blanchard Jr., 1998.10.64

Henry Darger may be the only known American artist whose life's work can be likened to that of Swiss artist Adolf Wolfli. Wolfli was confined to the Waldau Sanitarium in Switzerland for the last thirty-five years of his life. From 1899 until his death in 1930, the artist constructed a complex world that was realized through 25,000 pages of text and 3,000 drawings. This alternative realm was explicated in notations of Wolfli's own invention, including music, autobiographies, maps, histories, and other textual and visual forms.

Each of these works of art will occupy a very special place in the Museum's new home when it opens in 2001.

They will also enhance the Museum's established collecting areas and also point the Museum in new directions that will be further explored in the future. Architects Tod Williams and Billie Tsien speak eloquently of the building they have designed for the Museum of American Folk Art in terms of a journey. It is one I hope you will share.* Author's note: In addition to these three Museum Trustees, many other friends have responded to the building campaign with wonderful additions to the collection.

Among the new gifts that will be highlighted in the inaugural exhibition at Fifty-third Street are nineteenth-century hooked rugs, Shaker gift drawings, and paintings by John Brewster, Samuel A. and Ruth W.Shute, and Micah Williams. I would like to express the Museum's gratitude in particular to Judith Alexander, Eric Cohler, Ralph 0.

Esmerian, Jacqueline L. Fowler,Jennifer Mason, Dorothea and Leo Rablcin, Jane Supino, and Elizabeth,Irwin, and Mark Warren. I would also like to acknowledge Stephen Feeney, Drunell Levinson, Freyda Rothstein, Dr. Martha Samo,Janice Turecki, Robert Webb,and the many others who have contributed works of art with an eye toward the Museum's future. Readers who are interested in gifting opportunities at the Museum of American Folk Art are invited to contact the curatorial department at the Museum's administrative offices.

Stacy C. Hollander is the curator ofthe Museum ofAmerican Folk Art. She lectures widely onfolk art and has writtenfor Antiques and Country Living magazines, as well asfor this publication. Hollander is the author ofHarry Lieberman: A Journey of Remembrance (Dutton Studio Books, 1991).

SPRING 1999 FOLK ART 37

SWING LOW,SWEET CHARIOT 1953 Oil on canvas 28 40" Maier Museum of Art, Randolph-Macon Woman's College, Lynchburg, Virginia

38 SPRING 1999 FOLK ART

QLJEENA STOVALL Reflections ofa

Country Life Queena Stovall, 1978

By Barbara Rothermel

ueena Stovall painted the rural life of the foothills of Virginia's Blue Ridge Mountains, evoking the traditional values of an era not long past. Her meticulously detailed paintings are perceptive documentations of a way of life, a record of what she knew and experiencedâ&#x20AC;&#x201D;the endless, life-sustaining chores the country farm, the joys of family at home, at work, and at prayer, and the p vusttims, and events of her community. She is one of the American folk painters whose work, "crammed full of information about everyday lives, has provided an invaluable visual history that helps to breathe life and vitality into the written accounts of the times, a portrait of America that allows us today to gain some better insight and understanding into the lives, interests, and activities of our forebears as well as a new perspective on our own times."

Stovall's paintings are deeply personal,forming a pictorial biography of a community and an autobiography of a remarkable individual. As genre paintings, they depict day-to-day life and actual experiences of people, as well as a way of American folklife that, because of social and economic changes, no longer exists.2 "Artists such as Queena Stovall strive for a re-creation of events and times by focusing especially on the people involved in them.. . . These artists set out to record individuals involved in their everyday existence. Their paintings remain as valuable historical documents that convey the subtleties of dress, furnishings, and social manners of the day."3 Stovall is frequently included at the forefront of these folk artists, women whose ranks include Anna Mary Robertson Moses (Grandma Moses), Clara McDonald Williamson (Aunt Clara), Clementine Hunter, and Edna West Teal; Stovall's obituary in the Lynchburg News & Advance on June 28, 1980, referred to her as "the Grandma

SPRING 1999 FOLK ART 39

In 1894, the family biles, the Stovalls moved to a farm in Moses of Virginia." But moved to the city of Lynch- Amherst County, Virginia, along the Stovall's work is distincburg, where Queena Dillard twisted back roads near rural Elon. tive: direct and honest, with er and her siblings attended pub- The farm, known as the Wigwam, identifiable people and paintings lic school.

The death of her faced the Blue Ridge Mountains, and accurate attention to detail. reflect father just three later led it was in this setting that Queena StoAccording to Beatrix T. the source, to her mother's years opening their vall spent the remainder of her life, Rumford of the Abby the labor, large home to boarders. In raising a family and, eventually, paintAldrich Rockefeller Folk the folk later years, Stovall attributed ing forty-eight scenes of life in this Art Center,"You have the technology much of her artistic success to rural world. feeling she's lived what that [made] her Brack Stovall was frequently mother, who, despite the she's painted. There is a these demands of work and family, on the road, working as a traveling gentleness to her work, but victuals found time to enjoy music and salesman, and Queena was left to it isn't idealized. It's not possible. art, and encouraged her chil- manage the familyâ&#x20AC;&#x201D;she had eight livnostalgic, there's flint to it. ing children, four boys and four dren to do likewise.

Queena is very sympathetic After leaving high girlsâ&#x20AC;&#x201D;and learn to run the farm,"conwith her subjects, whatever school in her senior year, Sto- tinuing a tradition that began during their race or condition; but vall took a job as a secretary in the 1860s when women ran plantaeverything's not happy, a buggy business. At the age tions and businesses while their huscheerful, and rosy as it is of eighteen, she married the bands fought in the Civil War." A with Grandma Moses. company's owner, Jonathan renowned cook who was well known Queena's world is bitterBreckenridge Stovall, a "won- for her gracious hospitality and her sweet."4 Her world is not based on childhood memories, charming anecdotes, or reminiscences: "She is a vigorous woman recording life accurately and gently... [who] records details of life most artists ignore."5 When asked, however, in the mid-1960s, and again in 1974, about the inspiration for Swing Low, Sweet Chariot, a depiction of a funeral in which black mourners gather around an open coffin under a canopy of sky and white blossoms of dogwood, the artist's recollection was hazy.

"Although she had some notion of when the idea struck, the moment of inspiration had been assimilated into her memory of funeral experiences in general. While she could not remember a specific funeral, Stovall's 'mind's eye' contained sufficient material to conceive and paint the picture." Stovall remembered with almost photographic precision many such universal events from her world that would later find their way intact into her paintings.

The world in which Queena Stovall lived revolved around home and family. Born on December 20, derful character, umpteen years older zest for life, Stovall kept her pantry 1887, in rural Campbell County, Vir- than I.' She cast her husband, known stocked with canned fruits and jams, ginia, one of twelve children of James as Brack, in eight of her paintings, homemade wines, fresh vegetables, Spotswood Dillard and Ella Nathan including Fireside in Virginia. "Of and Virginia hams. Her paintings Woodroof, she was christened Emma course, with my husband I could "reflect the source, the labor, the folk Serena, after two aunts, but her pater- always get a right good likeness of technology that [made] these victuals nal grandmother nicknamed her "little him," she said. "I told him... I could possible."° She has been described as Queena," after another aunt's child- always get him." When Brack Sto- having been as direct and straighthood way of trying to pronounce the vall's buggy business failed as a result forward as her paintings, curious of the emerging popularity of automo- but content, tiny but straight and firm, name Serena.

40 SPRING 1999 FOLK ART

HOG KILLING 1949 Oil on canvas 17/ 1 4 x 23/ 1 4" Private collection Reprinted by permission of the Stovall Family

FIRESIDE IN VIRGINIA 1950 Oil on canvas 18Y. x 24" New York State Historical Association, Cooperstown, 11-61.94

a woman with a balanced, practical view of this life who laughed her greetings.

When Stovall's children were young, Queena expressed her creativity through sewing and by painting floral and fruit designs on trays, plates, and chairs, a tradition followed by many women in the nineteenth and early twentieth centuries." She claimed she didn't have any urge to paint, although she did love the smell of turpentine: "I never had thought of painting . . . . I really wanted just to paint just for my family; that's the way I started."12 It wasn't until her children were mostly grown that she began to paint scenes in oils. Her brother, David Hugh Dillard, admiring her painted designs, encouraged her to enroll in an art class taught by the

Spanish-American artist Pierre Daura at Randolph-Macon Woman's College in Lynchburg. The year was 1949; Queena Stovall was 62 years old. As she recalled years later, "The family always came in for supper on Thursday and Sunday nights, you know.

And I had just painted a Boston rocker for one of the boys, and it was right good. So David Hugh, my brother, said, 'Why don't you go out there to the college with Rosalie [his daughter] and take lessons under Pierre Daura?'

He said at least it would get me out of the kitchen two days a week. But I said I didn't think I could do anything with it. The next day Rosalie came by and said David Hugh would pay for the course and buy the paints. Well, that put a different light on it."13 Stovall attended the class, "with all the college girls with sweaters and

beads."" Although she acknowledged that she was scared to death, she said that the professor was nice and did not laugh at her.

The first assignment for the class was to paint a picture depicting the meaning of Christmas. As Stovall recalled, "Lord, the only thing Christmas means to me is hog killing.

Everybody in the country has to have a little fresh meat [for Christmas]."5 She drew a couple of slaughtered hogs hanging on a limb of a tree, and when told, along with the rest of the class, to go home and finish the work, replied," 'You mean paint by myself without you telling me what to paint,' and he said 'Yes,' and so I came home and didn't go back for a month, until just before Christmas when I had finished the Hog Killing. Pierre looked at it, and he said 'Don't touch

SPRING 1999 FOLK ART 41

MONDAY MORNING 1950 Oil on canvas 181 / 2 24/ 3 4" Private collection Reprinted by permission of the Stovall Family

it!' I was right disappointed. I thought he meant there wasn't anything I could do to help it. He kept walking away and coming back, and I would say, 'What about this over here?' and he would say 'Don't touch it!' and walk away. Then he would come back and have another look. Two days later, Rosalie called and said, 'Aunt Queena, Pierre is telling everybody who goes to the show not to miss the Hog Killing. He's got a bench out front where people can sit down and really look at it.'"16 Daura encouraged Stovall to keep painting, but told her not to attend any more classes: "There is a seriousness in her workâ&#x20AC;&#x201D;seriousness of attitude that struck me at once,from the very beginning .... If she goes on painting without any exterior guidance, I mean by herself for a long while, I would guess that she can do very remarkable and interesting work.

My fear is that if she keeps taking lessons from me or anybody else, she will maybe learn a few artifices of the trade, and she will cease to be herself.

42 SPRING 1999 FOLK ART

Everything good that her work has, is her own. She doesn't owe to me. She has done it herself. My problem with her in my class has been not to teach her anything that could deviate from her own self. I tried to save her personality. That's all."17 With the enthusiastic encouragement of Daura, the support of her family, and the positive response to Hog Killing, Stovall continued to paint, completing twenty-nine of her forty-eight known completed works within the following two years.'8 She painted not for commercial sales reasons, but to please herself, her family, and her friends, and she often gave paintings to family and friends rather than selling them to people who, she felt, wanted to pay too much money.

Her son Robert K. Stovall particularly enjoys the story of when representatives from the Oglebay Institute, Mansion Museum, in West Virginia, wanted to purchase a painting called Come, Butter, Come, in the 1950s: "They said they'd like to buy it for two-fifty. My father thought they

meant two dollars and fifty cents.

They meant two hundred and fifty dollars. Mama couldn't believe it."

Although Stovall's work was widely exhibited during the 1950s and 1960s, credit for discovering her art is often given to Dr. Louis Clark Jones, president emeritus of the New York State Historical Association, and his wife, Agnes Halsey Jones, also an authority on folk art. They first encountered her work while visiting friends in Lynchburg in 1972, and in 1974 Dr. Jones sent Robert Sieber of the Farmers Museum Folklore Archive to the Stovall home to catalog her works. In 1974 and 1975, Stovall's paintings were the subject of an exhibition that traveled to the Abby Aldrich Rockefeller Folk Art Center, Williamsburg, and the New York State Historical Association in Cooperstown. In the introduction to the exhibition catalog, Dr. Jones wrote: "Cows, sheep, chickens, turkeys, sorghum, apple cider and apple butter, peaches and tobacco all provide her with subjects which she treats in such

minute detail that a painting becomes a brilliant essay on folk ways and customs, seen from the viewpoint of a participant."2° Queena Stovall painted on a wooden table in her bedroom, usually at night when there were no interruptions. She began the painting process by creating the picture in her mind, visualizing it on the canvas before she even picked up a brush. Her compositions are structured and balanced, but still convey a sense of spontaneity and action. When painting a person, she

TOTING WATER 1951 Oil on canvas 18 24" Daura Gallery, Lynchburg College, Lynchburg, Virginia Reprinted by permission of the Stovall Family

work alongside their mother— Peaches Are In, and Hog Killing, activities that will provide the bounty of food to sustain the family throughout the year. Hound dogs lumber across fields, noses to the ground; chickens scramble at the sound of approaching feet; cornfields rustle in the wind; and the Blue Ridge Mountains are ever-present in the background. "The genre quality of her paintings stresses with careful accuracy her people and the subtleties of their lives [with] a visible sensitivity to human relationships."22 In Monday Morning Stovall depicts a black woman, her back to the viewer, leaning over a wash tub, scrubbing laundry, with a cauldron of steaming water at the ready and linens and clothes hanging on a line stretched from a log cabin to a nearby shed. In this painting, Stovall recalls the long-standing experience of hiring out laundry, when black washerwomen picked up laundry on Monday mornings and returned it, washed and ironed, at the end of the week, thus revealing that she,like much of Southern society, still relied heavily on black employees.23 While many of the tasks depicted may now seem first placed the feet where stereotypical, the people in she wanted them, then filled Stovall's paintings are seen as in the figure. All of her individuals, not as stereotypes paintings deal with life and or caricatures. These are porfigure with people; she never cared traits of people seen in a in her for still life: "My brother moment of grief, as in Swing paintings Low, Sweet Chariot, or during Powell wanted a pretty IS an the mundane routine of daily picture, scenery or still life. individual I hate a still life. I just work, as in Comp'ny Comin', hate 'em, 'cause they are portrait a her last painting, in which a all stiff and just waiting person she woman pours scalding water knows, on a chicken, making it easier for somebody to paint. And often has to pluck. "Stovall's interest in I just can't stand them. I wouldn't paint a still life if known all portraying black characters is his or I could, now. That's the inextricably interwoven with her life. her love for and belief in a truth. That's just a peculiarity of mine. I had to paint traditional rural lifestyle. Her somebody doing something, affection for the country was showing that they were the consequence of her comworking."21 Ironically, it was her mitment to wholesome values, her paintings of flowers and fruits on practical, down-to-earth approach household furnishings—a form of still toward life, combined with nostalgia. life—that had led her brother David For Stovall, the good life of bygone Hugh Dillard to push her toward her days was symbolized in traditional career in art. black culture."24 Still, Stovall painted Stovall's paintings are peopled the life she knew, the life of a white with family and neighbors going about farm woman and her neighbors. These their agricultural or domestic chores neighbors, whether black or white, are as in Toting Water—where children rendered with compassion and an

Every

understanding of both day-to-day life and the wider social mores of the rural South from the late nineteenth to the mid-twentieth century.

But all was not work in Stovall's world, and tools were often put aside to make time for the leisure activities that were also part of daily life. In Licking the Dasher, for example, children, and even a dog, race to get a taste of homemade ice cream, while one lucky boy is already enjoying the dripping rewards of his mother's labor. Stovall's family made ice cream every weekend and when company came; she favored strawberry. The secret to good ice cream, she said, was the temperature of the milk: "I used to set the milk and cream out on the old cook stove the night before so's it'd be just right the next day."'

Stovall had a great capacity for portraiture, with faces drawn from her personal relationships, or from photographs, frequently from newspapers, revealing characteristic personalities and postures: "Every figure in her paintings is an individual portrait, a person she knows,often has known all his or her life. It is almost never 'someone' ..26 Many of her paintings feature members of her family, who are always depicted with evident warmth, love, and devotion. In Fireside in Virginia, her husband, Brack, lounges in an armchair, a dog curled up at his feet. Her daughter Judy and a friend warm their legs in front of the fire and catch up on the latest news— an old Virginia custom—presumably before retiring for the night to a cold bedroom, as the clock on the mantel reads 10:30. This painting displays both the universality of communication among women—her husband, asleep in his chair, is not part of the conversation—and a personal sense of home, a place as precise and ordered as Stovall's paintings. This painting offers much insight into Stovall's personality and relationships by focusing on the dynamic between friends, mother and daughter, husband and wife, with herself—the artist, the mother, the wife, the friend— as observer.

While Stovall's production was prodigious during the first few years of her artistic career, by the late 1950s, she was doing little painting.

SPRING 1999 FOLK ART 43

LICKING THE DASHER 1951 Oil on canvas 16 x 20" Private collection Reprinted by pennission of the Stovall Family

Between 1960 and 1975, she completed just four paintings, and abandoned two others.27 One of her final paintings was End ofthe Line, a scene of a country auction in which an old man on the porch watches the dispersal of his life's possessionsâ&#x20AC;&#x201D;a sad note that brings us face to face with a harsher reality.28 This is the only painting in which Stovall placed herself, standing near the front, ready to bid on a cracked pitcher. Also shown in the painting are Pierre Daura and his wife, as the scene reminded Stovall of an auction they brought to her attention. "Appropriately, Stovall painted End of the Line, the scene of an estate sale, as a final and monumental tribute to particular people and pet activities in her life. End of the Line is a complex self-portrait, including not only Stovall's portrayal of herself among her intimates but also many of her cherished belongings.

Stovall took great pride in this particular picture; she said 'I used my artist equipment to make myself look good.'

44 SPRING 1999 FOLK ART

Her profiled figure is central in because she felt that she the painting; she stands had painted enough, and in straight, alert to the bidding, part because customs and while the woman seated behind she was ways of living she knew so taps her on the shoulder. And grateful well were passing from the an array of antiques are that her current scene: "Somehow arranged against Stovall's work gave or another, you know, favorite landscape of grassy so much things have changed so... fields, colorful trees, and the pleasure, I can't draw all this big Blue Ridge Mountains . . . . machinery that's in the she End of the Line reflects Stoaccepted fields now. I don't think I vall's social and material con- her talent could." text more completely than any simply as a Queena Stovall other of her paintings."29 This gift from received many accolades meticulous depiction of a counduring her life, and many God. try auction, with a title later more since her death. Stosuggested by Daura, took vall died, in her bedroom almost two years to complete. at the Wigwam where she When asked what pleasure she painted, on June 27, 1980; she was 92 got from painting, she replied,"I'll tell years old. During the 1950s and you. When I draw something down 1960s, Stovall's paintings were flat on a piece of paper and then can included in exhibitions at the Virginia look at it in a picture and it stands up Museum of Fine Arts, the Springfield and comes to life, that's what I (Massachusetts) Museum of Fine enjoy." By the 1970s, Stovall ceased Arts, the Montclair (New Jersey) Art painting, in part because her eyesight Museum, and the Lynchburg Art Cenwas failing, in part, she claimed, ter. Between 1951 and 1955, four of

END OF THE LINE 1960 Oil on canvas 32> 44" Private collection Reprinted by permission of the Stovall Family

Stovall's paintings were sold by the Queena Stovall, referring to Kraushaar Gallery in New York City herself as "a country woman," was through the efforts of New Jersey never really comfortable with the artist Grant Reynard. acclaim she received. Although she In 1974, forty-one of her paint- was grateful that her work gave so ings comprised the inaugural exhibi- much pleasure, she accepted her talent tion at the Dillard Fine Arts Center, simply as a gift from God, explaining named for her brother, David Hugh "It's the Lord. The Lord wanted me to Dillard and his wife Rosa VanGelder paint those pictures, now that is the Dillard, at Lynchburg College. This truth."33 Stovall was, however, a exhibition later traveled to the Abby remarkable observer of the rural South Aldrich Rockefeller Folk Art Center who, through her paintings, with in Williamsburg, Virginia, where it wit, honesty, and affection, paid was the first solo exhibition for a liv- tribute to a way of life that is now but ing woman artist, and the Fenimore a memory.* House Museum of the New York State Historical Association in Coop- Barbara Rotherinel is the director ofthe erstown, New York. Swing Low, Daura Gallery ofArt, Lynchburg College, Sweet Chariot was exhibited at the Lynchburg, Virginia, and theformer curaMuseum of American Folk Art in tor ofthe Everhart Museum in Scranton, Pennsylvania. Rothermel earned her B.A. 1978. Her paintings were also from Hood College and a Master ofLibincluded in exhibitions at the 1982 eral Studiesfrom the University ofOklaWorld's Fair in Knoxville, Tennessee, homa. She has written on the collection of and at the American Embassy in Paris John Law and Rhetta Church Robertson, in 1988. artist Mario Sanchez, and posthumous According to Paul D'Ambro- portraitsfor this publication. sio, chief curator of the New York State Historical Association, "Queena is one of the most interesting of the NOTES 20th Century's self-taught artists. She 1 Robert Bishop and Jacqueline Marx was one of the best at documenting Atkins, Folk Art in American Life(New York: Viking Studio Books in association the rural life. She painted what she with the Museum of American Folk Art, knew . . . . To boot, she was just a 1995), p. 5. damn good painter."32 2 Louis C. Jones,"Introduction," Queena

Stovall: Artist ofthe Blue Ridge Piedmont, An Exhibition(Cooperstown, N.Y.: New York State Historical Association, 1974).

3 C. Kurt Dewhurst, Betty MacDowell, and Marsha MacDowell,Artists in Aprons: Folk Art by American Women.

(New York: E.P. Dutton in association with the Museum of American Folk Art, 1979), pp. 139-141.

4 Interview with Beatrix T. Rumford, "The Painter with Soul," VirginianPilot(Richmond, Va.), Sunday, January 19, 1975.

5 Louis C. Jones, lecture at Lynchburg College, October 1974.

6 Claudine Weatherford, The Art of Queena Stovall: Images ofCountry Life (Ann Arbor, Mich.: UMI Research Press, 1986), p. 77.

7 Three American Folk Painters, Corporation for Public Broadcasting; produced, directed, and edited by Jack O'Field; production of Bowling Green Films, Inc., 1981.

8 Ibid.

9 Weatherford,op. cit., p. 9.

10 Jones,"Introduction," Queena Stovall: Artist ofthe Blue Ridge Piedmont, An Exhibition.

11 Weatherford, op cit., p. 13.

12 Three American Folk Painters, op. cit.

13"Artist Paints a Bittersweet World," The Richmond News Leader(Richmond, Va.), Wednesday,January 22, 1975.

14 Ibid.

15 Ibid.

16 Ibid.

17 Pierre Daura, letter to the Lynchburg News,July 13, 1950.

18 Weatherford, op. cit., p. 22.

19"Queena Stovall auction reaffirms importance of Amherst folk artist," Lynchburg News & Advance (Lynchburg, Va.), Sunday, August 21, 1994.

20 Jones,"Introduction," Queena Stovall: Artist ofthe Blue Ridge Piedmont, An Exhibition.

21 "Artist Paints a Bittersweet World," op. cit.

22 Dewhurst,et al., O.cit., pp. 171-172.

23 Weatherford, op. cit., pp. 46-47.

24 Ibid., p. 90.

25 Three American Folk Painters, op. cit.

26 Jones,"Introduction," Queena Stovall: Artist ofthe Blue Ridge Piedmont, An Exhibition.

27 Weatherford, op. cit., p. 95.

28 Jones,"Introduction," Queena Stovall: Artist ofthe Blue Ridge Piedmont, An Exhibition.

29 Weatherford, op. cit., p. 98.

30 "Artist Paints a Bittersweet World," O.cit.

31 Ibid.

32"Queena Stovall auction reaffirms importance of Amherst folk artist," op. cit.

33 Weatherford, op. cit., p.12.

SPRING 1999 FOLK ART 45

A

00TH FOR 001 THE DENTIST IN AMERICAN FOLK ART., Arthur

and Sybil Kern

As early in mankind's history as 500 B.C., Herodotus noted the division of medicine in Egypt into special branches, with some physicians limiting their practices to the teeth.

Undoubtedly, their knowledge of teeth and dental disease was quite limited, but it was advanced enough that artificial teeth of sycamore wood filled with gold have been found in the mouths of mummies.'

48 SPRING 1999 FOLK ART

DENTISTS TRADE SIGN Artist unknown United States c. 1850 Carved and polychromed wood 22/ 3 4x 12% x 11/ 1 2 " Shelburne Museum, Shelburne, Vermont, FT-139

TEETH EXTRACTED WITHOUT PAIN Artist unknown United States c. 1900 Oil on wood panel 53 28/ 1 2" Shelburne Museum, Shelburne, Vermont, FT-102

In early America, physicians carried dental forceps for the extraction of bad teeth, but that was the extent of their dental skill." Nevertheless, in the absence of trained dentists, many physicians served in a dual capacity.

Nathaniel Hawthorne, in his diary entry for August 11, 1838, wrote of a doctor-dentist he observed in North Adams, Massachusetts: A young country fellow, twenty or thereabouts, decently dressed, pained with the toothache. A country doctor—passing on horseback, with its black leather saddlebags behind him, a thin frosty-haired man. Being asked to operate, he looks at the tooth, lances the gum; and the fellow being content to be operated upon on the spot, he seats himself in a chair on the stoop, with great heroism. The doctor produces a rusty pair of iron forceps; a man holds the patient's head; the doctor perceives that it being a difficult tooth, wedged between the two largest in the head, he shall pull very moderate; and the forceps are introduced. A turn of the doctor's hand; the patient begins to utter a cry; but the tooth comes out first, all bloody, with four prongs. The patient gets up, half amazed, spits out a mouthful of blood, pays the doctor ninepence, pockets the tooth; and the spectators are in glee and admiration.3

cemment, and without the least inconvenience."6 In 1767 John Baker arrived in Boston and advertised that he would leave in twenty days. However, he was so busy that he remained for more than a year, installing artificial teeth and selling his dentifrice. After a week in Newport, Rhode Island, he moved on to New York, where he announced that he had treated "upward of 2,000 persons in the town of Boston." In 1768 the silversmith Paul Revere advertised that he had learned how to fa teeth from Mr. Baker and that he could fix and reset teeth that had been placed by this gentleman.'

Four years later, a "Surgeon-Dentist," Mr. Homby from London, announced in an August 1772 issue of the Virginia Gazette that "He performs all Operations on the Teeth and Gums, extracts decayed Teeth and Stumps, scales and cleans Teeth, and entirely eradicates the Scurvy; he transplants artificial Teeth, so neat as not to be discovered, and to perform all their Functions."'

Just before and after the Revolutionary War, a great many itinerant surgeon-dentists traveled throughout the United States, though most of them were not as competent or reputable as those just cited. Many were tinkers of one

TOOTH TRADE SIGN Artist unknown Possibly New Hampshire 1850-1880 Wood, metal, paint 26 12/ 1 4 111 / 4" Museum of American Folk Art, gift of Kristina Johnson, 1983.8.1

In contrast, Hawthorne's description of an itinerant dentist in his diary entry for July 30, just twelve days earlier, is not as complimentary: A traveling 'Surgeon Dentist,' who has taken a room here in the North Adams House, and stick up his advertising bills on the pillars of the piazza, and all about the town. He is a tall, slim young man, six feet two, dressed in a country-made coat of light blue (taken, as he tells me, in exchange for dental operations), black pantaloons, and clumsy cowhide boots.

Self-conceit—very strongly expressed in his air. ...

He is not only a dentist—which trade he follows temporarily—but a licensed preacher of the Baptist persuasion; and is now on his way to the West, to seek a place of settlement in his spiritual vocation."4

sort or another who did dentistry simply as a sideline. One such individual was a German clock maker in Pennsylvania who drew teeth.9 The June 17, 1786, issue of The Providence Gazette carried the following fascinating advertisement by another mechanic-dentist:

The first reference to an American tooth-puller, James Mills, appeared in a 1734 New York newspaper; nothing more is known concerning him. Since there were no dental schools in America prior to 1840, he would have been trained in Europe or self-taught. He was probably not a trained dentist; a book prepared in 1876 under the direction of the American Academy of Dental Science reports that in October 1766 "them arrived in the United States from England Mr. John Woofendale. This gentleman was a (for that time) regularly educated dentist, having been instructed by Mr. Thomas Berdmore, dentist to George III. He is the first dentist, so called and practicing as such, of whom any record can be found as having visited this country."5 He practiced in New York and in Philadelphia, advertising that he did "all operations on the teeth, gums and sockets; likewise in artificial teeth, so as to escape dis-

I. GREENWOOD DENTIST and ELECTRICIAN No 11, the shop formerly occupied by Archibald Stewart, West Side of the Bridge, Returns Thanks for the many Favours received from the Public; and encouraged by the Success of his Practice, begs Leave to acquaint them that he extracts, replaces, transplants, regulates, cleans and preserves the Teeth, restoring them to their original Purity and Whiteness; substitutes artificial Teeth in the neatest Manner, and without the least Pain; cures the Scurvy in the Gums, and a foetid Breath, proceeding from defective Teeth. He has Pills for the Tooth-Ach [sic], Brushes and Powder suitable for the Teeth. Advice concerning the Teeth and Gums given gratis, if not detained more than five Minutes. He proposes to electrify Persons who are afflicted with any of the

48 SPRING 1999 FOLK ART

TOOTH PULLING (SCRIMSHAW TOOTH) Artist unknown United States Date unknown 2/ 1 2 6" Old Dartmouth Historical Society Whaling Museum, New Bedford, Massachusetts

following Disorders, viz Palsy, Rheumatism, Spasms. . . Tumors, Gout &c and flatters himself that the Benefit arising will be so evident, as to need no farther Incitement to a Repetition, as the good effects of Electricity have been proved in innumerable Instances....

Still another example of dentistry as a sideline occupation is Peter Choice, who advertised as a dentist in an 1812 Connecticut newspaper, although his background was limited to experience as a hairdresser, profile-taker, and peddler of shoe black.'째 Starting even before the Revolutionary War, a strong merchant class in New England and in Pennsylvania endeavored to force out the peddlers, including the itinerant dentists, by means of legislation. The arguments set forth were that they, unlike the town merchants, paid neither taxes nor rent, that they dispensed goods and services of inferior quality, and that they committed felonies.

Despite the merchant's efforts, the itinerants, a rather wily group of individuals, generally found ways to circumvent the obstacles placed in their path, and they flourished well into the twentieth century."

The first dental school in the United States, the Baltimore College of Dentistry, had two members in its first graduating class of 1841. Over the succeeding years, more dental schools opened throughout the country, and by 1870 there was a total of 8,732 graduates." Before such trained dentists became available, toothache, the most common dental problem, was generally managed by wrapping the jaw area with a towel or cloth, by cupping or bloodletting, or by the application of ear medications, as dental pain is often felt in the ear canal. However, prior to the twentieth century, the most immediate solution to toothache was extraction, and some of the examples of folk painting concerning dentistry relate to the horror of tooth removal.

One of these, Blacksmith Turn'd Tooth Drawer, a circa 1780 oil paint on board, graphically depicts a blacksmith attempting to extract a tooth with a huge metal instrument of the type a blacksmith might ordinarily use in his work. In view of the similarity between the tools of a smith and those of the dentist, it is not surprising that in the absence of the latter the blacksmith would be called upon to perform extractions. The frequency with which this happened in America led one dentist to remark,"A Smith might as well attempt to construct a periwig or a Barber attempt to build a ship, as either to extract a tooth with ease, safety or success."" Reference is made to a real-life blacksmith-dentist in a recent nonfiction publication concerning life in early Hampton, Connecticut. A March 1786 entry in the account book of Nathaniel F. Martin notes that "Abraham Ford, a blacksmith, sharpened picks for Martin, and 'shoed hors' at least once for him. In return, among other things, Martin turned a %andel to tooth drawer' for Ford," which makes it appear that Ford may have been the local dentist.'4 Blacksmith Turn'd Tooth Drawer was donated to the Rhode Island Historical Society in 1883 with an attribution to Samuel Yates, who was, according to reports, a

SPRING 1999 FOLK ART 49

Providence sign painter in the late eighteenth century.

Study of town records has revealed that Yates was married to Mary Melville in Newport, Rhode Island, by the Reverend Searing on June 29, 1746." An obituary in the June 10, 1786, issue of The Providence Gazette reported: "At Newport, in an advanced age, Mr. Samuel Yates, late of this town, painter." Was this Samuel Yates the one who had painted Blacksmith Turn'd Tooth Drawer? His will, dated April 29, 1786, and probated in Newport on December 19, 1786, lists his wife, Mary, and children, Samuel, Jonathan, Seth, Stephen, Catherine, Mary,and Lydia." Son Samuel, one of the two executors of the will, died in Newport on January 24, 1796, at the age of forty-four." At this point, the available evidence does not permit us to conclude whether the artist in question was the father or the son. Of interest is the fact that two sons of the senior Samuel Yates, Seth and Stephen, are listed in the Providence City Directories for 1824 and 1826 as painters, while his grandson, Samuel, is listed as a painter and glazier in the directory for 1824.

Probably based on Blacksmith Turn'd Tooth Drawer, though both may have been based on an earlier work, is the circa 1842 painting The Dentist, by David G. Blythe." This work depicts a dentist with a rather gleeful expression on his face using a pair of pliers to extract a tooth from his unhappy patient, with a female assistant standing by. Blythe, born in 1815 near East Liverpool, Ohio, was later apprenticed to a woodcarver, worked as a carpenter and housepainter in Pittsburgh, served as a ship's carpenter in the U.S. Navy from 1837 to 1840, from 1841 to 1845 was an itinerant portrait painter in western Pennsylvania and eastern Ohio, and lived in Uniontown, Pennsylvania, from 1846 to 1851, during which time he toured through Maryland, Ohio,and Pennsylvania demonstrating a panorama device. His last years were spent in Pittsburgh, where he died in 1865."

During their long voyages at sea, nineteenth-century whalers based in New England occupied much of their free time decorating walrus tusks or teeth of the sperm whale.

This was done by incising the hard surface to produce the desired image and then applying coloring agents. Although a great variety of subjects have been depicted in this art form, commonly referred to as scrimshaw, we have been able to discover very few pieces of American scrimshaw with a medical theme. One shows a seated subject undergoing what appears to be the extraction of a tooth. In analyzing this piece, Stuart M. Frank, director of the Kendall Whaling Museum in Sharon, Massachusetts, said, "On American whaleships ... such medical procedures would not have been performed by a physician or dentist, but by the captain; however,from the costumes and patriotic paraphernalia, I concur that the piece is probably American and the vignette probably a shore scene."2째 Although memory of such an event may have been the basis for the work, it has also been suggested that "the artist was copying another picture, probably printed.. ."21 A particularly exciting piece of folk art depicting the extraction of a tooth is the twentieth-century soapstone sculpture by Luccassie Echalook, an Inuit." With its smooth flowing contours, this beautifully carved piece

50 SPRING 1999 FOLK ART

JOSEPH MOORE AND HIS FAMILY Erastus Salisbury Field Ware, Massachusetts 1839 Oil on canvas 82/ 3 4 933/8" Museum of Fine Arts, Boston, M. and M. Rarolik Collection, 58.25

SPRING 1999 FOLK ART 51

demonstrates dynamic forces in the figures of the working "dentist" and his resisting patient.

Shortly after the end of the Civil War there appeared a new folk art form, the mechanical bank. Generally made of hand-painted cast iron or tin and intriguing because of the different forms and fascinating movements they demonstrated, these objects were used to entice children to save their money. Production of these banks continued for more than seventy years, when it ceased due to the greater need of metal for the World War II effort. One piece created in the 1880s depicts a standing dentist pulling the tooth of a seated patient; upon activating the bank, both fall backward and the coin that had previously been placed in the former's pocket is deposited in the dentist's gas bag, which rests on the floor.

Although the physician has frequently been a subject of folk portraits, the same is not true of the dentist. We know of only one instance in which the latter is portrayed, in the 1839 Erastus Salisbury Field portrait of the family of Joseph B. Moore. The latter was an itinerant dentist in the summer months; in the winter he worked as a hatmaker.

Moore moved from Windham, Maine, to a frame house on Pleasant Street in Ware, Massachusetts, across the street from the residence of the parents of Field's wife, Phebe Gilmur (or Gilmore). On his return to Ware in 1839, the artist and his family moved into the home of his in-laws, and it was then that he executed the Moore family portrait, considered by many to be his masterpiece. In this immense painting, which measures almost seven feet by eight feet, Field portrays Moore, his wife, Almira, their two children, and the two orphan children of Almira Moore's sister, Louisa Gallond Cook.23 Much of the public in eighteenth- and nineteenth-century America lacked the ability to read. It was this that led to the use of trade signs, a custom borrowed from our European ancestors. The carved and painted sign or figure hanging or standing outside the shop enabled the illiterate to appreciate the type of business conducted within. Undoubtedly, the most common type employed by the early "tooth drawer" was the carved figure of a human tooth. This relatively simple form permitted ready identification of the nature of the tradesman.

A rather unusual dental trade sign is the one of Dr. O.B. Comfort, circa 1900, which depends on the literacy of the passerby to communicate the message that this dentist extracted teeth painlessly. Initially, we wondered whether the sign may not have been painted as a prank. However, we finally discovered a publication on the Comfort families of America in which is recorded the birth of Ola Baker Comfort on February 26, 1857,in Mansfield, Pennsylvania, to Eli Corwin [Curren] Comfort and Louise M. Moss Comfort. Most important was the fact that Ola Baker Comfort was a dentist who practiced in Elmira, New York, where he died on February 19, 1924, and where he is buried in the Woodlawn Cemetery.'

We have been unable to locate any American folk art of the twentieth century relating to the dentist. Apparently, cultural and social advances have made unnecessary the type of folk art produced in the earlier centuries. We anticipate that in the upcoming millennium there will be

52 SPRING 1999 FOLK ART

even less treatment of these subjects. Accordingly, from a historical point of view, the works reviewed have an even greater significance. This critique of dental care as seen through the eyes of the folk artist not only demonstrates some of the exciting work of these itinerants but also provides a commentary on life in early America.* Arthur and Sybil Kern are researchers, writers, and lecturers on early Americanfolk art. This is their nineteenth published magazine article; their work has appeared in Antiques World,The Clarion, Folk Art, and The Magazine Antiques. Iris their third article in a series dealing with matters ofhealth in Americanfolk art.

Arthur Kern is Clinical Professor ofDennatology Emeritus, Brown University School ofMedicine.

NOTES 1 A History ofDental and Oral Science in America, prepared under the direction of the American Academy of Dental Science (Philadelphia: Samuel S. White, 1876), p. 1.

2 Todd L. Savitt, Fevers, Agues, and Cures: Medical Life in Old Virginia, An Exhibition (Richmond: Virginia Historical Society, 1990), p. 30.

3 Nathaniel Hawthorne, The American Notebooks, Based Upon the Original Notebooks, Randall Stewart, ed.(New Haven, Conn.: Yale University Press, 1932), pp. 43,44.

4 Ibid., p. 39.

5 A History ofDental and Oral Science in America,op. cit., p. 5.

6 Robert I. Goler, The Healing Arts in Early America(New York: Fraunces Tavern Museum, 1985), p.42.

7 Peter Benes,"Itinerant Physicians, Healers, and Surgeon-Dentists in New England and New York, 1720-1825," in The Dublin Seminarfor New England Folklife Annual Proceedings 1990, Medicine and Healing (Boston University, 1992), p. 102.

8 Savitt, op. cit.

9 Richardson Wright, Hawkers & Walkers in Early America (Philadelphia: J.B. Lippincott Company, 1927), p. 124.

10 Benes, op. cit., p. 104.

11 Wright, op. cit., pp. 89-91.

12 A History ofDental and Oral Science in America, op. cit., pp.

180, 271.

13 Goler, op. cit.

14 James Oliver Robertson and Janet C. Robertson, All Our Yesterdays: A Century ofFamily Life in an American Small Town (New York: Harper-Collins Publishers, 1993), p. 40.

15 James N. Arnold, Vital Record ofRhode Island, 1636-1850.

First Series: Births, Marriages and Deaths, vol. IV, Newport, Part II(Providence, R.I.: Narragansett Historical Publishing Co., 1893), p. 79.

16 Report of Genealogical Records Committee ofRhode Island, Daughters of the American Revolution, Wills Copied from Book 2, page 14,Probate Clerk's Office, City Hall, Newport, R.I.,

PUWNG A 700111 Attributed to Lamas& Ecbalook 1987 Soapstone 9 x 8 x 13" Private collection

BLACKSMITH TURN'D TOOTH DRAWER Samuel Yates Newport, Rhode Island c. 1780 Oil on canvas 14/ 3 4 12" Rhode Island Historical Society, Providence, Rhode Island, 1983.5.1

Abstracts from Book of Wills, Newport, R.I. 1786-1820, p. 33.

17 James N. Arnold, Vital Record ofRhode Island, 16361850. First Series: Births, Marriages and Deaths, vol. XIV (Providence, R.I.: Narraivett Historic,#1 Publishing Co., 1905), p. 449.

18 Sotheby's catalog, sale 4999,lot 259, January 27, 1983.

19 Bruce W.Chambers, The World ofDavid Gilmour Blythe (Washington, D.C.: Smithsonian Institution Press, 1980), p. 194.

The panorama was a device in which pictures were attached to a surface that was rotated in front of the spectators to produce a movielike effect.

20 Stuart M.Frank,Ph.D., letter to authors, April 23, 1992.

21 Judith Lund,registrar, Old Dartmouth Historical Society Whaling Museum, New Bedford, Massachusetts,letter to authors, April 17, 1992.

22 Because Luccassie Echalook is a Canadian Inuit, his work is not strictly of American origin. However, because of the rarity of such objects we have elected to stretch our guidelines in this instance.

23 Mary Black, Erastus Salisbury Field: 1805-1900(Springfield, Mass.: Museum of Fine Arts, 1984), pp. 28,29.

24 Cecilia C. and Roland B. Boning, Comfor.Families of America: A Collection ofGenealogical Data (Brookings, S.Dak.: self-published, 1971), p. 241.

SPRING 1999 FOLK ART 53

D JJJ

0 D'D L

Riverrest Weekend 5. 0th, Anniversar

roLKurt.VILLAGE

, , Festival ofFolk Life

"Leaping Lizard" 7 Color Screen Print (Edition 100) 1996 $350

April 25,2+,25,1999 • Columbus,Geora Convention & Trade Center, North Hall

HOWARD FINSTER SILK

Signed limited edition Howard Finster Silk Screen Prints availablefrom $75 to $750.

Over 45 original woodpieces also available.

I A

a

, 3 S4.1

PRINTS

SCREEN

,'!.,"-'',• •

DAVID LEONARDIS GALLERY 1352 N. PAULINA STREET • CHICAGO, 11 60622 773.278.3058

www.d1g-gallery.com

Come & meet over55 nationally renowned folk artists including

Jack Beverland, Howard Finster, Charlie Lucas, Annie Lucas, E, Bernice Sims. for more information contact Vikki Mancil-King at706-524-74V or 7C36-325-19-59 This event is made possible, in part, by the City of Columbus, through a grant to the Columbus Cultural Arts Alliance of the Chamber of Commerce.

2 , 0 1-3

LI0

_ "Consider The Ant" 6 Color Screen Print (Edition 100) 1994 $500

NEW ENGLAND'S SPRING ULTIMATE FOLK ART & CRAFT SHOW & SALE!

Museum-quality reproductions of American antique furniture and accessories, both country and formal, contemporary folk art and the highest quality crafts by America's most talented artisans.

ROYAL PLAZA TRADE CENTER Rte 20, 1 mile west of 1-495, Marlborough, MA

April 30'", May 1 st, 2nd, 1999

Festival

Fri., April 30'", 6pm - 10pm, Adm. $7.00 Sat., May 1st, 10am - 6pm, Adm.$5.00 Sun., May 2 , 1 1 am - 5pm, Adm.$5.00

-Unparalleled Traditional Craftsmanship"

Travel & Lodging Information - 1-888-543-9500

Country Folk Art Judy Marks, Box 134. Glen Ellyn, IL 60138 (630) 858-1568 •fax:(630) 858-4568

54 SPRING 1999 FOLK ART

5TH

ANNUAL

THE INTERNATIONAL

TRIBAL ANTIQUES SHOW

FINE ART OF NATIVE CULTURES May 26th - 31st, 1999

50 INTERNATIONAL DEALERS EXHIBITING & SELLING PRE-1940 ART & ARTIFACTS ) )0 N17 Preview Wednesday May 26th, 6-9pm Benefiting Green Chimneys Children's Services -Tickets $50 per person I Ail Information Caskey-Lees PO Box 1409 Topanga, CA 90290 T 310-455-2886 F 310-455-1951 Email caskeylees@earthlink.net

HE ALI( A1T TALLERY

Rooster Nutcracker

MUSEUM OF AMERICAN FOLK ART COLLECTION

MARY MYERS STUDIO 2105 Dawn Avenue VIRGINIA BEACH, VIRGINIA 23451 (800)829-9603 "THERESA" Acrylic 9"x12"

by Todd Williams

Works by 32 celebrity artists. The gallery features paintings, carvings, miniatures, photos and sculptures.

Featuring Bessie Mire McGhee Todd W. Williams Kelleigh Crowley Charles Gillam "Bobs" Barbara Muscutt May Kuglar "Ruebarb" Barbara Howlett Clementine Hunter William Warren Willie White Jacquelyn Hughes Mooney Pati D'Amico Luis Cogley Andrew Hopkins Irene Velazquez "Big Al" Taplet Kichea Burt Marsha Ercegovic Veronica Powers Boudreaux Ronnie Steven Forster Adele Elliott Claude Dussel Rosemary Louis Ronald Jones Elizabeth Fox Thomas Gallagher Mary Fox Diana Sullivan Sylvia Barker *Portion of all proceeds to benefit Louisiana Special Olympics

ANTON HAARDT GALLERY MONTGOMERY, AL (334) 263-5494 III NEW ORLEANS ANNEX (504)897-1172

636 St. Ann St. N.O. LA. 70116 (504) 598-FOLK

58 SPRING 1999 FOLK ART

www.antonart.com

"The Beaver', Can still make you smile.

That was what made him happy!

24" X 24" HOUSE PAINT ON PLYWOOD

Visit your local Folk Art Gallery for "The Beaver's" paintings.

WANDA'S QUILTS P.O. Box 2012• Oldsmar, Florida 34677 (813) 855-1521 • email: IRISH@kcii.com

HYPOINT

AMERICAN ANTIQUES & FOLK ART •

Johnson Antonio Carvings 18" & 13"

JANE S. CIEPLY 847-540-0615 • BARRINGTON,IL 60010

Museum Charlotte Zander SchloB Bonnigheim

New York's Largest Antiques Show!

TRIPLE PIER EXPO Matija Skurjeni Centennial retrospective of his work November 7, 1998 - March 21, 1999 Willem van Genk March 27 - May 23, 1999 Camille Bombois May 30 - October 24, 1999 Hauptstraf3e 15, D-74357 Bonnigheim, Germany Tel.07143-4226 Fax.07143-4220 Opening Hours: Tuesday-Sunday 11 a.m. - 3 p.m.

58 SPRING 1999 FOLK ART

Over 600 Different Exhibits Each Weekend

March 13-14 & 20-21 PIER 88

PIER 90

PIER 92

Sat. 11-6, Sun. 11-7

Sat. 9-6, Sun. 11-5

Sat. 10-6, Sun. 11-6

Includes 18th Century to 1970's Art & Artifacts, Furniture, Folk Art, Silver, Porcelains. Paintings, Prints & Posters, Pottery, Textiles, Toys, Deco, Moderne. Kitchen, Kitsch, Vintage Fashions, Statuary, Art Glass, Americana, Jewelry, Garden, Architectural, Rustic, Asian & More.

PASSENGER SHIP TERMINAL PIERS 88, 90 & 92 48TH TO 55TH STREET AND 12TH AVENUE, NEW YORK CITY ADMISSION $10 one day $12 two days

Stella Show Mgmt. Co. 212-255-0020 Fax: 212-255-0002 FALL DATES - NOVEMBER 13-14 & 20-21, 1999

THE WORLD'S GREATEST SELF-TAUGHT ART SHOW & SALE

FOLK FEST '99 ATLANTA, GEORGIA

70 EXHIBITORS Folk Art

August 20, 21, 22 Self-taught

Friday • 5-10pm Show Opening & Meet-the-Artist Party

Outsider

Saturday • 10am-7pm Sunday • 10am-5pm

Folk Pottery

North Atlanta Trade Center (1-85 & Indian Tr. Rd.) Folk Fest, Inc. 5967 Blackberry Ln. Buford, GA 30518 770 932-1000

Experie

Daniel Pressley, "Adam & Eve"

Anonymous Americana Art Brut African-American Decorative Arts

MUSEUM

REPRODUCTIONS

PROGRAM

ALICE J. HOFFMAN

MUSEUM OF AMERICAN FOLK ART 40: 0 91 7 410 111 COLLECTION

Representing more than 300 years ofAmerican design,from the late 1600s to the present, the Museum ofAmerican Folk Art CollectionTM brings within reach ofthe public the very best ofthe past to be enjoyed for generations to come.

New Directions The Museum welcomes its newest licensee: *Museum Masterpieces,Ltd. Putting All the Pieces Together!

From Notes to Puzzles. As its name implies, Museum Masterpieces creates products featuring masterpieces of art. In January, a coordinated line of products— notes,jigsaw puzzles,journals, and gift bags featuring the Museum of American Folk Art's Girl in Red Dress with Cat and Dog,a true American folk art masterpiece by Ammi Phillips— was introduced.

News from Museum Licensees Share our legacy; look for new products from our family of licensees,featuring unique designs inspired by objects from the Museum's collection. *American Pacific Enterprises Mid-Westward Ho! Blazing Star is covering the way. Carson Prairie Scott, Kaufman's, and Famous Barr stores have become proud retailers of the Museum of American Folk Art CollectionTM of bedcovers,shams, and pillowcases by American Pacific. On January 3, QVC once again featured a selection of Museum bedcovers based on folk art designs.

QVC has scheduled additional shows through August 1999.

For show dates, call QVC at 800/345-1515.

60 SPRING 1999 FOLK ART

*Galison Spring into the Holidays! Visions of the perfect hideaway or a vacation paradise are brought to mind by Karol Kozlowski's oil painting Cabin in the Mountains,introduced in Galison's 1999 holiday catalog as the perfect "Seasons Greetings" card.

American Pacific "Blazing Star" bedcover

*Mary Myers Studio Lions and lambs are nodding together!

Myers has begun to carve a series of wooden animals—each one a nodder—inspired by Edward Hicks' oil painting Peaceable Kingdom and the Museum's challcware collection of nodding figures. Lucky 13! Myers has added another nutcracker to the Museum's series. This one is based on a Raggedy Ann rag doll in the Museum's collection that was created by an unknown artist.

Dear Customer Your purchase of Museumlicensed products directly benefits the exhibition and educational activities of the Museum. Thank you for participating in the Museum's continuing efforts to celebrate the style, craft, and tradition of American folk art. If you have any questions or comments regarding the Museum of American Folk Art Collection,TM please contact us at 212/977-7170.

Museum Masterpieces "Girl in Red Dress with Cat and Dog" products

Family of licensees Abbeville Press(212/888-1969) gift wrap book with gift tags and quilt note cube.* AMCAL,Inc.(800/824-5879) year 2000 calendar.* American Pacific Enterprises (415/782-1250) quilts, shams, and pillows.

Carvin Folk Art Designs,Inc.(212/7556474)gold-plated and enameled jewelry.* Concord Miniatures(800/888-0936) 1"-scale furniture and accessories.* Danforth Pewterers,Ltd.(800/222-3142) pewter jewelry, keyrings, and frames.* Galison(212/3548840)boxed note cards.* Gallery Partners (718/797-2547) scarves and ties.* Graphique de France (800/444-1464) note cards.* Hermitage des Artistes(212/243-1007)tramp all objects.* Imperial Wallcoverings,Inc. (216/464-3700) wallpaper and borders. Limited Addition (800/268-9724)decorative accessories.* Manticore Products,Inc.(312/5959800)screensavers, mousepads, and coasters.* Mary Myers Studio (800/829-9603) nutcrackers and nodders.* Museum Masterpieces, Ltd.(617/923-1111) notecards, notelets,jigsaw puzzles,journals, and gift bags.* Syra-

tech Corporation(617/561-2200)holiday and decorative home accessories. Takashimaya Company,Ltd.(212/350-0550) home furnishings and decorative accessories (available only in Japan). Tyndale,Inc.(773/384-0800)lighting and lamp shades. Wild Apple Graphics, Ltd.(800/756-8359)fine all reproduction prints and posters.*

*Available in Museum of American Folk Art Book and Gift Shop. For mail-order information, please call 212/496-2966.

arquetry 4.1 MASH !Ulf OS IN V. MH)

AMERICAN FOLK MAR%_JETRY MASTERPIECES IN WOOD

By Richard Miihlberger

Richard MilaberRer Museum of Am:iicdn Folk Art Ness York

Published by the Museum of American Folk Art

The first definitive, full-scale examination of the history and makers of folk marquetry in America.

240 pages 156 color plates

In this full-color, beautifully illustrated, hardbound volume, Richard Muhlberger outlines the history of marquetry, parquetry, and inlay, and expertly discusses 95 extraordinary objects. His chapters on marquetry maker Frederick Stedman Hazen, prisoners' marquetry, and marquetry as "male quilting" are especially captivating.

American Folk Marquetry: Masterpieces in Wood is a perfect holiday gift and a must for any collector's library.

hardbound 9 x 101 / 2" $65.00 10% discount for Museum members

To order your copy, call the Museum's Book and Gift Shop at 212/496-2966

TRUSTEES/DONORS

MUSEUM

OF

AMERICAN

FOLK

ART

BOARD OF TRUSTEES Executive Committee Ralph 0.Esmerian President Frances Sirota Martinson, Esq. Executive Vice President and Chairman, Executive Committee Lucy C. Danziger Executive Vice President

Joan M.Johnson Vice President Bonnie Strauss Vice President L. John Wilkerson Treasurer Jacqueline Fowler Secretary Anne Hill Blanchard Samuel Farber Julie K.Palley

Members Barry D. Briskin Joyce B. Cowin Joseph F. Cullman 3rd David L. Davies Vira Hladun Goldmann Susan Gutfreund Kristina Johnson,Esq. Nancy Mead

George H. Meyer, Esq. Lauren S. Morgan Cyril I. Nelson Margaret Z.Robson

Lewis P. Cabot Bliss & Brigitte Carnochan Edward Lee Cave Mrs. Daniel Cowin Mr.& Mrs. Edgar M.Cullman Elissa F. & Edgar M. Cullman, Jr. Joe & Joan Culhnan Susan R. Cullman David & Sheena Danziger Lucy & Mike Danziger Peggy & Richard M.Danziger David L. Davies Ray & Susan Egan Ralph 0.Esmerian Sam & Betsey Farber Bequest of Eva & Morris Feld

Jacqueline Fowler Rebecca & Michael Gamzon Vira Hladun Goldmann Cordelia Hamilton Johnson & Johnson Joan & Victor Johnson ICristina Johnson, Esq. Susan & Robert Klein The Edith & Herbert Lehman Foundation, Inc. Lipman Family Foundation Paul Martinson, Frances Martinson & Howard Graff in memory of Burt Martinson Mr.& Mrs. Dana G. Mead George H. Meyer

Keith 8z Lauren Morgan Cyril Irwin Nelson Bequest of Mattie Lou O'Kelley Julie & Sandy Palley and Samuel & Rebecca Kardon Foundation John & Margaret Robson Foundation The Peter Jay Sharp Foundation The George & Myra Shaskan Foundation,Inc. Bonnie & Tom Strauss Maureen & Richard Taylor David & Jane Walentas Weil, Gotshal & Manges LLP John & Barbara Wilkerson Robert & Anne Wilson Five anonymous donors

Trustees Emeriti Cordelia Hamilton George F. Shaskan, Jr.

CAPITAL CAMPAIGN DONORS The Museum of American Folk Art has announced a $30 million campaign to construct and endow a new home on 53rd Street. As of January 15, 1999, nearly $17 million has been raised from the following donors: Big Apple Wrecking & Construction Corporation Edward V. Blanchard & M. Anne Hill Mr.& Mrs. James A. Block Edith S.& Barry D. Briskin Florence Brody

RECENT DONORS FOR EXHIBITIONS AND OPERATIONS - as of January 15,1999 The Museum of American Folk Art greatly appreciates the generous support of the following friends:

Barbara & Thomas W.Strauss Fund The Andy Warhol Foundation for the Visual Arts Two anonymous donors

$100,000 and above Pioneer Valley Art Foundation,Inc. Two anonymous donors

819,999-810,000 Bear, Steams & Co.Inc. Bristol-Myers Squibb Company Christie's Mrs. Daniel Cowin Credit Suisse First Boston Lucy C.& Frederick M.Danziger The Dietrich American Foundation & H. Richard Dietrich, Jr. William B. Dietrich & William B. Dietrich Foundation Jacqueline Fowler Joan M.& Victor L. Johnson Mr.& Mrs. Mark Leavitt LEF Foundation Lipman Family Foundation, Inc. Marstrand Foundation George H. Meyer,Esq. Mr.& Mrs. Keith Morgan The Pinkerton Foundation The Judith Rothschild Foundation Schlumberger Foundation, Inc. Jean S. & Frederic A. Sharf Fund Studio Art Quilt Associates, Inc. Tenneco Tenneco Matching Gifts Program Anonymous

$99,999—$50,000 Edward V. Blanchard & M. Anne Hill Ralph 0.Esmerian Samuel & Betsey Farber Joan M. McCall Anonymous $49,999—S20,000 Burnett Group Edward Lee Cave Peter M.& Mary Ciccone Country Living Magazine Joseph F. Culhnan 3rd David L. Davies & Jack Weeden Fireman's Fund Insurance Company Vira Hladun Goldmann Mr.& Mrs. John H. Gutfreund Vincent & Anne Mai Joseph Martinson Memorial Fund Mr. 8z Mrs. Dana G. Mead Julie K.& Samuel Palley Pfizer Inc Restaurant Associates Industries,Inc. Geoffrey & Elizabeth Stern

62 SPRING 1999 FOLK ART

89,999—$4,000 American Woodworker ARTCORP Cecille Barger & Myron Benit Shure

Alvin J. Bart & Sons Beard's Fund Edith S. & Barry D. Briskin Mr.& Mrs. Edward J. Brown Mr. Mario Buatta Mr.& Mrs. Steve Burnett The John R. and Dorothy D. Caples Fund Cravath, Swaine & Moore Duane, Morris & Heckscher Johnson & Johnson Family of Companies ICristina Johnson,Esq. Barbara & Dave Krashes Mr.& Mrs. Ronald S. Lauder Mr.& Mrs. Jerry Lauren Louis Dreyfus Corporation The Joe & Emily Lowe Foundation,Inc. Eric Maffei The Magazine Group Christopher & Linda Mayer MBNA America, N.A. Microsoft Matching Gifts Program Morgan Stanley Foundation Philip Morris Companies Inc. Steven Piccone, Merrill Corporate Dorothea & Leo Rabkin Marguerite Riordan William D. Rondina The William P.& Gertrude Schweitzer Foundation, Inc. Joseph E. Seagrams & Sons,Inc. George F. & Myra Shaskan, Jr. Peter J. Solomon Lynn Steuer Time Warner

Unilever United States Foundation,Inc. Two anonymous donors $3,999—$2,000 A La Vieille Russie,Inc. ABC,Inc. Dr. Charles L. Abney,Jr. David & Didi Barrett Bergen Line,Inc. Ellen Blissman Robert & Kathy Booth Mr. and Mrs. Richard H. Bott Richard Braemer & Amy Finkel Cigna Joseph & Barbara Cohen Mr.& Mrs. George Contos Mr. & Mrs. Edgar M. Cullman Allan & Kendra Daniel Richard M.& Peggy Danziger Michael & Janice Doniger Nancy Druckman T.J. Dermot Dunphy John Farber & Wendy11 Brown Scott & Lauren Fine Fortress Corporation Jay & Gail Furman Eric J. & Anne Gleacher Peter & Barbara Goodman Warren & Sue Ellen Haber Marion Harris & Jerry Rosenfeld International House of Blues Foundation Pepi & Vera Jelinek Harry Kahn Allan & Penny Katz (continued on page 64)

MUSEUM OF AMERICAN FOLK ART COLLECTION

, 4 !4., '

*

Inspired by nineteenth century designsfrom the Museum ofAmerican Folk Art's collection ofover 400 quilts.

222 COLUMBUS AVE., SAN FRANCISCO CA 94133

AMERICAN PACIFIC

PHONE 415.782.1250 FAX 415.782.1260

DONORS

MUSEUM

OF

AMERICAN

FOLK

ART

Continuedfrom page 62 Steven & Helen Kellogg Lee & Ed Kogan Jerry & Susan Lauren Fred Leighton, Ltd. Patrick M.& Gloria M.Lonergan Maine Community Foundation Millbrook Vineyards The Overbrook Foundation J. Randall Plummer Daniel & Susan Pollack Drs. Jeffrey Pressman & Nancy Kollisch Mr.& Mrs. Joseph D. Shein Raymond & Linda Simon Louise M.Simone Mr.& Mrs. Elliot K. Slade R. Scudder & Helen Smith Richard & Stephanie Solar Spaulding Jeff Soref Mr.& Mrs. David Stein The Judy & Michael Steinhardt Foundation in honor of Ralph 0.Esmerian Donald & Rachel Strauber Jim & Judy Taylor United States Trust Company of New York Don Walters & Mary Benisek Irwin H.& Elizabeth V. Warren Peter & Leslie Warwick Olive F. Watson Anonymous 81,999â&#x20AC;&#x201D;$1,000 Alconda-Owsley Foundation Arnicus Foundation, Inc. Mama Anderson Deborah & James Ash Joel & Lucy Banker Robert B. Bennett Patricia H. Berkovitz Thomas Block & Marilyn Friedman Mr.& Mrs. Sheldon Bonovitz Botanica Marvin & Lois P. Broder Diana D. Brooks Edward J. & Margaret Brown Marc Brown Gale Meltzer Brudner Lawrence & Ann Buttenwieser Carillon Importers Inc. Cirker's Moving & Storage Co., Inc. Liz Claiborne Foundation The Coach Dairy Goat Farm Katie Cochran & Michael G. Allen Conde Nast Publications Cullman & Kravis,Inc. Marion Dailey Mr.& Mrs. Allan Daniel Aaron & Judy Daniels Mr.& Mrs. Robert E. Denham Derrel B. De Passe Don & Marian DeWitt Mr.& Mrs. Charles Diker Mr.& Mrs. Jack Dodick Eve Dorfzaun Kathleen M.Doyle Mr.& Mrs. Alfred C. Eckert,III The Echo Design Group,Inc.

64 SPRING 1999 FOLK ART

The Charles Edlin Family Charitable Foundation Trust Mr.& Mrs. Alvin H. Einbender Theodore & Sharon Eisenstat Gail M.Engelberg Epstein Philanthropies Richard C.& Susan B. Ernst Foundation Burton & Helaine Fendelman in memory of Ellin Ente Jill Gallagher David A. Gardner Fred & Kathryn Giampietro Mr. Howard Gilman Dr. Kurt A. Gitter & Ms. Alice Yelen Barbara Goldsmith Ned & Dee Goodnow Barbara L. Gordon Baron J. & Ellin Gordon Eugene M.Grant and Company Robert M. Greenberg Mr.& Mrs. Robert F. Greenhill Bonnie Grossman Anne Groves Agnes Gund & Daniel Shapiro Cordelia Hamilton Mr.& Mrs. James Harithas Marian & Andrew Heiskell Robert F. Hemphill, Jr. Mr.& Mrs. Richard Herbst Stephen M.Hill John & Laima Hood Robert J. & Fern K. Hurst Sandra Jaffe Linda E. Johnson Harvey & Isobel Kahn Mr.& Mrs. Gerald P. Kaminsky Mr.& Mrs. Michael Kellen Diane D. Kern Mr.& Mrs. Robert E. Klein The Hess & Helyn Kline Foundation Robert A. Landau Mr.& Mrs. Stephen Lash Diana Lee in memory of Seymour Margulies Mr.& Mrs. John Levin Barbara S. Levinson Peter & Nadine Levy Lynn M.Lorwin Dan W.Lufkin & Silvia Kramer Jane Marcher Charitable Foundation The Helen R.& Harold C. Mayer Foundation Judith McGrath Robert & Meryl Meltzer Michael & Gael Mendelsohn Mr.& Mrs. Stanley G. Mortimer, HI Bernard Newman Philip V. Oppenheimer & Mary Close Karen R. Osar Mr.& Mrs. Richard D. Parsons Burton W.Pearl, MD Guy Peyrelongue Pheasant Hill Foundation Mr.& Mrs Daniel Pollack Polo Ralph Lauren Morris & Anna Propp Sons Fund,Inc. Irene Reichert

Mr.& Mrs. Keith Reinhard Paige Rense Betty Ring John & Margaret Robson William D. Rodina Mr.& Mrs. Jeff T. Rose Selig D. Sacks The San Diego Foundation Charmaine & Maurice Kaplan Fund Mr.& Mrs. Henry B. Schacht Mr.& Mrs. Marvin Schwartz H. Marshall Schwarz Stephen Score Setnlitz Glaser Foundation Mr.& Mrs. Ronald Shelp Mr. Harvey Shipley Miller Harwicke Simmons Joel & Susan Simon Mr.& Mrs. Elliott Slade Sanford L. Smith George & Susan Soros Mr.& Mrs. William Stahl, Jr. Patricia & Robert Stempel Doris & Stanley Tanenbaum Mr.& Mrs. Jeff Tarr Cathy E. Taub 8c Lowell C. Freiberg Maureen Taylor David Teiger Tiffany & Co. Mr.& Mrs. James S. Tisch Mr.& Mrs. Laurence Tisch Mr. 8c Mrs. Peter Tishman Mr. and Mrs. Barrry Tucker Mr.& Mrs. Michael A. Varet Ms. Karel F. Wahrsager Mr.& Mrs. David C. Walentas Mr.& Mrs. Charles G. Ward IQ Gerard C. Wertkin G. Marc Whitehead John & Phyllis Wishnick Laurie Wolfe & Ann C.S. Benton Susan Yecies Mr.& Mrs. William Zabel Mr. Arthur Zankel Two anonymous donors $9994500 Joe C. Adams Ted Alfond Ms. Mary Lou Alpert Richard C.& Ingrid Anderson R. Randolph Apgar & Allen Black The Bachmann Foundation, Inc. Jeremy L. Banta Frank & June Barsalona Henry Barth Charles Benenson Dr. & Mrs. Alex Berenstein The Bibelot Shops Peter & Lynn Bienstock Mary F. Bijur Mrs. Helen Bing Leonard Block Seema Boesky Jeffrey & Tina Bolton Joseph & Joan Boyle Ian G.M.& Marian M.Brownlie Guy K. Bush

Robert T. Cargo Mr.& Mrs. Dick Cashin Cavin-Morris Gallery The Chase Manhattan Foundation Matching Gift Program Karen D. Cohen Suzanne Cole Mrs. Phyllis Collins Stephen H. Cooper & Prof. Karen Gross Judy Cowen Michael F. Coyne & Monica Longworth Cathy Cramer Mr. 8c Mrs. Lewis Culhnan Kathryn M.Curran Julie S. Dale Gary Davenport Keith De Lellis Debevoise & Plimpton Alvin & Davida Deutsch Mr.& Mrs. Gerald T. DiManno Lynne W.Doss Cynthia Drasner Howard Drubner Arnold & Debbie Dunn Gloria G. Einbender Mr.& Mrs. Anthony Evnin Ross & Gladys Faires Burton & Helaine Fendelman Frank & Fran Frawley Ken & Brenda Fritz Denise Froelich Galerie Heike Curtze Daniel M.Gantt Mr.& Mrs. Bruce Geismar William L.& Mildred Gladstone Harriet & Jonathan Goldstein Mr.& Mrs. Baron J. Gordon Mrs. Terry S. Gottlieb Howard M.Graff Marilyn A. Green Stanley & Marcia Greenberg Peter Greenwald & Nancy Hoffman Grey Advertising, Inc. Susan Rosenberg Gurman Anton Haardt Foundation Robert & Elizabeth Harleman Pria & Mark Harmon Brian C.& Ellen Harris Mr.& Mrs. James Hartithas Audrey B. Heckler Mr. and Mrs. Tom Hess Stephen Hessler Leonard & Arlene Hochman Mr.& Mrs. Robert Hodes Rebecca Hoffberger Raymond E. Holland Carter Houck Ellen E. Howe Robert J. Hurst Imperial Wallcoverings,Inc. Mr.& Mrs. Ken Iscol Laura N.& Theodore J. Israel Mr.& Mrs. Thomas C.Israel Ann Jocelyn/Bank of New York

(continued on page 66)

38th Annual Benefit for the University of Pennsylvania Medical Center 103rd Engineers Armory 33rd Street, North of Market Philadelphia For Show information call (215) 387-3500

PHIL A

LP

A

IQUES S OW

Show Managed by SANFORD L. SMITH & Associates, Ltd. Proceeds benefit the Otolaryngology Consultation Center

?ia-m-dapzagib:ib.7.:-KiigibziKiicimioliwilz.:Rgimix*:ixiitiagwqr.q6filiorfzirc.eil , M

DONORS

Continuedfrom page 64

.251

cf,

g

K .p

.

.. . * 6 6 6 E t. ...

,..

6 6..

6, 6 6 6

BILLY RAY HUSSEY

,..4;

Lion Charlie Lisk Lanier Meaders Burlon Craig Kim Ellington Stacy Lambert Lucien Koonce Marie Rogers •• Jim Havner Steven Abee Roger Hicks Joe Reinhardt Walter Fleming

Select Southern Pottery

gLYNN MELTON P.O Box 10152 Greensboro NC 27404-0152 (336) 632-1413 e-mail <LMelton222@aol.com> .

WEBSITE <www.selectpottery.com>

.. tl_itmjitjwitift_. g...gt4,4,41, 4g,

Cr Cr Cr

Cr

Cr Cr Cr

s,cr.

Mose Tolliver S.L. Jones Leroy Person

Sarah Rakes

Gerald DePrie

Benny Garter

Clyde Jones

Mary Proctor

James Harold Jennings

Herman Bridgers

Howard Finster

Mary T. Smith

Henry Speller

Richard Burnside

Vollis Simpson

B.F. Perkins

David Jarrell

Jim Sudduth

Raymond Coins

Melissa Polhamus

Rita Hicks Davis

Mr. Eddy

J.B. Murry

Minnie Evans

Thornton Dial

CONIEMPORARY AMERICAN FOLK ARE & SELF-IAUGHT API Mike Smith A At Home Gallery • 3916 Pondfield Court Greensboro, North Carolina 27410•Athome98@aol.com

www.athomegallery.com

0,44t,

GALLf RY

By Appointment Only

336/664-0022

1S SPRING 1999 FOLK ART

.A,V g 0 0 0 2 0 6 $ *4_, 'e g

0c ... .

2 P., g, V g 4 4

.d '4

Betty W. Johnson & Douglas F. Bushnell Guy Johnson Robert J. Kahn Louise & George Kaminow Cathy M.Kaplan Dr. & Mrs. Rudy Kasni Sherry Kass & Scott Tracy Fran Kaufman & Robert C. Rosenberg Ms. Joan E. Kend Leigh Keno Mr.& Mrs. Leslie Keno Mary Kettaneh Jonathan & Jacqueline King Barbara S. Klinger Mr.& Mrs. Theodore A. Kurz Mr.& Mrs. Leonard A. Lauder Wendy & Mel Lavitt James & Frances Lieu Carl M.Lindberg Mimi Livingston Mr.& Mrs. Gerry Lodge Monica Longworth & Michael F. Coyne Earle & Carol Mack Ian W. MacLean Richard & Gloria Manney Michael T. Martin Virginia Marx Al Marzorini Materials for the Arts Mr.& Mrs. John A. Mayer,Jr. Kelley McDowell The McGraw-Hill Companies Employee Volunteer Support Program Grete Meilrnan Mr.& Mrs. Robert Meltzer Robert & Joyce Menschel Mr.& Mrs. Danny Meyer Evelyn S. Meyer Timothy & Virginia Millhiser Ira M. Millstein Randall Morris & Shari Cavin Museums New York Ann & Walter Nathan Mr. Cyril I. Nelson New York Beverage Company Mr.& Mrs. Bruce Newman Victor & Susan Niederhoffer Mr.& Mrs. John E. Oilman Paul L.& Nancy Oppenheimer David Passerman William & Terry Pelster The Perrier Group of America Anthony J. Petullo Mr.& Mrs. Laurence B.Pike Terry R.Pillow Mr.& Mrs. Jack Rabin Mr.& Mrs. C. Carl Randolph in memory of Margery G. Kahn Mr.& Mrs. F.F. Randolph, Jr. Mr.& Mrs. Milton S. Rattner Ricco/Maresca Gallery Mr.& Mrs. Peter C. Rockefeller Roger & Alyce Rose Mr.& Mrs. Martin Rosen Mr.& Mrs. Winthrop Rutherford, Jr.

Elizabeth Lee Sample & Brenda Powers Merilyn Sandin-Zarlengo Judy A. Saslow Diane H. Schafer Mr.& Mrs. Robert T. Schaffner Linda & Donald Schapiro Paul & Penelope Schindler Margaret Schmidt Richard J. & Sheila Schwartz Mrs. Stewart Seidman Mr.& Mrs. Robert Shapiro Arthur & Suzanne Shawe Bruce B.Shelton Dr. Christian Shriqui Randy Siegel Mr.& Mrs. Raymond Simon Nell Singer Dr. Meredith F.& Gail Wright Sinnans Rita A. Sklar John & Stephanie Smither Mr.& Mrs. Donald Strauber Mr.& Mrs. Victor Studer Myles & Roberta Tanenbaum Ruben Teles & James Adams Peter & Lynn Tishman Donald & Barbara Tober Mr. Frank Tosto Dorothy Treisman Mr.& Mrs. Raymond S. Troubh United Way of Dutchess County Mr.& Mrs. Hugh Vanderbilt Anne Vanderwarker Andrew Vansickle Mary Ellen Venlow Mr.& Mrs. George Viener Jennifer Walker Clifford & Gayle Wallach Mrs. Sue Ann Weinberg Bennett & Judie Weinstock Mr.& Mrs. Roger Weiss Herbert Wells Anne G. Wesson Jane Q. Wirtz Susi Wuennenberg Diana Zangaras Jon & Rebecca Zoler

MUSEUM

OF

AMERICAN

FOLK

ART

carol myers

JEAN LIPMAN FELLOWS 1999 Co-Chairmen Jerry & Susan Lauren Roger Ricco & Frank Maresca 1998 Co-Chalrmen Patrick Bell & Edwin HiId Meredith F. & Gail Wright Sinnans 1998 Members Mary Benisek & Don Walters Robert & Kathy Booth Marvin Broder Edward J. & Margaret Brown Alexis 8z George Contos Renaye Cuyler Allan & Kendra Daniel Michael Del Castello Nancy Drucicman Peter & Barbara Goodman Barbara L. Gordon Howard M.Graff Bonnie Grossman Samuel Herrup

prayer by carol rnyers, mixed media on board, 12 5 10

RECENT DONORS TO THE COLLECTIONS Gifts Judith Alexander Blanchard-Hill Collection: Gift of M. Anne Hill & Edward V. Blanchard, Jr. Eric Collier David L. Davies Jacqueline Loewe Fowler The Abril Lamarque Collection: Gift of Martha Lamarque Collection

ralph aut der heide leofric baron ree brown roy colinson torn d alyne harris willie jinks raymond kempe mc koehler charlie lucas mel mcginnis antjuan oden rosemary pittman doreen poole stephen powers mary proctor wally shoup buddy snipes jim sudduth john henry toney annie tolliver mose tolliver von nell lavon williams

Pepi & Vera Jelinek Harvey Kahn Allan Katz Susan Kleckner Barbara & David ICrashes Ronald & Jo Carole Lauder Dan W.Lufkin Keith Morgan J. Randall Plummer Roger Ricco Marguerite Riordan Jean S. & Frederic A. Sharf Joseph & Janet Shein Raymond & Linda Simon Richard & Stephanie Solar Arthur Spector Donald & Rachel Strauber David Teiger Wendy S. Ullmann Sini von Reis Irwin H.& Elizabeth V. Warren Anonymous

Jennifer Mason Cyril I. Nelson Freyda Rothstein Jane Brill Supino Janice Turecki Elizabeth, Irwin & Mark Warren Robert Webb Julia Weisman

and more

garde rail gallery http://www.garde-rail.com 312 first avenue south #5 - seattle, wa 98104 tel. 206.623.3004 - email: garde-rail@garde-rail.com

contemporary folk art selftaught art vernacular al

Have you considered a gift to the Museum as part of your estate plan? hroughout the years, many have found that including the Museum of American Folk Art in their will allows them to make a more significant contribution to the Museum than is possible during their lifetime. A bequest to the Museum is not subject to federal or state estate or inheritance taxes, and there is no limit on the amount of this deduction. Including the Museum in your will, in your estate plans, or as the beneficiary of a life insurance policy is a simple way to help ensure the Museum's continued vitality and growth. For more information about how you can make a gift of lasting importance, please contact Mary Thomas,development associate, at 212/977-7170, or consult your personal financial adviser.

Arancy 'Weaver Fine & FoCk Art Conservator Contemporary yolk Artpotter and 76 Weaver Road Ph (770) 748-7035

Cedartown, GA.30125 Email restorer@mindspring.com

http://www.mindspring.com/â&#x20AC;&#x201D;restorer/restorer.htm

SPRING 1999 FOLK ART 67

MUSEUM

NEWS

Trustee Lucy C. Danziger, Trustee Frances S. Martinson, and Paul Martinson

BY TANYA HEINRICH

An Eventful Fall Antiques Show he 20th anniversary of the Fall Antiques Show was celebrated with nearly a full week's worth of exciting events at the Park Avenue Armory in November 1998.

Founded in 1979 by Sanford Smith and former Museum director Bob Bishop,the Fall Antiques Show was the first all-American antiques presentation and is one of the longest continually running antiques shows in the country.

Nearly 1,300 Museum members and friends helped to celebrate this milestone on Wednesday, Nov. 18, at the Museum's annual Benefit Preview.

Guests were greeted in the lobby of the Armory by carnival performers and the sounds of Dixieland jazz. The entrance to the show floor featured the Museum's special exhibition "Folk Art Treasures: Highlights from 20 Years of the Fall Antiques Show," a small historical insight to objects purchased over two decades of the Fall Antiques Show. The exhibition, organized by curator Stacy C. Hollander with the gracious assistance of Julie Palley and Frank Maresca, was made possible with the support of Fireman's Fund Insurance Company and Pfizer Inc. Benefit Preview guests circled the show floor marveling at the many pieces of folk art and Americana from across the country and enjoyed the sumptuous regional American fare created

by Stephen Kennard Caterers accompanied by wines generously donated by Millbrook Vineyards, a New York State winery.

Following the preview, Benefit Co-Chairs Marian A. Bott and Nancy Mead, who is also a Museum Trustee, hosted a de-

T

6$ SPRING 1999 FOLK ART

lightful Dessert Reception in the Armory's Tiffany Room in honor of all the past chairs of the Benefit Preview. It is because of the hard work and perseverance of these individuals that the Museum's benefit at the Fall Antiques Show has been an annual success.

With a beautiful carousel cake created by Collette Cakes as the centerpiece of the room and the sounds of a barbershop trio in the background, Museum director Gerard C. Wertkin led a champagne toast to thank the event's former chairpersons (all of whom were named honorary chairs for this year's preview): Karen Cohen,Lucy and Mike Danziger, Ralph 0.Esmerian, Susan Gutfreund, Susan Klein, Wendy and Stephen Lash, Rachel Newman, Allison and Peter Rockefeller, Cynthia Schaffner, Karen Schuster, Donna and Elliott Slade, Sanford Smith, Kathryn Steinberg, and Nina and Tim Zagat.

Alexis Shein Contos,junior chair for the Benefit Preview, worked with the Museum's newly formed Americus Group to sell 100 Junior-level tickets, doubling the number of younger faces at the Preview. As a special benefit, Junior-level tickets included a complimentary walking tour,"Folk Art Treasures: The Basics," on the evening of Friday, Nov. 20; the walk was led by Lee Kogan, director of the Museum's Folk Art Institute, and Cheryl Rivers.

Rachel Newman,editor emerita of Country Living magazine and one of the honorary chairs, has been an avid supporter of the Museum for many years, along with Country Living. Newman is leaving the magazine this year to begin work on a new publication. We wish her the best of

luck. On the night before the preview, Country Living and the Museum again cohosted a reception in the Tiffany Room to thank the dealers for their valued participation in the show.

On the afternoon of Thursday, Nov. 19, the Museum helped organize a symposium for the Bryn Mawr College New York City Alumnae Club.

More than 70 Bryn Mawr graduates came Country Living magazine's Editor Emerita Rachel Newman and to listen to speakers Special Projects Editor Marylou Krajci with the Museum's Director Lita Solis-Cohen, Gerard C. Wertkin Joanna Rose, and Cheryl Rivers. Following the talks and a small afternoon tea reception catered by Soutine Bakery, the Bryn Mawr guests were treated to a Museum-guided tour of the Fall Antiques Show by Elizabeth Warren, consulting curator and Bryn Mawr alumna; Stacy C. Hollander, curator; Tom Geismar and Harvey Kahn signing copies of Spiritually Moving and Gerard C. Wertkin, director.

Jelinek, Anne Mai, and Julie PalAlso on Thursday,Fireman's ley organized a series of guided Fund Insurance Company,corpowalking tours similar to those rate benefactors for the Preview offered in the early years of the and sponsors of the loan exhibishow, when it was presented at tion "Folk Art Treasures: Highthe Passenger Pier. Held on lights from 20 Years of the Fall Thursday and Saturday mornings, Antiques Show," hosted a festive "Folk Art Treasures: In the Comreception catered by Kennard. pany of Experts" featured guides Nearly 100 Fireman's Fund Nancy Druckman,David Galguests socialized in the Tiffany lager, Stacy C. Hollander, Leigh Room and wandered the show Keno, William Ketchum,Susan floor on Thursday evening.

To celebrate the 20th anniverKleckner, Lee Kogan,Elizabeth Warren, Judith Weissman, and sary of the show, Education Gerard C. Wertkin. A large Chairs Kathy Booth, Vera

Photography by Matt Flynn

Benefit Co-Chairs Marian Butt and Nancy Mead with Dana Mead (center)

Nancy Druckman leading a tour of folk portraiture

Fireman's Fund representatives (left to right) Michelle Kenney, Maria Cunninghan, Bob U-Ren, and Helen Lo with Trustee Julie K. Palley (far right) and her husband, Sandy Palley pre,enuNI1w t iC through the gene

Fireman's Fund

Dealers Aarne and Tina Anton and "friends"

Leigh Keno leading a tour of 18th- and 19th-century furniture

turnout of 125 participants enjoyed a continental breakfast catered by Sumptuous Table and then broke down into intimate groups of 10 to 15 people to explore the show floor with their guides.

The Museum expresses warm thanks to all of those who made the 20th anniversary celebration of the Fall Antiques Show a success: American Banana, Art in Flowers, Sugar Barry, Kathy Booth, Marian A. Bott, Bryn Mawr Alumnae Association, Christie's, Collette Cakes, Alexis Shein Contos, Country Living magazine, Credit Suisse First Boston,Lucy Danziger, Harriet Fay, Fireman's Fund Insurance Company, Vera Jelinek, K & D Liquor and Wine,Stephen Kennard, Wendy Lash, Anne Mai, Frank Maresca, Nancy Mead, Millbrook Vineyards, New York Beverage Company,Julie Palley, Pfizer Inc, Cheryl Rivers, Sanford Smith, Soutine Bakery, Sumptuous Table, Superintendent of the Park Avenue Armory Scott Swenson, TENNECO,the walking tour guides, the exhibition lenders, the staff at Stephen Kennard Caterers, the staff at Sanford L. Smith & Associates, and the 1998 Fall Antiques Show dealers.

Trustee Joan M. Johnson, Linda Johnson, and Susan Klein

p

Illt.The Lary sieteâ&#x20AC;&#x2DC; vo

SIT IN(

)t)

Oil'.

A R -1 69

MUSEUM

NEWS

William Louis-Dreyfus and Dr. Sid ron Reis

Day Without Art nDec. 1, 1998, the Museum presented a collaborative program of art and poetry to mark Day Without Art, the international day of AIDS awareness and reflection upon the loss of artistic contributions as a result of the disease.

In addition to shrouding artworks and marking them with poems selecLeft to right: Poets Helmi Hunin, Gregory Sinacori, Thomas Louie, ted for the occasion, and Sarah Wong the Museum chose to exhibit an artwork by Michael Ransom,an artist living with AIDS, and hold a reading of students' poetry inspired by his work.

Spearheaded by Riccardo Salmona, deputy director, Stacy Left to right: Development Associate Mary C. Thomas, Director Gerard C. Wertkin, artist Michael Ransom, and Rebecca Price C. Hollander, curator, of Visual AIDS and adroitly organized

by Mary C. Thomas, developexperience; the poems were ment associate, the highly sucjudged by poets William LouisDreyfus and Dr. Sin von Reis. cessful program was presented in conjunction with Visual AIDS— Four poems, written by stua nonprofit organization that supdents Helmi Hunin,Thomas ports the work of artists living Louie, Gregory Sinacori, and with AIDS through its Archive Sarah Wong, were selected to be Project—and the Museum's read during the program, and they Poetry Project. remained on display in the MuIn early November,50 honors seum with Ransom's work for the creative writing students from remainder of the day. Following nearby LaGuardia High School the reading, Ransom spoke eloquently of how touched he was met with Ransom at the Museum during a deeply moving workby the experience. shop in which the artist talked The Museum would like to thank Karyn Kay, Rebecca Price about his life and his art. The artwork exhibited—a small box that and Barbara Hunt of Visual opens to reveal a lovingly crafted AIDS,and Michael Ransom for miniature replica of the bedroom helping to make the project a of his partner, who died of success. Special thanks go to AIDS—is a profoundly personal William Louis-Dreyfus and Dr. Sini von Reis for taking such expression of life, love, and loss.

Under the guidance of their an active role in promoting the teacher, Karyn Kay,the students Poetry Project at the Museum and in the city's public schools. wrote poems inspired by the

O SYBIL GIBSON M.C. 5( JONES REGINALD MITCHELL HERBERT SINGLETON MARY T. SMITH JIMMY LEE SUDDUTH MOSE TOLLIVER PURVIS YOUNG AND MORE

DOG BY MARY T. SMITH PAINT ON CORRUGATED METAL

***Forbes & Turner*** 1999 Antiques Shows Sat. and Sun., March 27 & 28 - Hartford, CT The 26th Connecticut Spring Antiques Show

Saturday, May 7 - Charlestown, MA The Bunker Hill Antiques Market

Saturday, July 10 Dorset, VT The Dorset Antiques Festival Wed.& Thurs., Aug.11 & 12 - Manchester, NH The 6th Annual Riverside Antiques Show

Tues. & Wed., Aug 17 & 18 - Bath, ME The 37th Annual Bath Area Antiques Show Sat., September 25 - Manchester Village, VT The Fall Hildene Antiques Show Sat. & Sun., October 2 & 3 - Hartford, CT The Fall Hartford Antiques Show For further information, contact

Linda Turner 207-767-3967

70 SPRING 1999 FOLK ART

Photography by Lee Kogan

Don't Miss Our Upcoming Events

Sharon Xoota

_Antique Coverlets • •

Seminar Days in New York's Carlyle Hotel

fine Vziatity tgth- c. American Coverkts

April 12, 1999 Pulp Fashion: Fashion on Paper and Fashion in Paper

• RR4 Box 736 Delhi, NY 13753

SOTHEBY'S INSTITUTE IN NEW YORK

April 19, 1999 Decoration and Historicism: Legendary Interiors Inspired by the Past

• 607-746-8122 607-746-8275(fax)

`-{

www.antiquecoverlets.com E-mail: Arcadi@catskill.net

May 3, 1999 Eastern Encounters: Orientalism in Nineteenth-Century European Art May 25, 1999 In Pursuit of Refinement: Charlestonians Abroad and At Home

4.4 SOTHEBY'S INSTITUTE IN CHICAGO

KIM

May 1-2, 1999 The Arts and Crafts Movement in England and America SOTHEBY'S INSTITUTE TRAVEL PROGRAMS

AMERICAN STONEWARE COLLECTORS

April 21-25, 1999 Classic Taste and Contemporary Views: Connoisseurship of Wine and Art in California's Legendary Napa Valley

"AUCTION AND APPRAISAL SERVICES"

June 15-18, 1999 Historic Houses and Collections in Litchfield, Connecticut Autumn, 1999 Picture Collecting and the English Country House

Registration and information 212.750.6318

THE AMERICAN ARTS COURSE

Sotheby's Institute offers a graduate-level full-time training program in American fine and decorative arts from the seventeenth century to the present day.

The accredited nine-month course runs from September through May and is designed for serious students interested in art-related careers.

Richard C. Hume P.O. Box 281

Carl Wissler 2015 Lilitz Pike

Bay Head, N.J. 08742 732-899-8707

Lancaster, PA. 17601 717-569-2309

SOTHEBY'S INSTITUTE SPRING 1999 FOLK ART 71

MUSEUM

HOWARD FINSTER R.A. MILLER J.B. MURRY MOSE T. NELLIE MAE ROWE And Other Outsider Artists

John Denton 102 Main St., P.O. Box 429 • Hiawassee, GA 30546 (706) 896-4863 • Fax (706) 896-1212

ig-N1141112-1:11MIIN:.141d

The Art of Nellie Mae Rowe

By Lee Kogan Memory paintings and sculptures of the rural South by the daughter of a former slave $30 cloth

On My Way The Arts of Sarah Albritton

By Susan Roach Expressions of poverty, abuse, and racism reflected in the paintings and stories of a woman who overcame them $15 paper

A Spiritual Journey The Art of Eddie Lee Kendrick

By Alice Rae Ye/en The vibrant paintings and drawings of a man seeking to praise the Lord $20 paper

FIND AT YOUR LOCAL BOOKSTORE OR ORDER AT 1-800-737-7788,

University Press of Mississippi http://www.upress.state.ms.us

72 SPRING 1999 FOLK ART

NEWS

Stunning Amish Quilts in the Museum Collection On View This Spring and Summer pproximately 20 Amish quilts from the Museum's permanent collection— some newly acquired and never before exhibited—will be on view at the Museum from May 22 to Nov. 28."Beyond the Square: Color and Design in Amish Quilts" will highlight the quiltmakers' distinct aesthetic, with quilts of spare and grandly scaled geometric design, highly saturated jewel tones, uninhibited color combinations, and stitching of exquisite quality.

The majority of extant Amish textiles were created in Pennsylvania's Lancaster and Mifflin counties and in the Midwest between the late 19th and the mid-20th centuries. As befits their conservative lifestyle and

A

their religious prohibition against naturalistic images, Amish women created quilt tops of solid-colored fabric in patterns such as Bar, Center Square, and Diamond in the Square. By the turn of the century, the quiltmakers sometimes deviated from established patterns, with more color, more complicated design elements, and smaller pieces.

Ten contemporary photographs of Amish life by Jan Folsom, providing a valuable glimpse of the community today, will also be on view.

OCEAN WAVES QUILT, Anna Yoder Raber, Honeyville, Indiana, 1925-1935, cotton and synthetics, 85/ 3 4 x 79/ 3 4", Museum of American Folk Art, gift of David Pottinger, 1980.37.82

U.S. Post Office: Museum of American Folk Art Station he Museum of American Folk Art became a post office station for one day on Nov. 2, 1998. Postmaster Vinnie Malloy was present to make it official and to host the event celebrating the stamp series "Four Centuries of American Art." The sheet of 32-cent commemorative stamps features works by 20 American artists.

Included are John James Audubon's Long-billed Curlew, Numenius Longrostri$, Mary Cassatt's Breakfast in Bed,Winslow Homer's The Fog Warning, Edward Hopper's Nighthawks, Mark Rothko's No.12, Grant Wood's American Gothic, and— at the center of the top row—our very own Ammi Phillips' Girl in Red Dress with Cat and Dog.

T

Postmaster Malloy arrived at the Museum with an official hand-canceling rubber stamp made with the Museum's name and Angel Gabriel logo, a stack of stamp sheets, official glassine envelopes, and Uncle Sam's cash drawer. Director Gerard C. Wertldn welcomed her, several other post office employees, and Museum friends and visitors. Stacie Holder, a clerk for the Postal Service, graciously and beautifully sang the national anthem, and Malloy made the dedication.

Refreshments were served, sales were brisk, and the Museum staff and trustees were quietly bursting their buttons.

W

tr:2( r/„. (_/tilwe4/

4f,62PHILADELPHIA,

PA

FRIDAY, APRIL9 thru SUNDAY,APRIL 11, 1999 Fri.: 11 a.m. — 5 p.m.

Sat.: 11 a.m. - 8 p.m. Sun.: 12 Noon - 5 p.m.

New Building Update ith groundbreaking scheduled for this spring, the dream of a new home for folk art is drawing nearer to reality. The Museum's Capital Campaign Committee is now halfway to its $30 million goal. We are grateful to the committee's members for their hard work and to all those who have made a commitment to the Museum's future. We are honored to announce a $1 million grant made recently by The Peter Jay Sharp Foundation, and we are pleased to name the mezzanine in memory of Sharp. In addition, anonymous friends quadrupled their previous commitment to $1 million. Their generous gift, along with that of the Sharp Foundation, brings the

THE 23RD STREET ARMORY

number of gifts of $1 million or more to eight, and helps to reaffirm the Museum's importance as keeper of this nation's rich artistic heritage.

The Museum's architects, Tod Williams Billie Tsien & Associates, are currently finalizing construction details. We have also hired Ralph Appelbaum Associates Inc. to design the inaugural exhibition and the permanent installation of highlights from the collection. In addition, Pentagram Design Inc. has been retained to create signage for the new building and to bring a freshness to the Museum's identity. We are moving ahead quickly, and we look forward to keeping you updated as the building begins to take form.

This Spring plan to attend Philadelphia's uniquely American Antiques Show featuring 40 nationally recognized American Antiques specialists.

No Previews o No Early Buyers This is an event you won't want to miss! o Formal & Rural Furniture 0 Exceptional Folk Art o Textiles • Ceramics o Fine Art o Metalwares a Garden Architecturals o Period Accessories and much more...

BARN STAR PRODUCTIONS

A Presentation of Barn Star Productions Frank Gaglio, Manager 56 E. Market St., Suite B Rhinebeck, NY 12572

For Brochure and Further Information Call: (914)876-0616 or Show Phone,(215) 561-2345

SPRING 1999 FOLK ART 73

CHESTER COUNTY HISTORICAL SOCIETY

AMERICNS OLDEST MAKERS OF COLONIAL AND EARLY AMERICAN LIGHTING FIXTURES

MARCH 13 & 14, 1999 vine" "a:1W 61,gfeatures fifty-one nationally acclaimed dealers and a special exhibit of needlework and timepieces reflecting two centuries of life and times in Chester County.

WIN A $2,500 SHOPPING SPREE ANTIQUES APPRAISALS SATURDAY, 2- 5 PM $15 PER PIECE - $10 FOR MEMBERS

AUTHENTIC DESIGNS 17 The Mill Road West Rupert, Vermont 05776 (802) 394-7713

ANTIQUES SHOW EXHIBITORS HAROLD COLE/AUTUMN POND R.H. BLACKBURN & ASSOCIATES IRVIN & DOLORES BOYD/ MEETINGHOUSE ANTIQUES JOHN W. BUNKER & SON THE CAPTAIN'S HOUSE ANTIQUES, INC. H. L. CHALFANT ANTIQUES PATRICIA CLEGG ANTIQUES SANDRA W. CROWTHER PAULI DECOSTE DucoN-Hrui FINE ART THE FASSNACHTS FOLIO, LTD. SIDNEY GECKER GORDON & GENEVIEVE DEMING HALL AND WINTER LTD/ ROGER WINTER HANES & RUSKIN RANDALL B. HUBER, AMERICAN ANTIQUES WILLIAM HUTCHISON BOOKS JACKSON-MITCHELL INC. ROBERT JACKSON/ANN GILLOOLY JOHANNA ANTIQUES JAMES M. KILVINGTON GREG K. KRAMER & CO. JOSEPH J. LODGE GARY LUDLOW ANTIQUES ELIZABETH L. MATLAT ANTIQUES JANE MCCLAFFERTY ANTIQUES MEADE ANTIQUES, INC.

Catalogue $3.00 MELLIN'S ANTIQUES MULLEN ANTIQUES AND UPHOLSTERY NICHOLAS VANDEICAR ANTIQUES, INC. THURSTON NICHOLS AMERICAN ANTIQUES THE PEMBROKE SHOP POTTLES AND PANNIKINS JAMES L. PRICE ANTIQUES J.D. QuERRy ANTIQUES STELLA RUBIN ANTIQUES RUTABAGA PIE ANTIQUES JOE CALEME DONALD R SACK, AMERICAN ANTIQUES SAJE AMERICANA HERBERT SCHIFFER ANTIQUES SHAEFFER'S ANTIQUES BRUCE A. SIKORA ANTIQUARIAN D.B. STOCK ANTIQUE CARPETS EVE STONE ANTIQUES, LTD. TRELA ANTIQUES, INC. VAN TASSEL-BAUMANN AMERICAN ANTIQUES J & L WEST ANTIQUES, INC. MICHAEL J. WHITMAN ANTIQUES ERIC CHANDLEE WILSON HERMAN L. WOOLFREY/ SUSAN HOSTETTER-CROSS R. M. WORTH ANTIQUES INC. WESLF/ T. SESSA, SHOW MANAGER

HOLLINGER FIELDHOUSE WEST CHESTER UNIVERSITY WEST CHESTER,PA 4-vitrzed 17A,52/

INFORMATION: 610 692-4800

74

SPRING 1999 FOLK ART

TRAVELING

EXHIBITIONS

Mark your calendars for the following Museum of American Folk Art exhibitions when they travel to your area during the coming months: Feb. 20—April 18, 1999 Self-Taught Artists of the 20th Century: An American Anthology Memorial Art Gallery of the University of Rochester Rochester, New York 716/473-7720

June 3—Aug. 15, 1999 The Art of Nellie Mae Rowe: Ninety-Nine and a Half Won't Do The National Museum of Women in the Arts Washington, D.C. 202/783-5000

May 15—Aug. 15, 1999 Self-Taught Artists of the 20th Century: An American Anthology Wexner Center for the Arts The Ohio State University Columbus, Ohio 614/292-0330

Oct. 1, 1999—Feb.6, 2000 An American Treasury: Master Quilts from the Museum of American Folk Art The Toledo Museum of Art Toledo, Ohio 419/255-8000

For futher information, please contact Judith Gluck Steinberg, Coordinator of Traveling Exhibitions, Museum of American Folk Art, Administrative Offices, 555 West 57th Street, New York, NY 10019-2925, 212/977-7170.

SPRING

PROGRAMS

St nadeleine Sophie's Cente EXHIBITION PROGRAMS "The Art of Nellie Mae Rowe: Ninety-Nine and a Half Won't Do" Thursday, March 4 6:00 P.M. Lecture:"Tradition and Innovation in African American Yards" Grey Gundaker,Ph.D., assistant professor ofAmerican studies, College of William and Mary Thursday,March 25 6:00 P.M. Lecture:"Let Spirit Design It All: Remarks on the Visual Intensity of Nellie Mae Rowe" Robert Farris Thompson,Ph.D., professor ofthe history ofart and master of Timothy Dwight College at Yale University Thursday,April 22 6:00 P.M. Gospel Concert Chancel Choir of the Abyssinian Baptist Church Thursday,April 29 6:00 P.M. Interview:"Southern Traditions and the Taste of Country Cooking" Legendary culinary artist Edna Lewis and her partner, Scott Peacock, will be interviewed by Jessica Harris, cookbook author and lecturer Sunday Afternoon Children's Workshops 2:00-4:00 P.M. For children ages five and up; reservations required Materials fee: $1 A series of special art workshops for children will be held every other Sunday for the run of the exhibition, using Nellie Mae Rowe's work as inspiration. To confirm specific dates or reserve a space, call 212/595-9533.

Sunday Afternoon Family Programs 4:00 P.M.

Hole&

March 7 Storytelling "Callaloo Collard Child" Malika Lee Whitney,storyteller

Greeter\ Card

March 14 Gospel Concert The Singing Conquerors

Print Original A

April 18 Puppet Show "Underground Railroad, Not a Subway" Dr. Schroeder Cherry,puppeteer "The Art of Nellie Mae Rowe: Ninety-Nine and a Half Won't Do" is on view through May 16, 1999.

Presentation and programming are made possible by The Andy Warhol Foundation for the Visual Arts, The Judith Rothschild Foundation, the New York State Council on the Arts, and LEF Foundation with additional support from Marian and Andrew Heiskell.

EXHIBITION PROGRAMS "Beyond the Square: Color and Design in Amish Quilts"

Broc_hur Availabl 1/19 Eo.st El Codol, CA 911D ph 619.441.511

.stmsc.o

mail:stmscostmsc.or9

Patricia Palermino Studio Contemporary Folk Art

Thursday, June 3 6:00 P.M. Curatorial Lecture Elizabeth V. Warren, exhibition curator Thursday,June 10 6:00 P.M. Gallery Talk Stacy C. Hollander, curator, Museum ofAmerican Folk Art "Collectors Speak" The above two programs will be followed by a dialogue between collectors of American folk art led by Director Gerard C. Wertkin.

\nnapolis

Harbor"

9029 Greylock Street, Alexandria, Virginia Phone: 703-360-4757 Fax: 703-360-4114 Web Site: http://www.cdad.com/palermino All programs are held at the Museum of American Folk Art/Eva and Morris Feld Gallery,2 Lincoln Square, Columbus Avenue at 66th Street, New York City, unless otherwise specified. Programs are open to the public, and admission is free. For more information, please call the gallery at 212/595-9533.

Represented by FRANK J. MIELE GALLERY 1086 Madison Avenue, New York, NY 10028 Tel: 212-249-7250

SPRING 1999 FOLK ART 75

Christopher Gurshin self- taught &mall* gi,a C>41paudiny ithiy, /966

It's more than just another credit card it's a contribution.

MUSEUM OF AMERICAN FOLKART

. sed

EVA AND MORRIS FELD GALLERY AT LINCOLN SQUARE

IABNA AMESIGA.

•

.5329 1234 5678 EXPIRES

5329

00/014130

"NANTUCKET" Painted copper free standing house and scene cut out that measures 6 i/2" x 12".

Each cut out is a signed original.

Inquirefor other designs or commission one made expressly for you.

Box 634 Newburyport, Massachusetts 01950 978 - 462 - 7761 Exhibiting at Salt Marsh Antiques, Rte 1A,Rowley Massachusetts

978 -948 -7139

www.saltmarsh-antiques.com

WORKS BY

SUSAN SLYMAN

C BARD COLE

"I'="' 97 Now you can help raise money for the Museum of American Folk Art simply by making a purchase with your No-Annual-Fee Museum of American Folk Art Gold MasterCard?

Every time you make a purchase with your No-AnnualFee Museum of American Folk Art Gold MasterCard, MBNA America® Bank,the card's issuer, makes a contribution to support the Museum of American Folk Art. Your No-Annual-Fee Museum of American Folk Art card also benefits you ma big way with credit lines up to $50,000 and up to $500,000 Common Carrier Travel Accident Insurance on charged fares:* The Museum of American Folk Art card features ...

• No Annual Fee! • Additional cards at no cost for family members or associates.

• Worldwide acceptance at millions oflocations.

• A bank that is always available,24 hours a day,365 days a year.

Best of all, it's backed by a 24-hour commitment to Customer Satisfaction that has made MBNA one of the leading issuers of bank credit cards.

Request your NO-ANNUAL-FEE Museum of American Folk Art Gold MasterCard today!

CAN BE SEEN AT

Call 1-800-847-7378

FRANK J. MIELE

TTY users, call: 1-800-833-6262 Please mention priority code FDNI when you call.

CONTEMPORARY AMERICAN FOLK ART 1086 MADISON AVENUE NEW YORK, N.Y. 10028 212.249.7250

GALLERIE JE REVIENS ONE RIVERSIDE AVENUE VVESTPORT CT. 06880 203.227.7716

76 SPRING 1999 FOLK ART

There are costs associated with the use of this card. You may contact the issuer and administrator of this program, MBNA America' Bank, to request specific information about the costs by calling 1-800-847-7378 or writing to P.O. Box 15020, Wilmington, DE 19850. *Certain restrictions apply to this benefit and others described in the benefits brochures sent soon after your account is opened.

MBNA and MBNA America are federally registered service marks of MBNA America Bank, N.A. MasterCard is a federally registered service mark of MasterCard International Inc., used pursuant to license. ©1997MBNA America Bank, N.A.

ADG-H-5

ADG-8-4-97

ADG-QAAB-8197

The most exciting summer show in the country...more fine antiques than can be found anywhere, shown by America's finest dealers.

WILTON OUTDOOR ANTIQUES MARKETPLACE To benefit Wilton Kiwanis Club and Wilton Y

June 19 & 20, Sat. & Sun. 10-5 Admission $6 - with card/ad $5

AMERICAN CRAFTSMANSHIP at its best...

Traditional crafts,folk art and fine furniture ****

The Historical Society of Delaware American Masters The Mid-Atlantic Crafts Show May 8 & 9 USA Riverfront Arts Center, Wilmington,DE ****

Americana Artisans Early Buying Sat. 8-10 A.M. Adm. $20

"The Meadows" North of Wilton High School

Route 7- Wilton, Conn.

A unique assemblage of 200 exhibitors offering AUTHENTIC ANTIQUES,in room settings, under tents, in a meadow in WILTON — renowned for quality shows.

• Country and period formal furniture • Folk art • American Indian arts • Ceramics • American Arts and Crafts • 20th century design • Silver, Jewelry • Decorative arts • Garden and architecturals • Art Show within the show.

WILTON redefines "outdoor show"...

It is the "indoor show" held outdoors.

at

Hancock Shaker Village July 10 & 11 Junction of Routes 20 & 41,Pittsfield, Mass. ****

Wilton Historical Society Celebration of American Craftsmanship November 13 & 14 Wilton High School Field House Route 7, Wilton, Conn. **** These premier events showcase the finest in collector quality traditional and contemporary folk arts featuring the work of many of the nations most talented artisans exhibiting in gallery or room settings.

Produced by Marilyn Gould

Produced by Marilyn Gould Only 50 miles from New York City • Merritt Parkway: Exit 39B from the west. Exit 41 from the east • 1-95: Exit 15, north 8 miles • 1-84: Rt. 7, south 12 miles • Metro North railroad to Cannondale Station

MCG Antiques Promotions 10 Chicken St., Wilton, Conn.06897

(203)762-3525

MCG Antiques Promotions 10 Chicken St., Wilton, Conn.06897 (203)762-3525

BOOKS

OF

INTEREST

Little by Little Six Decades of Collecting American Decorative Arts NINA FLETCHER LITTLE Back in Print!

A matchless account of a superb collection of country arts.

Nina Fletcher Little spent over sixty years collecting and writing about New England antiques until her death in 1993. Her "special contribution was to bridge the worlds of American antiques and folk art, bringing the antiquarian's passion for the past to the study of folk art. She combined a keen appreciation of the aesthetic qualities of an object with a determination to discover everything possible about the historical and social context in which it was created—who made it, when and where, how it was used and by whom. For her there was no contest between object and context: she honored both."

—Folk Art "Lavishly illustrated, lucidly written, and anecdotally fascinating, this is a magnificent book." —WENDELL D. GARRETT, The Magazine Antiques 308 pages. 372 illus.(147 color). Paper, $35.00 Society for the Preservation of New England Antiquities

New England

UNIVERSITY PRESS OF Hanover, NH 03755-2048 • 800-421-1561 • Fax 603-643-1540

EPSTEIN/POWELL 66 Grand St., New York, N.Y. 10013 By appointment(212)226-7316

Jesse Aaron Rex Clawson Mr. Eddy Victor Joseph Gatto (estate) Lonnie Holley S.L. Jones Lawrence Lebduska Charlie Lucas Justin McCarthy Old Ironsides Pry Popeye Reed Max Roman Ody Saban Jack Savitsky Clarence Stringfield Mose Tolliver Chief Willey George Williams Luster Willis ...and other outsider artists

78 SPRING 1999 FOLK ART

he following recent titles are available at the Museum of American Folk Art Book and Gift Shop,2 Lincoln Square, Columbus Avenue at 66th Street, New York City.

To order by mail, please call 212/496-2966. Museum members receive a 10% discount.

A.G. Rizzoli: Architect ofMagnificent Visions, Jo Farb Hernandez, Abrams, 1997, 136 pages, paperback, $25 American Cabinetmakers: Marked American Furniture, 1640-1940, William C. Ketchum Jr./Museum of American Folk Art, Crown, 1995,404 pages, hardcover, $45 American Folk Marquetry: Masterpieces in Wood, Richard Miihlberger, Museum of American Folk Art, 1998,240 pages, hardcover,$65 American Painted Furniture, Cynthia V.A. Schaffner and Susan Klein, Clarkson Potter, 1997,224 pages, hardcover, $65 American Windsor Chairs, Nancy Goyne Evans, Hudson Hills Press/The Henry Francis duPont Winterthur Museum, 1996,744 pages, hardcover,$125 The Art ofNellie Mae Rowe: Ninety-Nine and a Half Won't Do, Lee Kogan, Museum of American Folk Art/University Press of Mississippi, 1998, 112 pages, hardcover, $30 Backyard Visionaries: Grassroots Art in the Midwest, Barbara Brackman and Cathy Dwigans,eds., University Press of Kansas, 1999, 146 pages, hardcover,$39.95

The Bard Brothers: Painting America Under Steam and Sail, Anthony J. Peluso Jr., Abrams, 1997, 175 pages, hardcover,$35 Beyond Reason. Art and Psychosis: Worksfrom the Prinzhorn Collection, Hayward Gallery/University of California Press, 1996, 195 pages, paperback,$35 A Communion ofthe Spirits: African-American Quilters, Preservers, and Their Stories, Roland L. Freeman, Rutledge Hill Press, 1996, 396 pages, hardcover,$34.95 Designfor Victory: World War II Posters on the American Home Front, William L. Bird Jr. and Harry R. Rubenstein, Princeton Architectural Press, 1998, 110 pages, paperback, $17.95 The End Is Near! Visions of Apocalypse, Millennium and Utopia, Roger Manley,Dilettante Press, 1998, 192 pages, hardcover,$55, paperback, $34.95 The Extraordinary in the Ordinary, Mary Hunt Kahlenberg, ed., Museum of New Mexico/Abrams, 1998,280 pages, hardcover, $60 Folk Art ofSpain and the Americas: El Alma del Pueblo, Marion Oettinger Jr., editor, San Antonio Museum of Art/Abbeville Press, 1997,200 pages, hardcover,$49.95 Glorious American Quilts: The Quilt Collection ofthe Museum ofAmerican Folk Art, Elizabeth V. Warren and Sharon L. Eisenstat, Museum of American Folk Art/Penguin Studio, 1996,203 pages, hardcover, $34.95

I4EEPING 114E AN EXHIBITION OF RELIGIOUS FOLK ART

Indian Clubs, Alice J. Hoffman, Abrams, 1996,64 pages, paperback, $19.95 The Kingdoms ofEdwards Hicks, Carolyn J. Weekley, Abrams, 1999, 312 pages, hardcover, $39.95 Light ofthe Spirit: Portraits of Southern Outsider Artists, Karekin Goekjian and Robert Peacock, University Press of Mississippi, 1998, 120 pages, paperback, $35 Plains Indian Drawings 1865-1935: Pagesfrom a Visual History, Janet Catherine Berlo, editor, The American Federation of Arts/The Drawing Center/ Abrams, 1996, 240 pages, hardcover, $60 Private Worlds: Classic Outsider Artfrom Europe, John Beardsley and Roger Cardinal, Katonah Museum of Art, 1998, 48 pages, paperback,$20 A Quiet Spirit: Amish Quilts from the Collection ofCindy Tietze and Stuart Hodosh, Donald B. Kraybill, Patria T. Herr, and Jonathan Holstein, UCLA Fowler Museum of Cultural History, 1996, 232 pages, paperback,$35

Secrets ofthe Dark Chamber: The Art ofthe American Daguerreotype, Merry A. Foresta and John Wood, National Museum of American Art/ Smithsonian Institution Press, 1995, 324 pages, paperback, $37.95 Self-Taught Artists ofthe 20th Century: An American Anthology, Elsa Longhauser, Museum of American Folk Art/Chronicle Books, 1998, 252 pages, hardcover, $60, paperback,$35 The Shaker World: Art, Life, Belief John T. Kirk, Abrams, 1997, 286 pages, hardcover, $60

March 5 - April 16,1999 The Center of Contemporary Arts et. Louis, MO 63130 314-725-6555 Curated by John Foster

EN Vi

Si

On

Sacred Heart (wood) Canada, c. 1900 Collection: Louis Picek

A Silent Voice: Drawings and Constructions ofJames Castle, Fleisher/011man Gallery, 1998, 54 pages, paperback, $15 Spiritually Moving: A Collection ofAmerican Folk Art Sculpture.

Tom Geismar and Harvey Kahn, Abrams, 1998, 176 pages, hardcover, $125 The Temptation: Edgar Tolson and the Genesis of TwentiethCentury Folk Art, Julia S. Ardery, The University of North Carolina Press, 1998, 353 pages, paperback, $19.95 Navajo pictorial weaving c.1925 (detail)

Raw Creation: Outsider Art and Beyond, John Maizels, Phaidon Press, 1996, 240 pages, hardcover, $69.95 Sacred Arts ofHaitian Vodou, Donald J. Cosentino, editor, UCLA Fowler Museum of Cultural History, 1995,445 pages, paperback, $58

Tramp Art One Notch at a Time: The Craft, the Techniques & the Makers, Clifford A. Wallach and Michael Cornish, Wallach-Irons Publishing, 1998, 176 pages, hardcover, $65 A Treasury ofAmerican Scrimshaw: A Collection ofthe Useful and Decorative, Michael McManus,Penguin Studio, 1997, 150 pages, hardcover, $34.95

EXHIBITING 15th ANNUAL MARIN SHOW and SALE FEBRUARY 20th-21st and THE PHOENIX ART & ANTIQUE SHOW at the PHEONIX ART MUSEUM MARCH 11th-14th

JOHN C. HILL - ANTIQUE INDIAN ART 6962 E. 1st Ave., Scottsdale, Arizona 85251 (602)946-2910 - email: antqindart@aol.com

SPRING 1999 FOLK ART 79

MAIN STREET ANTIQUES and ART Colleen and Louis Picek Folk Art and Country Americana (319) 643-2065 110 West Main, Box 340 West Branch Iowa 52358

or

NUS

On Interstate 80

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

INDEX

TO

A dated 1976 Popeye Reed sandstone Indian head reliefplaque 16"x12"x1-1/4"

ADVERTISERS

The American Folk Art Gallery 7 American Pacific 63 American Pie 25 American Stoneware Collectors 71 The Ames Gallery 12 At Home Gallery 66 74 Authentic Designs 73 Barn Star Productions Anne Bourassa 19 Robert Cargo Folk Art Gallery 2 Grey Carter Objects of Art 16 Caskey-Lees 55 Cavin-Morris Gallery 9 Chester County Historical Society 74 Christie's 17 Country Folk Art Festival 54 Country Living Inside Back Cover John Denton 72 79 Envision Epstein/Powell 78 Laura Fisher 23 Fleisher/Oilman Gallery Back Cover The Folk Art Gallery 56 Folk Fest,Inc. 59

80 SPRING 1999 FOLK ART

Forbes & Turner Garde Rail Gallery Sidney Gecker Gilley's Gallery Christopher Gurshin Pat Guthman Antiques Anton Haardt Gallery Samuel Hen-up Antiques John C. Hill Hypoint K.S. Art Knoke Galleries Sharon Koota Antique Coverlets David Leonardis Gallery MBNA America MCG Antiques Promotions Main Street Antiques and Art Steve Miller Museum Charlotte Zander Mary Myers Studio New York State Historical Association Patricia Palennino Studio William Peltier The Philadelphia Antiques Show

70 67 12 18 76 14 56 10 79 58 3 22 71 54 76 77 80 58 56 14 75 27 65

Ricco/Maresca Gallery Inside Front Cover Riverfest Weekend 54 Rosehips Gallery 18 Select Southern Pottery 66 13 John Sideli Susan Slyman 76 Sottteby's Institute 71 The Splendid Peasant Ltd. 8 St. Madeleine Sophie's Center 75 Stella Show Mgmt. Co. 58 Tops Gallery 24 University Press of Mississippi 72 University Press of New England 78 27 Angela Usrey Gallery Walters/Benisek 4 Wanda's Quilts 57 Maria and Peter Warren Antiques 14 Nancy Weaver 67 16 Webb Gallery David Wheatcroft 15 Yard Dog 70 Ginger Young Gallery 26

14

v

io4

20 YEARS AS AMERICA'S SOURCE FOR FOLK ART AND ANTIQUES A

Publication

of

Hearst

Magazines.

A

Unit

of

the

Hearst

Corporation

William Edmondson

FLEISHER OLLMAN GALLERY 211 S. 17th Street Philadelphia 1 9 1 0 3 (215)545.7562 (Fax)545. 6140

Birdbath, c. 1930/40, carved limestone, 37 1/2" x 30 1/2" x 11 1/2"