Folk Art (Fall 2003)

FOLK ART MAGAZINE OF THE AMERICAN FOLK ART MUSEUM * FALL 2003 * $8.00

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October 10 - December 31, 2003 The Courtyard Gallery at The Nashville Main Public Library Nashville, Tennessee co-sponsored by John F. Kennedy Center for Research on Human Development at Vanderbilt University and The Nashville Public Library

riccomaresca gallery 529 west 20th street 3rd floor new york city 10011 212.627.4819 riccomaresca.com

STEVE MILLER • AMERICAN FOLK ART

WANTED American Weathervanes of This Quality

DEER WEATHERVANE,32" in length, repousse copper construction with lead backed copper antlers. Literature: The Art ofthe Weathervane, Steve Miller,(Schiffer Publishing, 1984), illustration, page 128.

17 East 96th Street, New York, NY 10128 Telephone:1-212-348-5219, Fax: 1-212-427-4278, E-mail: sharksm@earthlink.net By appointment only.

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JEFFREY TILLOU ANTIQUES

Right: A Rare Patriotic Mirror.

Carved walnut. American, ca.1865. Excellent condition with an old varnish finish.

Below: A view of one of the interiors from our new gallery.

We are proud to announce the opening of our new three story gallery On The Green in Litchfield, CT. Location

Hours

39 West Street Box 1609 Litchfield, Connecticut 06759 Tel.(8W)567-9693 Fax:(860) 567-8526 jtillouantiques@earthlink.net

Mon., Wed.-Sat. 10:30am-5:00pm Sundays 11:00am -4:30pm

Trotta-Bono

Photograph: Justin Kerr

Antique Native American Art Art of the Frontier and Colonial Periods

Jose Aragon active: 1820-1835 New Mexico figure: H. 36 x W. 27" Ex. Priscilla Timpson Col. Architectural Digest, June 1980

email: tb788183(Taol.com

By Appointment: (914) 528-6604 • P.O. Box 34 • Shrub Oak, New York 10588 • We are actively purchasing fine individual pieces and collections.

FURNITURE

ART

F

ine hepplewhite inlaid cherry-

wood bow front chest, with solid top with geometric inlaid edge, above four graduated drawers with conforming geometric inlaid base, with swelled apron and flaring french feet with unusual shaped detail.

Connecticut River Valley, probably Deerfield area, circa 1795-1800.

37'/2" wide top, 36" wide case, 23" deep, 34" high

Specialists in American Federal Furniture for over 30 years.

'1 homas Schwenke Inc .

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American Federal Furniture 50 Main Street North, Woodbury, CT 06798 Just past Rte. 47 Tel.(203)266-0303 Fax (203) 266-0707 www.schwenke.com

WALTERS BENISEK ART Ea. ANTIQUES ONE AMBER LANE • NORTHAMPTON • MASSACHUSETTS • 01060 • (4 1 3) 5 8 6 • 3 90 9 • • BENISEK WALTERS • MARY DON

BALANCING TOY: THE DANDY AMERICAN, C. 1870 WOOD AND METAL HT. 17 INCHES

FOLK ART VOLUME 28, NUMBER 3/ FALL 2003

FEATURES

211.M.gb' atIFt:IrP00O3 OMR ENE;

Cover: Detail of RECONCILIATION QUILT/Lucinda Ward Honstain /New York/dated 1867/cotton/97x 8.5"/ collection ofthe International Quilt Study Center at the University ofNebraskaLincoln, gift ofRobert and Ardis James

Folk Art is published four times a year by the American Folk Art Museum.

The museum's mailing address is 1414 Avenue ofthe Americas, New York, NY 10019-2514,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 $8.00. Published and copyright 2003 by the American Folk Art Museum,45 West 53rd Street, New York, NY 10019. 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 American Folk Art Museum. Unsolicited manuscripts or photographs should be accompanied by return postage. Folk Art assumes no responsibility for the loss or damage of such materials. Change ofaddress: Please send both old and new addresses to the museum's mailing address at 1414 Avenue of the Americas, New York,NY 10019-2514, 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 offolk 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.

FIVE VERNACULAR VISIONARIES:INTERNATIONAL OUTSIDER ART IN CONTEXT Annie Carlano

30

THE RECONCILIATION QUILT: LUCINDA WARD HONSTAIN'S PICTORIAL DIARY OF AN AMERICAN ERA Melissa Stewart Jurgena and Patricia Cox Crews

38

CHRIST TRIUMPHANT: FRANK W.BALDWIN'S PAINTING OF THE CRUCIFIXION Celene Ryan

48

A QUESTION OF ETHICS: EXPLOITATION IN THE FIELD OF CONTEMPORARY FOLK ART Jean Ellen Jones

51

DEPARTMENTS

EDITOR'S COLUMN

8

DIRECTOR'S LETTER

15

MINIATURES

22

TRAVELING EXHIBITIONS

24

PLANNED GIVING ANNOUNCEMENT

54

BOOKS OF INTEREST

56

MUSEUM REPRODUCTIONS PROGRAM

58

THE AMERICAN ANTIQUES SHOW ANNOUNCEMENT

63

FALL PUBLIC PROGRAMS

64

THE OUTSIDER ART FAIR PREVIEW ANNOUNCEMENT

65

MUSEUM NEWS

66

MUSEUM HOURS AND ADMISSIONS

75

OBITUARIES

76

MUSEUM LIBRARY BOOK SALE ANNOUNCEMENT

77

TRUSTEES/DONORS

78

INDEX TO ADVERTISERS

84

FALL 2003 FOLK ART 7

AMERICAN FOLK ART MUSEUM EDITOR'S

COLUMN

ROSEMARY GABRIEL

he American Folk Art Museum recently received a wonderful gift of a stunning painting of the Crucifixion, one of two known works by Frank W.Baldwin, an early-twentieth-century New Hampshire entrepreneur.

Artist David B. Wiggins came across the painting, which was unsigned, in 1976, and immediately recognized its importance. He purchased it and diligently resolved to find out as much as he could about the work and the artist. Now, more than twenty-five years later, Wiggins has generously given The Crucifixion to the museum,and to the public—it is scheduled to be on view in our upcoming presentation of recent gifts. For a preview, as well as a very interesting story, read "Christ Triumphant: Frank W.Baldwin's Painting of the Crucifixion," by Celene Ryan,starting on page 48.

The Museum of International Folk Art(MOIFA)in Santa Fe, New Mexico, will present "Vernacular Visionaries: International Outsider Art in Context," from October 31 through August 2004.

Annie Carlano, MOIFA's curator of European and North American collections, as well as this exhibition's curator, highlights the work of the five artists represented in the show: Gedewon,a cleric from Ethiopia; Martin Ramirez, whose masterful work draws upon his early life in Mexico; Hung Tung, whose work reflects his Taiwanese culture; Czech artist Anna Zemankova, who made art possibly while in a dreamlike state; and Carlo Zinelli, an Detail from RECONCILIATION QUILT / pictorial Italian who created powerful graphic com- album, quilt / Lucinda Ward Honstain / New York / positions. Carlano's essay,"Five Vernacu- dated 1867 / cotton /97 85"/ collection of the Quilt Study Center at the University of lar Visionaries: International Outsider Art International Nebraska-Lincoln, gift of Robert and Ardis James in Context," begins on page 30.

The International Quilt Study Center(IQSC)at the University of NebraskaLincoln recently received a gift of one the most important antique American album quilts ever found. Renowned collectors Ardis and Robert James, who donated the quilt, purchased it in 1998 and awarded Melissa Jurgena, a student in the University of Nebraska's graduate program, a fellowship to research it. Read about Lucinda Ward Honstain, an American quiltmaker, and the exquisite quilt she made depicting scenes of domestic, cultural, and political life from the Civil War and Reconstruction."The Reconciliation Quilt: Lucinda Ward Honstain's Pictorial Diary of an American Era," by Melissa Stewart Jurgena and Patricia Cox Crews,Professor of Textiles and director of the International Quilt Study Center, begins on page 38.

When works of art change hands, whether through gift or purchase,the question of monetary value always comes into play. I would certainly not begin to try to analyze, in this space,the many considerations that comprise the agreed upon worth of a work of art—or the ethics involved in determining that worth. Jean Ellen Jones,Professor Emeritus of Art at Georgia State University, explores this subject as it particularly relates to the field of contemporary folk art and living self-taught artists."A Question of Ethics: Exploitation in the Field of Contemporary Folk Art," raises serious issues, and draws upon the opinions and writings of respected educators, philosophers, and ethicists. Jones's provocative essay starts on page 51.

T

FALL 2003 FOLK ART

PUBLICATIONS/FOLK ART Rosemary Gabriel Director ofPublications/Editor and Publisher Tanya Heinrich Exhibition Catalog and Book Editor Katharine Clark Production Editor Vanessa Davis Assistant Editor Erikka V. Haa Copy Editor Jeffrey Kibler, The Magazine Group,Inc. Design Eleanor Garlow Advertising Sales Craftsmen Litho Printers Administration Gerard C. Wertkin Director Susan Conlon Assistant to the Director Linda Dunne ChiefAdministrative Officer Robin A. Schlinger ChiefFinancial Officer Madhukar Balsara Assistant Controller Angela Lam Accountant Irene Kreny Accounts Payable Associate Robert J. Saracena Director ofFacilities George Y. Wang Director ofInformation Technology Wendy Barbee Manager of Visitor Services Anthony Crawford Assistant Manager of Visitor Services Michele Sabatiele Visitor Services Associate Daniel Rodriguez Office Services Coordinator Beverly McCarthy Mail Order/Reception Katya Ullman Administrative Assistant/Reception Collections & EAdbitions Stacy C. Hollander Senior Curator and Director ofExhibitions Brooke Davis Anderson Director and Curator of The Contemporary Center Ann-Marie Reilly ChiefRegistrar and Director ofExhibition Production Judith Gluck Steinberg Director of Traveling Exhibitions Elizabeth V. Warren Consulting Curator Education Diana Schlesinger Director ofEducation Rebecca Hayes Manager ofSchool and Docent Programs Lee Kogan Director, Folk Art Institute/Curator ofSpecial Projects for The Contemporary Center Laura Tilden Education Assistant Departments Cathy Michelsen Director ofDevelopment Cheryl Aldridge Director ofInstitutional Giving Suzannah Kellner Membership Manager Lauren Potters Membership Associate Danelsi De La Cruz Membership Assistant Wendy Barret° Membership Clerk Susan Flamm Public Relations Director Katie Hush Special Events Manager Alice J. Hoffman Director ofLicensing/Executive Director of The American Antiques Show Marie S. DiManno Director ofMuseum Shops Richard Ho Manager ofInformation Systems, Retail Operations Janey Fire Director ofPhotographic Services James Mitchell Librarian Jane Lattes Director of Volunteer Services Eva and Morris Feld Gallery Staff Dale Gregory Gallery Director Joan Sullivan Assistant Gallery Director Ursula Morino Weekend Gallery Manager Kenneth R. Bing Security Bienvenido Medina Security Treenia Thompson Security Museum Shops Staff Managers: Dorothy Gargiulo, Louise B. Sheets, Marion Whitley; Book Buyer: Evelyn R. Gurney; Staff: Yan Chen, Michael Koh,Jillian Strobel, Sandy B. Yun; Volunteers: Angela Clair, Millie Gladstone, Elayne Home, Elizabeth Howe,Judy Kenyon, Arlene Luden, Nancy Mayer,Judy Rich, Frances Rojack, Phyllis Selnick, Eugene P. Sheehy American Folk Art Museum Book and Gift Shops 45 West 53rd Street New York, NY 10019 212/265-1040,ext. 124 Two Lincoln Square(Columbus Avenue between 65th and 66th Streets) New York, NY 10023 212/595-9533, ext. 26 Mailing Address American Folk Art Museum 1414 Avenue of the Americas, New York, NY 10019-2514 212/977-7170,Fax 212/977-8134, http://www.folkartmuseum.org info@folkartmuseum.org

ALLAN Americana

Carved and Painted Stylized Carousel Horse: Canada: Signed A.Saget.

Circa 1880.

Completely original. 47" L

Allan & Penny Katz By Appointment 25 Old Still oad Woodbridge, CT 06525 Tel (203) 393-9356 folkItatz'ao. online.net

LINDSAY GALLERY # P- -4 kP s • ls e wi

William Dawson

Eddie Arning Popeye Reed

William Hawkins

Cher Shaffer

Morris Ben Newman

Jane Winkelman

Stanley Greer

Joseph Garlock

our new website is now on-line

www.lindsaygallery.com 986 North High Street • Columbus, Ohio 43201 T> 614.291.1973 E-Mail> lindsaygallery@hotmail.com

AMERICAN PRIMITIVE GALLERY 594 BROADWAY #205 NEW YORK, NY 10012 (212) 966 1530

dove painted wood 1. 13 in.

AARNE ANTON ART & ANTIQUES 25 years discovering folk or of the 19'' -20' c.

BASES-custom mounting of art and antiques

Andrew Flamm St Michelle Hauser

ODD FELLOWS ANTIQUES

Rare and Important African American Bedroom Set Brooks Thompson, American Beach, FL. Exuberantly carved and painted yellow pine.

Circa 1920. Complete family history available.

P.O. Box 145, Mount Vernon, ME 04352 • (207) 293-3569

AFRICAN AMERICAN MASTER WORK

Slide Lid Candle Box

Paint decorated, pine candle box in three colors.

Geometric decoration with stars and multi-scalloped borders. Each side of box decorated in a variety of strong graphics. York County, Pennsylvania. Circa 1820.

Height 5", width I 1.75", depth 4.25".

below details of box side and end decorations

Thurston Nichols american

EXHIBITING Early American Life Antiques Show September 27-28, King of Prussia, PA

antique ,

Thurston Nichols American Antiques LLC 522 Twin Ponds Road, Breinigsville, PA 18031 phone: 610.395.5154 fax: 610.395.3679 http://www.antiques101.com

DIRECTOR'S

LET TER

GERARD C. WERTICIN

he growing public and critical appreciation for the work of responsible for overseeing and coordinating all fund-raising activities, contemporary self-taught artists owes much to the dedicated including institutional development, membership, and special events. efforts of Didi Barrett, a longtime friend and supporter of the Cathy is well qualified to guide our efforts in these critically important American Folk Art Museum. Didi was my colleague here at areas. From 1994 to 2003 she served as director of development of the the museum from 1985 through 1990, when she served as ediFrench Institute Affiance Francaise here in New York. She previously tor of this magazine (then called The Clarion) and as director held the same position at the South Street Seaport Museum.I look forof museum publications. In 1986 she was also curator of ward to working closely with Cathy in the weeks and months ahead.

"Muffled Voices: Folk Artists in Contemporary America," a trailblaz"The Perfect Game: America Looks at Baseball" continues to be ing exhibition produced by the museum that not only had a substantial one of our most popular exhibitions with visitors to the museum, young influence on the development of the field but also raised the bar on the and old. Providing remarkable insights into the impact of baseball on aesthetic standards applied to it. A writer and journalist by profession, American life, it has clearly struck a chord with its very enthusiastic Didi Barrett, holder of an M.A. degree in Folk Art Studies from New audiences. On July 10 we hosted a family day that brought hundreds of York University, has published widely on folk art and related subjects. children and their parents to the museum. Among the star attractions of It therefore seemed especially appropriate that she should be nominated a wonderful day of activities was the presence of New York Mets to serve as a trustee of the museum. She was elected unanimously to pitchers Al Leiter and Tom Glavine and their families. Both players that position at the board's June meeting. gave generously of their time—answering endless questions, posing for Accepting the museum's call to a leadership position as a trustee photographs, and signing autographs. I am deeply grateful to both of might seem to be a homecoming of sorts for Didi Barrett, but in fact these good friends. At the same time, the scheduled programs undershe has always been close to the institution. After leaving the staff of scored the educational, as well as entertaining, nature of the event. the museum she joined the National AdSponsored by the New York Mets, the day was clearly an affirmation visory Council,for which she particiof Americans' love for their national pastime. The next issue of Folk pated as an active member from 1990 to Art will contain a fuller report about this very special day.

1996, and later accepted appointment to The exhibition continues at the museum until February 1, 2004. the Library and Collections Committees Please come and visit. I know that you will be fascinated by this engagof the museum's Board of Trustees, ing presentation. I also encourage you to obtain a copy of The Perfect which she continues to serve. She also Game:America Looks at Baseball, the outstanding book that accompaplayed a central role in the founding of nies the exhibition. Written by the show's curator, Elizabeth V. WarThe Contemporary Center as a division ren, this colorful volume includes an introduction by Roger Angell. It of the museum,and helped to articulate is available from the book and gift shop at the museum for $29.95; 5 its policies and develop its programs. museum members receive a 10 percent discount. For mail order inforTrustee Didi Barrett Active in organizational life, Didi mation, please call 212/265-1040,ext. 124.* was co-chair and a member of the Board of Directors of Planned Parenthood of New York City for many years, and founding chair of Girls Incorporated of New York City, among other positions in community leadership. Recognized as a tireless advocate on matters relating to the interests of women and children, she approaches these issues with great energy, vigor, and commitment. With her husband, David—himself a valued friend of the museum—Didi is a dedicated collector of the work of contemporary selftaught artists. It is my pleasure to welcome her warmly to the museum's Board of Trustees.

I am pleased to be able to extend another welcome in this issue of Folk Art. In June, Cathy Michelsen joined the museum's professional staff as director of development. In this position, she is Young visitors from New York City's Camp Carmine

FALL 2003 FOLK ART 11

Mattie Lou O'Kelley ,0 0

Family Gathering, May,1982 / Acrylic on canvas / 24"H x 32"W / 32"H x 40"W framed Illustrated in From the Hills of Georgia: An Autobiography in Painting (Little, Brown and Co., 1986)

wwwbarbaraarchericom Also offering Nellie Mae Rowe Sam Doyle

Howard Finster

Benjamin Jones

Raymond Coins • George Lowe

Mose Tolliver

Mary T. Smith

J.B. Murry

Scott Griffin . Robert Lindsey Walker and others

JAN WHITLOCK Textiles &Interiors...

• •• 302.655.1117 P.O. Box 583 • Chadds Ford, Pennsylvania 19317 WWW.janwhitlocktextiles.com

American Folk Art Sidney Gecker RARE SANTAS FROM OUR COLLECTION OF CHALKWARE

HEIGHT:16 INCHES

HEIGHT:14 INCHES

226 West 21st Street New York, N.Y. 10011 •(212)929-8769•Appointment Suggested Subject to prior sale.

THE

AMES

GALLERY

Ree/7„ / 4/4 4 0

-

From a collection of Spencerian calligraphy by R.M. Nettle, dated 1879-1902, ink on paper, 12 x 12 inches.

Early

handmade Americana including carved

canes, tramp

art, quilts and

whimseys.

Works by contemporary, visionary, self-taught and outsider artists including Eddie Arning, Jim Bauer, Dorothy Binger, Attilio Crescenti, Michael Davis, Martha Douglas, jack Fitch, Julio Garcia, Wilbert Griffith, Harry Lieberman, Dwight Mackintosh, Alex Maldonado, John Ratto,

A.G. Rizzoli,

Bonnie Grossman, Director fax: 510/845-6219

Jon Serl,

Barry Simons,

Donald Walker,

2661 Cedar Street, Berkeley, CA 94708

email: info@amesgallery.com

and

others.

tel: 510/845-4949

online: www.amesgallery.com

Carved and painted figure of a mountain-man at rest, entitled "Lazy Bones," by Wade Hampton Martin, Swannanoa, NC, circa 1950.

10" long, 6.5" high.

Specializing info/k art & material culture of the Southern backcountry.

By Appointment. Asheville, North Carolina (828) 251-1904 / www.charltonbradsher.com

- STELLA RUBIN 1,-

20 FALL 2003 FOLK ART

12300 Glen Rd Potomac, MD 20854

Antique Quilts • Decorative Arts • Fine Design Jewelry

By Appomtment • (301) 948-4187 • www.stellaruhtn.com

OON REEK Antiques, L.L.C.

PO Box +57,20 Main Street Bridgeport, NJ 080HPkone:(856) 467-3197 fax:(856) 467-3+51 raccooncreek@msn.com

George K. Allen • Gordon L. M.9c1col1

Signed and Dated Watercolor Theorem on paper

ROOM DIVIDER (detail)/ Anna Zemankova (1908-1986)/ Prague, Czech Republic / mixed media on plywood / Zemankova Family Archive, Prague

MINIATURES

COMPILED BY VANESSA DAVIS

Alabama Quilt Show Celebrating the African-AmeriThe Textile Museum (202/667can Experience in Washington, 0441)in Washington,D.C., D.C.," a program taking place opens "African-American Quilts between Sept. 15 and Nov. 30. from the Robert and Helen Cargo more information about the For on be To 3.

Oct. on Collection" exhibition, please call the display until Feb. 29, 2004, are museum or visit www.textile twenty quilts from Alabama datmuseum.org. For more informaing back from the early 20th cenabout the citywide program, tion the since tury to those made visit www.washington.org.

1970s. The quilts in this exhibition reflect the AfricanLOG CABIN VARIATION / Augusta Duncan / c. 1987 / American tradition of variety Robert and Helen Cargo Collection, International Quilt Study Center, University of Nebraska-Lincoln in materials, colors, patterns, and textures in quiltmaking. The diversity extends to subject matter, and the individuality of the quiltmakers is reflected in their quilts, which range from traditional patchwork and strip quilts to modern abstract patterns to narrative, and even political, story quilts. Extensive educational programming is planned for this show, which is an anchor event for "Blues and Dreams:

Concrete Stay The Nicholls State University Folk Art Center and Sculpture Garden (985/594-2546)in Chauvin, La.,features 60 life-size figures created by the reclusive bricklayer Kenny Hill. In 10 years, Hill created more than 100 concrete figures. Largely religious, the figures include a variety of characters: cowboys, soldiers, angels, God,and a number of self-portraits. Notable is a 45-foot-tall lighthouse composed of 7,000 bricks with figures clinging to the outside. A walk among the sculptures reveals Hill's pain and his struggles in life. Hill created his environment on land that he lived on in the parish of Chauvin, and while he

22 FALL 2003 FOLK ART

consistently refused press or any kind of publicity, maintaining that the work was for him alone, he nevertheless declared it a story of salvation. As he explained, "It's about living and life and everything I've learned." Hill was evicted from the property in January of 2000, and left his home and his huge body of work. Hill reportedly disappeared on foot, but not before knocking the head off his sculpture of Jesus. As of 2002 the site has been open to public viewing. For more information or to arrange a tour, please call the Folk Art Center or visit its website, www.nicholls.edu/folkartcenter.

Vernacular Visionaries An exhibition of outsider art from around the globe,"Vernacular Visionaries: International Outsider Art in Context" is on display at the Museum of International Folk Art(505/476-1200)in Santa Fe, N.Mex.,from Oct. 31, 2003, until Aug. 25,2004. Displaying approximately 100 works by five artists, this show seeks to explore not only the individual artists' sensibilities but also the artists themselves in the contexts of their diverse cultures. The artists included are Gedewon, a cleric from Ethiopia who made unique and psychedelic talismans; Martin Ramirez, who drew

large-scale drawings portraying Mexican life; Hung Tung, whose colorful scrolls reflect both traditional Taiwanese culture and his own fantastic imagination; Czech artist Anna Zemankova, who created dreamy, biomorphic drawings, possibly while in a trance or mediumistic state; and from Italy, Carlo Zinelli, whose graphic compositions are patterned and energetic. For more information, please call the museum, visit their website, www.moifa.org, or read the in-depth discussion of these artists and this exhibition, beginning on page 30.

Annual Conference of the Folk Art Society of America Also featured in the conference The Folk Art Society of America are visits to private homes and will hold its 16th annual convenpublic art collections, a benefit tion this year in St. Louis, Mo., Oct. 9-12. The conference's sym- folk art auction, and a trip to the Black Madonna Shrine posium on Oct. 10 takes in Eureka, Mo.The conLouis Saint place at the ference chairman is Art Museum and John Foster, with the includes speaker Maud assistance of the memSouthwell Wahlman, T bers of ENVISION Folk professor of global arts Art in Saint Louis. A at University of MisFolk Art Society special souri-Kansas City, who rate may be used in will speak on Africanat the conferreservations making Nowell American textiles. Terry ence hotel, the Sheraton Clayton will speak about ceramic artist Plaza, at 888/337-1395. For furBurgess Dulaney, whose work ther information and reservations, will be on display. And Shannon please call the Folk Art Society at Fitzgerald of the Contemporary or visit their web800/527-3655, diswill Louis St. Art Museum site, www.folkart.org. cuss contemporary African art.

CHERRY GALLERY Rustic

*

Antiques se Art Native American

Folk

Craft Fair of the Southern Highlands The Craft Fair of the Southern demonstrations and discussions, Highlands takes place Oct. 16-19 the fair presents an opportunity to at the Asheville Civic Center in meet the craftspeople and learn Asheville, N.C. The Craft Fair more about the crafts being made. showcases the artwork of memFor more information, please call bers of the Southern Highland 828/298-7928 or visit Craft Guild, a nonprofit organiza- www.southenthighlandguild.org. tion with 800 elected members devoted to maintaining the creative tradition of the Appalachian region. Work on display in more than 170 booths will reflect the rich diversity of crafts being produced in the area—from work made using centuries-old techniques to unique and innovative contemporary art. Through NEW DIRECTIONS / Billie Ruth Sudduth / Bakersville, North Carolina

A Closer Look Colonial Williamsburg is hosting a focused display of the artwork of well-known folk painter Edward Hicks."Decorative Details: A Closer Look at Edward Hicks" is on view at the Abby Aldrich Rockefeller Folk Art Museum (757/220-7670)in Williamsburg, Va., until Dec. 31, 2004. Hicks was a Quaker minister and sign painter in Newtown, Pa., but is best known for his paintings, especially the Peaceable Kingdom series. Carolyn J. Weekley,curator of the exhibition, said,"In his dual roles in life as a Quaker minister and as a

painter, Hicks taught moral and religious values based on the Isaiah prophecy of peaceful coexistence. He attempted to use his art, even his most decorative and ornamental objects, in a way that embraced universal concerns."

The Abby Aldrich Rockefeller Folk Art Museum houses the world's largest collection of works by Edward Hicks. The show includes 11 paintings— including a rare portrait of Hicks done by his apprentice and cousin, Thomas Hicks—and three objects. For more information, please call the museum.

Sculptural Twig Flour Lamp Made by the Blowing Rock Artist North Carolina Circa 1920 72" tall

PEACEABLE KINGDOM / Edward Hicks / Newtown, Pa./ 1826-28/ oil on canvas / Colonial Williamsburg Foundation, Williamsburg, Va. lti11.01)11111 sjlh the haralle,s kid kid dawn.

Anti ant otte savage beast was seen t trots It,

9:•=1•

4 Stissing Mt. Lane 518-398-7531

* Pine Plains, NY * esox49taconic.net

12567

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FALL 2003 FOLK ART 23

TRAVELING

MINIATURES

EXHIBITIONS

Mark your calendars for the following American Folk Art Museum exhibitions when they travel to your area during the coming months:

May 24—Oct. 25 Fraktur from the Ralph Esmerian Gift to the American Folk Art Museum Hancock Shaker Village Pittsfield, Massachusetts 413/443-0188

May 1—June 27,2004 Painted Saws/Jacob Kass William D.Cannon Art Gallery Carlsbad, California 760/602-2021

July 31—Sept. 28 Painted Saws/Jacob Kass The Arkansas Arts Center Little Rock, Arkansas 501/372-4000 The Phoebe Warner Quilt is a reproduction, by an unknown maker in the 1930s, of the Metropolitan Museum of Art's 1803 Phoebe Warner Coverlet, considered the finest example of an American appliqued coverlet./ 76 x 70 / The Charles and Fleur Bresler Collection, Mint Museum of Art

American Quilt Classics A comprehensive visual primer to American quilt history,"American Quilt Classics 1800-1980: The Charles and Fleur Bresler Collection," at the Mint Museum of Craft + Design(704/3372000),showcases the result of 20 years of quilt research and collecting by Fleur Bresler. Curator Melissa Post noted,"The 37 quilts donated to the Mint and on display represent all but two of the known quilting styles throughout the history of American quilting." The show will include white work,indigo resist,

and block-printed chintz from the 18th and early 19th centuries; appliquéd, stenciled, mosaic template-pieced, and album quilts from the mid-1800s; log cabin, crazy, and charm quilts from the late 19th century; and a group of 20th-century Amish quilts. Much American history can be learned from the historical background and context of each of the quilts as revealed in this exhibition, which will be on view until Jan. 4,2004. For more information on this show, please call the museum or visit www.mintmuseum.org.

Fall Symposium Nationally recognized antiques experts and scholars will participate in "Falling for Fabric: Textile Traditions of the Pennsylvania Germans," a fall symposium hosted by the Heritage Museum of Lancaster County (717/299-6440)on Oct. 11. The symposium takes place from 9:30 Am-3:00 PM at the Jasper Yeates House, 24 South Queen Street,in downtown Lancaster.

Discussions, slide shows, and presentations of actual artifacts will revolve around the latest

findings, discoveries, and research on Pennsylvania German quilts. Scheduled lecturers and their topics are Ann Lewis and Stella Rubin, Amish and Mennonite stuffed animals; Nancy Roan, quilts and fabrics; Steven Scott, Amish and Mennonite clothing; and more.

The symposium includes a catered lunch. For fee information and to make reservations, call Sheila Rohrer at the museum,or send an e-mail to heritage@pa.oaline.com.

24 FALL 2003 FOLK ART

"Quilted Constructions: The Spirit of Design" installation on view at Fort Wayne Museum of Art, Fort Wayne, Indiana, April 19—June 15, 2003

For further information, please contact Judith Gluck Steinberg, director of traveling exhibitions, American Folk Art Museum, Administrative Offices, 1414 Avenue of the Americas, New York, NY 10019-2514, 212/977-7170.

Corrections Please note the following correction to "Rug Day 2002"(summer 2002, vol. 28/no. 2, p. 77). Amy Oxford, author, teacher, and inventor of the Oxford punch

needle, is from Vermont, not Massachusetts, and is a member of the Green Mountain Rug Hooking Guild in Vermont.

r: Christopher Burge #761543

CHRISTIE'S

0Christie's 04. 2003

-

A Cast Iron Fireback, detail J. W. Ehringer, Dated 1886 ESTIMATE 53,000-5,000

important American Furniture, Folk Art and Prints Auction October 10

Inquiries 212 636 2230

Viewing October 4-9

Catalogues 800 395 6300

New York 20 Rockefeller Plaza New York, New York 10020 View catalogues and bid online at christies.com

LAURA FISHER ANTIQUE QUILTS & AMERICANA 1050 SECOND AVENUE, GALLERY 84 (Between 55-56th Sts.)

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411-1 ,t___1131ZT1.-11 1.„ r 77:1 WOOL WITH A TWIST —"CRAZY" LOG CABIN, c. 1880's, part of an exceptional collection of wool quilts ranging from linsey-woolsey to challis to suiting.

900 E. Princeton Street Orlando, Florida 32803 407.246.4278 • Fax: 407.246.4329 www.mennellomuseum.com Tuesday — Saturday 11 am. — 5 p.m.

Sunday noon — 5 p.m.

Closed major holidays ilp

Earl Cunningham (1693-1977), The Hoo, 1960, of on Masonite, 20 x 24 inches.

Collection of The Mennello Museum of American Folk Art. Gift of Marilyn L. and Michael A. Mennello. Photo by Randall Smith.

20 FALL 2003 FOLK ART

The Mennello Museum of American Folk Art is owned and operated by the City of Orlando.

aT ticonEV, >1 5iP-13 uoljnE3

Important sampler made by Clarissa Emerson, age 14, in 1822, Lancaster, Massachusetts.

Sampler size: 21 3/4" x 161/2" Illustrated in the 1921 groundbreaking book, American Samplers, by Bolton & Coe, plate XLIX

: Sui PO,. Us. vaeloAS Ame tne

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Please visit us on the web at www.samplings.com

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Swimming Red-Breasted Merganser Pair from Yarmouth, Massachusetts, circa 1870. An early pair of Cape Cod mergansers with pronounced paddle tails and heart-shaped raised wings.

The paint has a wonderful patina from salt-water usage over one hundred years ago. While this imaginative maker's name remains a mystery, his unusual shelldrake interpretations remain as a testament of New England folk art tradition.

Literature: George Ross Starr, Jr., M.D., Decoys of the AtlanticIlyway,1974,rigmate pictured on page 179, color plate 27.

APPRAISALS • AUCTION REPRESENTATION • BROKERAGE • COLLECTIONS MANAGEMENT 268 Newbury Street • Boston, MA 02116 • (617) 536-0536 — by appointment only info@americansportingart.com

28 FALL 2003 FOLK ART

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a

a

Also included in the exhibition: works by Bill Traylor, Joseph Yoakum, Eddie Arning, S.L. Jon, Popeye Reed, Justin McCarthy and additional works by Martin Ramirez

Fleisher/011man Gallery is proud to present an exhibition of selected works from the Dr. Leslie and Ellen Kreisler Collection OLLMAN GALLERY 1616 Walnut Street suite 100/Philadelphia Pa 19103 215 545 7562/fax 545 6140/fleisher-ollmangallery cum

NACULAR .7

r Aff4y00

By Annie Carlano

he art of Gedewon, Martin Ramirez, Hung Tung, Anna Zemankova, and Carlo is featured in the exhibition "Vernacular Visionaries: International Outsider Art in Context," opening at the Museum of International Folk Art in Santa Fe, New Mexico, on October 31, as part of the museum's fiftieth anniversary celebrations. The exhibition, will be on view through August 25, 2004.' "Vernacular Visionaries" is not "just another group show." This exhibition presents, for the first time in a United States museum, inte national perspectives of visionary and outsider art steeped in context. Focusing on mode masters, whose art belongs to the second half of the twentieth century, there are familiar as well as unknown artists among them. In the case of the familiar, the exhibition purports that we do not know their art as well as we think we do—or as well as we could.•The work of Ramirez, Zemankova, and Carlo is full of culturally rich signs, and "reading" them opens new windows of meaning and insight, thereby enriching our experience of the work and underscoring the magnitude of their genius in three worlds: the private, the regional, and the universal. Some of the information about these artists appears in the English language for the first time, and obscure regional moeurs are revealed, the result of extensive fieldwork research. II Including the art of Gedewon and Hung Tung not only introduces their extraordinary oeuvres but also demonstrates the inextricability of the art from the external realms of religion, folklore, popular culture, and art history. Indeed, in works by non-Western artists even seemingly superficial ornamentation is rarely purely decorative, but rather is encoded with centuries-old community significance. Driven by culture, the show acknowledges the inherent paradoxes and mysteries of the art, while celebrating the native voices in the compelling aesthetic expressions of these five visionaries.

30 FALL 2003 FOLK ART

VISIONARIES

DARTEHAL Gedewon (1939-2001) Ethiopia 1975 Ink on paper 12 9" Private Collection, Paris

Gedewon Gedewon, or Gideon in English, was born in the province of Bagemdir, Ethiopia, in 1939. His childhood was fraught with poverty, petty jealousy among his brothers—all vying for their mother's attention—and fighting exacerbated by his combative temperament. He was his mother's favorite, and the only child allowed to be formally educated by a tutor. Upon his mother's death, his home situation became so insufferable that he left on an odyssey that eventually led to his profession as a cleric in the Ethiopian Orthodox church. This fascinating religion differs from Catholicism in its pervading mysticism, inherited from Neoplatonism in its belief in the emanation of being from the unified spiritual source through successive layers of being; the Jewish mysticism of the Four Worlds of the Cabala; and the Christian mysticism of Dionysus the Areopagite (c. 500), with his hierarchy of thrones, powers, angels, archangels, etc. Religious practitioners are therefore not only versed in theology, poetry, and rhetoric gene, traditional Ethiopian medicine, and gueze, the liturgical language of Ethiopia, but the art of talismans as well.2 The talisman, an abstracted word and pictogram, predates figurative art. It is mysterious, the result of revelations, with origins in the Old Testament in early Genesis. According to sacred texts, the seal of God passed from the archangel Michael to Solomon, king and magician; of all humans, it was Solomon who was known for his

FALL 2003 FOLK ART 31

Ramirez

GAWL Gedewon (1939-2001) Ethiopia 1978 Ink on paper 12 9" Private Collection, Paris

knowledge of secrets and who had the power to vanquish demons with talismans. In a notebook of talismans created

by Gedewon for Jacques Mercier, the drawing entitled Gawl depicts a spirit entangled in Solomon's net, one of the most ancient and traditional of all talismanic images.

To this day, a popular prayer of exorcism begins, "Solomon's net, which lies upon the naughty demons like a fishnet on the sea."3 An Ethiopian talisman is not merely a visual representation of evil demons and angels; it is an active battleground in which the forces of good and evil fight for victory. It is also about the power of the talismanic words, prayers, poems, and incantations working their magic.

How is it made, and how does it function? For example, the cleric and the patient meet to discuss the particular affliction of the patient's. If the patient is suffering from heart disease, the cleric will join in meditative empathy with the patient to create a talisman that is uniquely charged to vanquish the evil spirits that are attacking the heart. Spirits living inside humans are believed to be revealed through the eyes. For that reason and others, there are many depictions of eyes in talismans.

Gedewon's particular genius can be seen in the Dartehal talisman (page 31). In a very contemporary rendition of a net—quite modem in its reduction and colorfulness—the name of a class of angels, Dartehal, has been given to the talisman. The multiple eyes at the center represent the enemy, and the closed composition of the drawing functions at once to trap the enemy. At the same time, the vertical and horizontal lines, configured to be based on an esoteric system, bless the individual for whom the talisman was created. Hidden letters and other puzzles confound.

For Gedewon,the talisman functions in space, calling forth the four directions and even the topography of Ethiopia itself. At once traditional and strikingly innovative, this talisman is one of the most beautiful evocations of Ethiopian art and culture.

32 FALL 2003 FOLK ART

The art of Martin Ramirez, who was born in Jalisco, Mexico, in 1885, is the best known of these modem masters. His art has already been the subject of a retrospective in his native country, as well as a small but important retrospective in Philadelphia! It has been admired and collected for the pulsating lyricism of its lines and the obsessive energy of the paper patchwork. Unlike other outsider art, that of Ramirez has received accolades from the mainstream artworld, and is in fact included in the illustrious collections of drawings at the Philadelphia Museum of Art. Indeed, the bold abstractions and enigmatic characters are alluring. Recognized for what it says about the condition of schizophrenia, the art of Ramirez is also included in those collections primarily concerned with this particular phenomenon, such as the Collection de l'Art Brut in Lausanne, Switzerland, and the ABCD (Art Brat Connaissance and Diffusion) in Paris, and in psychiatrists' collections. Thanks to the broad thinking of several American scholars and critics, chiefly Randall Morris, we have literature that helps us see the art of Ramirez as a result of what Morris calls "homeground," that is, both Jalisco and its traditions as well as Ramirez's inventive recasting of the stories.5 Interesting to people with diverse points of view, the art has an ability to function on a variety of interpretive levels. Nonetheless, it is naive to think that

the trains and men on horseback we see in much of his oeuvre are mere expressions of the artist's desires to escape the confines of the asylum, or that because his work was created in an institution in California that it is about life there. It can be all these things, but "Vernacular Visionaries" pushes the audience to look and listen to the language of Ramirez vis-àvis his Mexican mestizo self.

And if language is the gateway to culture, it is highly significant that the words that appear in his art are Spanish ones. In one work, the central area is reminiscent of a Mexican plaza, with colonial-style buildings surrounded by open space and brick walkways. The violent pose of the man with a gun and the costume details of the male figures suggest references to the Cristero rebellion.6

UNTITLED Carlo 11916-19861 Verona, Italy Dated "14 mag.(eo)1967" and signed "Carlo," on the reverse 27 - 19" Blanchard-Hill Collection, New York Photograph courtesy Phyllis Kind Gallery

UNTITLED Martin Ramirez (1885-1960) Auburn, California c. 1950 Mixed media on paper 39 73" Collection of Jim Nutt and Gladys Nilsson Photograph courtesy the Museum of International Folk Art

Carlo The art of Carlo, born Carlo Zinelli in the town of San Giovanni Lupatoto, in the fertile Adige valley outside of Verona, Italy, in 1916, is bold, commanding, and unforgettable.

Along with Ramirez, the most familiar artist in the exhibition, Carlo's art has not, as has that of the former, been seen as the teeming repository of cultural context that it is. Rather, previous studies, including the Italian catalogue raisonne, laud the tremendous power of the aesthetic elements of Carlo's oeuvre, and for good reason: in obsessive painting after painting, it is nearly impossible to find a mediocre artwork. Coupled with the fact that most of his body of work consists of double-sided imagery—one side more narrative, the other more abstract—it is not hyperbole to use the word "genius" when we talk of Carlo. What do his paintings have to say about San Giovanni Lupatoto? In an untitled work, dated 1967, the protagonist is a donkey, the primary "workhorse" of the farm.

Ladders and cartwheels are ubiquitous equipment in the fruit orchards for which his town is known. Ladders also

FALL 2003 FOLK ART 33

Zernankova

provided the only access and egress to the room he lived in for much of his time in the village. That there are shamanic and psychoanalytical readings of this rich vocabulary is not denied here, but it is also likely that the obvious has been overlooked.7The way in which he combines these elements, the colors he chooses, and the fluidity with which the animal's head metamorphosizes into a bridle/ladder is indicative of his particular artistic vision as well as his style. Carlo, despite his terrible stutter, tried to engage with people and the world.

He left his small town for Verona, and mysteriously joined the Spanish Civil War. Traumatized by that experience, it is nonetheless the horrors of war that caused him to produce such remarkable artwork. In another untitled work, dated 1968, a military tank is featured in an aggressive picture, which includes a large feline and a Pinocchio-like male figure. Pinocchio he may in part represent, but the figure is also wearing the unmistakable hat of an alpino, a member of the Italian alpine military branch to which Carlo belonged. The words "yelling at the alpino" appear under his arm. The words are incantation-like in their repetition and obtuseness. Like the markings in the art of both Gedewon and Ramirez, it is hard to believe that they are not culturally meaningful.8

UNTITLED Carlo (1916-1986) Verona, Italy Dated "5 mag.

[01)]1968" 27 19" Private Collection, Verona

34 FALL 2003 FOLK ART

Another place in the world where one finds a long-standing tradition of mediumistic art, albeit of a secular occult type, is in the Czech lands.

Anna Zemankova was born there, in the Moravian city of Olomouc, in 1908, but she lived most of her life in Prague. Her earliest drawings were created when she was about fifty, and display an uncanny affinity for a particular type of mediumistic drawing associated with the spiritist community of Nova Paka, in the north-central part of what is now the Czech Republic. In these very distinctive works, there are often oversize vegetable forms that are exquisitely rendered with a soft deft touch, but in their grotesque scale they are hauntingly unsettling. Such is the nature of an untitled drawing by Zemankova in which a masterfully rendered atmospheric haze surrounds a delicate, blossoming bean plant. The beans seem ominously oversize, and this disquieting feeling is made even more disturbing by the presence of cobwebs throughout the plant. Bathed in a warm glow, this is not some pretty botanical depicted by a casual Sunday painter. In fact, Zemankova, to the best of our knowledge, never drew directly from nature, despite her love of plants and gardens. She made her art almost exclusively at her kitchen table, beginning in the predawn hours and continuing throughout the day, working around the schedules of her husband, children, and household responsibilities. From her own accounts we know that the work poured out of her from an unknown source, but eventually Zemankova began to take great pride in her artwork, and developed unique ways of handling the paper, fabric, and other materials. The paper that she pricked, crimped, and stitched is the best example of this originality. Hardly discernable in this drawing are the subtle bumps of the plant stem, cobwebs, and beans, creating a bas-relief that makes the drawing seem a living thing itself.

Lesser known, and never exhibited in western Europe or the U.S., are the works that Zemankova made as gifts for her grandchildren and to decorate her home. Beyond the amateurish crafts of an amateurish housewife,

UNTITLED Anna Zemankova U908-19861 Prague, Czech Republic c. 1970 Oil pastel on paper 12 8" Museum of International Folk Art, International Folk Art Foundation Purchase

her creations ranged from crocheted hats and handbags of wildly colorful synthetic raffia to the more subdued lampshades she made and embroidered. The piece de resistance of her design projects is the room divider she made for her apartment. Consisting of forty-nine wooden squares decorated on both sides and joined by fishing line, "the wall," as it has come to be called, separated the kitchen from the living area. It will be installed in the exhibition, shown for the first time ever outside the Czech Republic. In these functional works, the myriad of patterns is related to those found on Bohemian glass, textiles,and in the architecture of Prague during the first half of the twentieth century. Like most artists, Zemankova was clearly influenced by both internal and external factors, but her specific choices speak primarily of a Czech identity, and of life in Prague during the Communist regime. Her love of music, for example, included classical favorites such as that of the German composers and Janacek, but she was also crazy about the jazz of Charles Lloyd, whose records she owned and whom she saw perform in an outdoor stadium in Prague.9

FALL 2003 FOLK ART 31

Hung Tung

Chung-hsin Lin

As an example of how much more there is to learn about international visionary art, let us consider the oeuvre of Hung Tung,an illiterate farmworker who began his artmalcing at the age of fifty. A folk hero in his own country, how is it possible that his work is only now coming to light in the Westr Looking at the art of Hung Tung, who was born in rural Tainan County,Taiwan,in 1920, we are immediately struck by the explosion of color and playful forms. In Lii-mien, Ianmien, hung-mien ho huang-mien shen-ming (Green-Faced, Blue-Faced, Red-Faced, and Yellow-Faced Deities), at first we see smiling figures and animals as auspicious characters composed in the centuries-old Chinese manner, with the visual imagery sharing the composition with calligraphic text. If the Hung Tung work in question was created as a scroll, we might read it as even more "Chinese." Scrutinizing the artwork, we become aware of the unusual composite nature of many of the forms within forms, and the odd way in which these amalgamates can become word shapes and vice versa. It is likely in these instances that Hung Tung was attempting, with astonishing brilliance, to represent the mysterious world of Taoist cosmology: the forms inside forms can be construed as the concept of the immortal embryo. Taiwan is a bastion of Chinese traditional culture, in which Taoist priests function much in the same way as Ethiopian clerics do in their own society—performing exorcisms, herbal healings, and esoteric rituals. As a medium for his temple, Hung Tung was familiar with Taoist religion and philosophy. It was while he was working there that he probably made the untitled painting shown here, possibly while in a trance or channeling state. In mediumistic art, the central radiating circle is commonly read as cosmic imagery representing the universe, and the tiny ghostlike faces can be found in cross-cultural spiritist drawings." It is not necessary, nor always possible, to know the precise meaning of Hung Tung's art, but its Taoist core and inherent spirituality mitigate the seemingly whimsical nature of much of it. That is not to say that ribald humor and serious messages are not simultaneously present in the art, as paradox is another tenet of Taoism.

Si FALL 2003 FOLK ART

UNTITLED Hung Tung 11920-1978) Tainan County, Taiwan c. 1970 Ink on paper 15 21" Collection of Yu Chow, Taipei

1.0-MIEN, LAN-MIEN, HUNG-MIEN HO HUANG-MIEN SHEN-MING (Green-Faced, Blue-Faced, Red-Faced, and Yellow-Faced Deities) Hung Tung (1920-1978) Tainan County, Taiwan c. 1975 Gouache on paper 44 32" Collection of Y체 Chow, Taipei

"Vernacular Visionaries: International Outsider Art in Context" is asldng us to delve deeper and more broadly as we consider outsider and visionary art. Bringing together culturally infused art from around the globe, it has assembled the art of Gedewon, Martin Ramirez, Carlo, Anna Zemankova., and Hung Tung in an intimate and dynamic installation. Viewing the art up close and personal, or from a distance, scanning the panorama, one's experiences go beyond the aesthetic. Opening up to it, the art has the power to terrify, to cajole, to amuse, and to heal.* Annie Carlano is the curator ofEuropean and North American collections at the Museum ofInternational Folk Art. She is also the curator of the exhibition "Vernacular Visionaries: International Outsider Art in Context," and the editor ofVernacular Visionaries: International Outsider Art, published by Yale University Press.

Note* 1 The Museum of International Folk Art has copublished the accompanying book, Vernacular Visionaries: International Outsider Art, with Yale University Press. To be published in October 2003, hardbound copies are available through the publisher and at bookstores worldwide. Paper editions are available only at the MOIFA Bookshop or through its website, www.moifa.org.

2 For a more detailed understanding of the Ethiopian talisman, see Jacques Mercier,"A Talismanic Art," in Vernacular Visionaries: International Outsider Art, forthcoming, Yale University Press.

3 Gilbert Lascault,"La carte, la piege, le bouclier, Reyes et petites pensees autour d'un dessin Ethiopien," in Le Roi Salomon et les maltres du regard, Art et midecine en Ethiopie.

Exhibition catalog. Paris: Editions de la Reunion des Musees Nationaux, 1992.

4 See Martin Ramfrez(1885-1960), Pintor Mexican째, exhibition catalog, Fondacion Cultural Televisa, A.C., 1989; and The Essence of Creation: The Art ofMartin Ramtrez, Goldie Paley Gallery, Moore College of Art, Philadelphia, 1985.

5 Randall Morris,"Martin Ramirez," Folk Art magazine vol. 20, no. 4, Winter 1995/96, pp.

36-45;"Martin Ramirez Revisited," Folk Art magazine vol. 27, no. 4, Winter 2002/03, pp.

52-59; and his essay,"Martin Ramirez, Master of Los Altos," in Vernacular Visionaries.

6 Ibid.

7 A parallel with Ramirez lies in the fact that new information indicates both artists created their extraordinary artwork while they were not medicated. See Randall Morris,"Martin Ramirez, Master of Los Altos," and Caterina Brenzoni,"Beyond Polenta and Bones," in Vernacular Visionaries.

8 See Caterina Brenzoni, ibid.

9 See Annie Carlano,"Anna Zemankova: A Sublime and Sinister Art," in Vernacular Visionaries.

10 His work has been exhibited in this country, in small numbers, only twice before this exhibition, at the Chinese Cultural Center, New York, in "An Eccentric World: The Art of Hung Tung," 1996, and most recently in "Power of the Word," New York: Independent Curators International, 2000. The installation of Hung Tung's paintings in Santa Fe will be the largest number of his works ever displayed in the West, and Victoria Y. Lu's essay in the accompanying book is the most authoritative text about Hung Tung to date.

11 For a general reading of mediumistic art, see Art Spirite Mediumnique Visionaire Messages d'Outre-Monde, exhibition catalog, Halle SaintPierre, Paris: hoebeke, 1999.

FALL 2003 FOLK ART 37

neconcmation Reconciliation

Lucinda Ward Honstain's Pictorial Diary of an

American Era

By Melissa Stewart Jurgena and Patricia Cox Crews

Lucinda Ward Honstain's remarkable pictorial album quilt first came to widespread public attention when it sold at Sotheby's, in October 1991, for the record price of $264,000. Nancy Druckman, Sotheby's senior vice president and director of American folk art, described it as "one of the finest pieces of Americana to come across my desk."

The quilt contains forty blocks depicting scenes of domestic, cultural, and political life from the Civil War and Reconstruction eras. The maker proudly proclaimed the date on which she had finished it by embroidering on one block (B2),"Done, Nov. th. 18, 1867."

38 FALL 2003 FOLK ART

Detail: RECONCILIATION QUILT Quilt, Album, Pictorial Lucinda Ward Honstain New York Dated 1867 Cotton 97 x 85" Collection of the Quilt Study Center at the University of Nebraska-Lincoln, gift of Robert and Ardis James, 2001.0011.0001

The quilt caught the discerning eyes of collectors and dealers Kate and Joel Kopp, who purchased it at the 1991 Sotheby's auction and exhibited it in their New York City antiques showroom, America Hurrah. Before then, the maker was unidentified. It was not until the quilt's sale and subsequent publicity that a Westchester County, New York, resident, Irene Preston Miller, recognized it, and its intriguing story began to unfold.

When Mrs. Miller noticed a photograph of the quilt in a local newspaper article, she contacted Sotheby's to let them know she had information about the quilt's provenance. The auction house staff put her in contact with the Kopps, and she informed them that the quilt they recently purchased was the same one she had included as an illustration in a book she co-authored in 1965, and that its maker's name was Lucinda Honstain.2 By the time the Kopps decided to sell the quilt to the Robert and Ardis James Foundation, in 1998, it had appeared in a number of publications as The Reconciliation QuiIt.3 It was so called because of a block near the top of the quilt(B3) depicting the release of Confederate president Jefferson Davis from prison, an act regarded in the North as extraordinarily magnanimous. The quilt became widely known and appreciated by American folk art dealers, collectors, and scholars as a quintessential example of American folk art. Yet its origins remained largely uninvestigated, and its imagery almost entirely unexamined and unexplained.

Collectors Robert and Ardis James hoped that that would change when they awarded Melissa Jurgena, a student in the University of NebraskaLincoln's graduate program in textile history, a fellowship to research the quilt during the fall of 2001. They believed the research would shed light on the origins and meaning of this important piece of American art.

Beginning with the information that Irene Miller had compiled, Jurgena began researching the life history of the quilt's maker, and to investigate the possible motivations and meanings behind its powerful images. The Jameses then decided to donate the Reconciliation Quilt to the International Quilt Study Center (IQSC) at

40 FALL 2003 FOLK ART

the University of Nebraska-Lincoln.

The IQSC, an academic center whose faculty and staff are at the forefront of scholarship pertaining to antique quilts and quiltmaking practices, seemed the perfect place for one of the Jameses' most important acquisitions ever.

Below is the story of Lucinda Ward Honstain's life as it emerged from Jurgena's research, told in collabora-

1

2

Westchester County area for many years, and her paternal grandfather fought in the Revolutionary War.5 Like many younger sons who did not inherit family lands, Thomas Ward moved his family to the city in search of opportunities and a better life.

Lucinda Ward was between five and six years of age when her family moved to the area of New York

3

4

A

B

C

D

E

F

G

Photograph courtesy the International Quilt Study Center, University of Nebraska-Lincoln

tion with the IQSC director, Patricia Cox Crews.

The maker of this unique quilt, Lucinda(Ward)Honstain, was born in Ossining, Westchester County, New York, on July 24, 1820, to Thomas and Phoebe (Edsell) Ward.4 Her father's family had lived in the

City now known as Lower Manhattan.6 Her father became involved in the dry goods business and eventually owned his own company, working with different partners in the Manhattan and Brooklyn areas for more than twenty years.7 One of his sons, also named Thomas, carried on the family

6

business in partnership with a Mr. Burroughs. One of the blocks on the quilt (F4) shows a man driving a cart with the inscription "W.B Dry Goods," for Ward & Burroughs Dry Goods, as

it appeared in city directories of the time,embroidered on the side.8 Given the abolitionist sentiments expressed in the quilt's imagery, it is interesting to note that

Lucinda's father owned slaves.9 The 1820 New York State Census states "slaves" in her family's record, and the 1830 census entry for Thomas Ward's family lists several blacks remaining in the household.1째 The 1840 census lists Thomas Ward's family as still living in the same place; but a family of free blacks, whose head of household is also named Thomas Ward, is listed as living only a few doors away." The ages of these individuals correspond with the ages of blacks listed in Thomas Ward's 1830 census record. Because it was common for freed slaves to take the names of their former masters, and, given their proximity and correlation in ages, it seems likely that this family group once served as slaves to the Ward family.

Lucinda's personal experiences with family slaves, together with her continued association with them after they were freed, may account for her depiction of blacks in a number of squares in her quilt. Moreover, several blocks on the quilt depict African Americans in simple business ventures such as shining shoes (G4) and selling ice cream (B2), occupations that would have been rare prior to the abolition of slavery. These images suggest the changes in the lives of blacks during this period.

Little else is known about Lucinda's childhood. She grew up in an area with several schools, but like most young girls of the early nineteenth century, she may have received no formal education outside the home.

Instead, her mother or other female relatives may have taught her to read and write, and introduced her to domestic arts such as sewing, dressmaking, embroidery, and quilting.

Lucinda's older sister Sarah, who was a professional dressmaker in Manhattan and Brooklyn before her marriage, may have helped Lucinda learn to sew, and may even have helped with her quilts."

Lucinda Ward married John B. Honstain probably in mid-1842.'3 He was a French Canadian who immigrated to New York from Quebec; his parents were immigrants to Canada of Prussian and English descent. John and Lucinda had one child, Emma C. Honstain, born June 2, 1843, in New York City.'4 They lived on the Lower

FALL 2003 FOLK ART 41

East Side of Manhattan, where Lucinda grew up. John Honstain was a tailor by trade, and this, coupled with her family's dry goods business, would have provided Lucinda with a wide variety of fabric scraps and samples from which to choose for her quilted masterpiece.

John Honstain served in the Thirteenth New York State Militia during the 1840s and 1850s.'5 It appears likely that he was an officer, and it is possible that Lucinda met John through his service in the militia.

According to a service list for militia personnel in the New York/Brooklyn area, Maj. Gen. Aaron Ward, from Sing-Sing (Ossining, New York), whom we believe may have been Lucinda's uncle, was the officer in command of the area's volunteer regiments.16 If John had served in the militia as early as 1842, he may have met Lucinda at one of the many social functions held for the military officers.

During the 1840s and 1850s, it was fairly common for an officer to have his family with him when stationed at some fort or other military

42 FALL 2003 FOLK ART

0

post, as service for an officer during non-wartime periods was largely social and ceremonial in nature.째 This seems to have been the case for John and Lucinda Honstain, and it may also explain the numerous depictions of military men on Lucinda's quilt. Any woman who spent several years on a military post would have been more likely to include images of soldiers in her needlework.

One of the stories that had been passed down through family members over the years may explain another image on the quilt. It relates to John and Lucinda's daughter, Emma.

According to a favorite family story, Emma, an avid equestrienne in her youth, was out riding her dark horse, when a soldier began to laugh hysterically at her. Becoming increasingly upset at the man's heckling, the young girl asked what was so funny. He replied that her hair, pulled back and worn in a snood, was moving around on her head. Emma reached up to check her hair, and a small mouse jumped free from her long tresses, frightening her terribly. The sight only served to increase the young soldier's amusement, causing Emma to turn her horse sharply and ride off crying in embarrassment." This family story suggests that the image on one of the quilt blocks, of a lady riding sidesaddle (E3), may be a representation of Lucinda's daughter,Emma.

When his services were no longer needed by the military, John returned to his work as a tailor and, beginning in 1850, once again is listed in the New York City directory. The family is listed twice in the 1850 federal census.'9 The first, in August, lists them in their old neighborhood of Lower Manhattan, and the second record, dated September 1850, places John, Lucinda, and their seven-yearold daughter, Emma, at a new residence in Williamsburg Village(now a part of the New York City borough of Brooklyn). John is listed as owning $1,000 worth of real estate in Williamsburg,20 while his place of business remained in Manhattan, just a short distance across the river. This suggests that his financial position improved during the late 1840s, possibly owing to service pay or bounty.

Williamsburg Village was annexed to Brooklyn in 1856, and its

FALL 2003 FOLK ART 43

population continued to grow as more Long Island farms were developed into neighborhoods. Lucinda and John lived in an area with substantial brick houses and new streets. She may have used their new home as a model for her large central block (D2, 3, 4), which depicts a two-story red house surrounded by domestic animals and 'This block is particularly intertrees.2 esting because of the finely detailed picket fence and steps up to the house, made from one-eighth-inch strips of a narrow-striped fabric, carefully appliquĂŠd to create the illusion of three dimensions. This large central block also includes a man wearing nicely tailored clothing and a top hat on horseback, riding toward the house and possibly representing her husband. The other building in the distance may be a carriage house or a representation of John's place of business, from which he is returning home.

Given its location, as well as family connections to suppliers through his in-laws' dry goods business, John's tailoring shop was probably very prosperous; the family appears to have done well during the years before the Civil War. According to city directories, he moved his business closer to home in the late 1850s, setting up a new shop in Brooklyn. He specialized in women's undergarments and men's tailored clothing.

Emma possibly attended school nearby. A school located only a few blocks away is found in the city's listings of the period, and Lucinda's quilt includes a depiction of another building that perhaps represents Enuna's schoolhouse or a local church.22 This block (E4) also has a fence in front, complete with stuffed-work finials at the top of each post. According to descendants, Emma attended a Baptist church most of her life, and there is indeed a listing for a Baptist church only a few blocks away from the family home. Unfortunately, the church has no membership records that date to the 1850s.

At the outset of the Civil War, John B. Honstain joined the Fourth Infantry Regiment of New York as a first lieutenant in April 1861, and was promoted to captain by May 9, 1861.23 According to family lore, Honstain's unit was largely made up of Zouave

44 FALL 2003 FOLK ART

soldiers, whose unusual style of military dress can be seen in two of Lucinda's blocks (B6 and F3).24 She may well have been among the thousands of onlookers when the famous

Fifth Regiment of New York, known as Duryee's Zouaves, drilled in New York City Hall Park in the summer of 1860, or when the Eleventh New York Infantry, known as Ellworth's Fire

Zouaves, paraded down Broadway on April 29, 1861. At any rate, it is clear from Lucinda's detailed representations of Zouave soldiers that she was taken by their exotic uniforms.

John Honstain served for only about ten months before resigning.25 Whatever his reasons for leaving the service, they seemed to have been resolved before the summer's end,

because in August 1862, he rejoined the war with the One Hundred ThirtySecond New York Infantry Regiment.

John served for three more years, and was promoted to the rank of major on March 1, 1863. According to his military records, he was granted leave to visit Lucinda and Emma in April 1863, before his regiment was reassigned to service near Newborne, North Carolina,in June.26 Lucinda probably heard about many war events firsthand while her husband was home on leave. In addition, she would have had access to a variety of newspapers and magazines available in the New York City area.

Furthermore, her home was only a few blocks away from the New York Naval Shipyard (popularly and unofficially known as the Brooklyn Navy Yard), a very active place during the mid-nineteenth century, especially throughout the Civil War. Lucinda probably saw several ships coming and going at the yard every day; her quilt includes a block of a large ship, appliqued and embroidered with wellexecuted sails and four American flags(D5).

Lucinda had an additional connection to the Navy, which may explain other images on her quilt.

John and Lucinda's daughter, Emma, married Hamilton Bingham on March 12, 1863, in New York.27 Hamilton joined the Navy in 1861, was assigned to a "school ship"(a training ship for new seamen) out of the Brooklyn Navy Yard, and was sent to Cedar Key, Florida, in late March 1863, as acting ensign of a patrol ship. Credited with capturing several Confederate ships during his career, he was promoted to acting master of the Commodore Morris in 1865.28 Lucinda included a block in her quilt containing a sailor in navy blues (D6), perhaps in honor of her new son-in-law.

Hamilton and Emma had one son, Hamilton Wesley Bingham, born October 12, 1865,in Jamaica, Queens, New York, and named after his father. &Tuna's husband continued to work as a seaman for a few more years after the war ended.

The Civil War certainly had a profound impact on Lucinda's life, not only because of the social and political effects felt by all U.S. citizens, but also on a more personal level as her

FALL 2803 FOLK ART 45

husband and son-in-law went off to fight for the Union. Like a number of quilts made in the North during the years preceding and following the Civil War, this one contains imagery expressing the maker's abolitionist sentiments. One of the most poignant is a block depicting a black man towering over a white man on horseback, with the words "Master 1 Am Free" embroidered between them (C2).

Lucinda's use of contrast in the scale of the figures creates a vivid image that deepens the meaning of the words.

Another block depicts the Confederate president, Jefferson Davis, who was released from Fortress Monroe in May 1867, just six months before the date on the quilt. The block shows Davis with a girl holding an American flag, with the words "Jeff Davis & Daughter" embroidered in red between them (B3). Lucinda probably saw many references to this event in local papers; by including a block commemorating this event, she expressed her hope for national unity and reconciliation.

Flags and other national symbols abound, conveying Lucinda's patriotism. For example, in one block she features a Liberty figure standing inside a building with classical columns and the word "Liberty" embroidered on the pediment (C3).

Flags, flanking an eagle perched on the roof, are painstakingly made from individual strips of red fabric appliquĂŠd onto the white ground, with stars individually embroidered onto the blue area. Another block shows an American eagle with finely embroidered details on his wings, tail, and collar, and the word "Union" emblazoned across its chest(C6).

Following the Civil War, Lucinda faced some very difficult changes in her life. Although her husband returned to Brooklyn after he was discharged from the service in May 1865, he disappears from all local records by 1867; Lucinda is listed as a widow in the 1869-70 New York City directory. She is also listed in the 1870 federal census as a widow, living with her daughter and grandson.

Delving further into historical records revealed that John Honstain was in fact not dead, as Lucinda had publicly maintained by listing herself as a widow in the 1870 city directory.

46 FALL 2003 FOLK ART

Instead, he deserted Lucinda, and married a widowed niece of his brother's wife in Grant County, Wisconsin, on January 1, 1867.29 Lucinda may not have known the truth about her unfaithful husband as she finished the quilt. If she really believed that he was dead, then perhaps she made the quilt to commemorate him and their marriage of twenty-five years. If she knew of his desertion, however, then it is puzzling, indeed, that she faithfully finished a quilt that so clearly recorded many events in their married life. Lucinda had lived in the Williamsburg area of Brooklyn for more than fifty years by the time she died of a fractured hip on February 15, 1904, at her residence on Devoe Street.3° She was buried two days later in Cypress Hills Cemetery, Jamaica Avenue, Brooklyn, in an unmarked grave.

Whatever her motivations, this exceptional piece of American folk art provides a pictorial diary of one woman's life during a turbulent time in U.S. history. With needle and thread, Lucinda Ward Honstain commemorated her married life and stitched a pictorial narrative that reflected her patriotic and abolitionist sentiments. At the same time she created an enduring masterpiece that embodies the essence of the Northern experience during the period.

She clearly celebrated the end of the Civil War and the era of reconciliation that she undoubtedly hoped would follow.* Melissa Stewart Jurgena is a student in the University ofNebraska-Lincoln's graduate program in textile history. She received afellowship grant to research the Reconciliation Quiltfrom Robert and Ardis James, who donated the quilt to the International Quilt Study Center at the University ofNebraska-Lincoln.

Patricia Cox Crews is professor of textiles and director of the International Quilt Study Center at the University of Nebraska-Lincoln.

Notes 1 Nancy Drucicman, senior vice president and director of American folk art, Sotheby's auction house, New York, personal communication, August 21, 2001.

2 Irene Preston Miller and Winifred Lubell, The Stitcher),Book: A History of Embroidery (New York: Doubleday, 1965).

3 "The Winter Art Show," American Heritage 43, no. 1 (February/March 1992): pp. 60-61; Sotheby's, Sotheby's Art at Auction: The Art Market Review 1991-92, (New York: Rizzoli International Publications, Inc., 1992), p. 197; Amy Tyler, "Quilts: Piecing the Market Back Together," Antique Monthly 26, no. 5 (June 1993): pp. 28-31; Robert Bishop and Jacqueline M. Atkins, Folk Art in American Life(New York: Viking Studio Books, 1995): p. 142; Lori Gray,"Textiles with Tales to Tell," Traditional Home (September 1997): pp.134-139; The 43rd Annual Winter Antiques Show: A Benefit for East Side House Settlement(New York: East Side House Settlement, 1997): p. 31; Antiques Roadshow 1999 Calendar, May(New York: Dorset Press, 1997).

4 Death certificate for Lucinda Honstain, February 15, 1904, certificate #3340, New York City Department of Records and Information Services Municipal Archives, New York, N.Y. 5 Roberta Y. Anninio, executive director of the Ossining Historical Society, Ossining, Westchester County, New York, personal communication, August 22, 2001.

United States Archives, Revolutionary War Records, New York Rolls, Box 68, Private Thom. Ward.

6 U.S. Federal Census Record, 1820, New York, Westchester County, Ossining Township, p. 265. The 1826-27 New York City Directory lists Thomas A. Ward for the first time and consecutively for the next twenty-three years.

7 In the New York City Directories, 1826-1848, his dry goods business was listed variously as "Ward, Burr,& Ward Dry Goods,""Ward & Parkhurst Dry Goods,""Ward & Burroughs Dry Goods," and so forth, reflecting changes in partners over time.

8 New York City Directory, 1842.

9 New York had begun the process to abolish slavery in 1799, when the state legislature passed the Act for the Gradual Abolition of Slavery. The law stated that any child born to a New York slave mother after July 4, 1799, was to be considered "born free." It also required, however, that the children serve the mother's owner until males reached the age of 28 and females age 25, making them indentured servants instead of slaves. It was 1817 before the legislature passed a law making all slavery illegal. This too was meant to be gradual, not taking effect until ten years later, on July 4, 1827,and it was not strictly enforced for several more years. Therefore, it was possible for a New York family to still have former family slaves in the household as late as the 1830s.

10 U.S. Federal Census, 1820, New York, Westchester County, Ossining, p. 264.

U.S. Federal Census, 1830, New York, New York County, New York City Ward 8, p. 179.

11 U.S. Federal Census, 1840, New York, New York County, New York City Ward 13, p. 248.

12 New York City Directories, 1839-1843.

13 Her estimated marriage date is based on the date of her daughter's birth and the fact that she was still listed as a part of her father's household in the 1840 federal census.

14 Death certificate of Emma C. Bingham, December 22, 1936,certificate #72, Westchester County Records, Chappaqua, N.Y. 15 On his application for a federal pension, Honstain stated that he served in the last of the Seminole Wars in Florida, 1848-1850,in the Thirteenth U.S. Volunteer Infantry, but the response from the Federal Pension Office indicates that his service was found to be in the Thirteenth New York State Militia. Therefore, his application for a federal pension was denied. It is possible that because John was in the state militia during the mid- to late 1840s he was also involved in the Mexican-American War, 1846-1847. There is a listing for him in the New York City Directory every year from 1844 to 1867 with the exception of the years between 1846 and 1850, the period coinciding with these two conflicts.

16 Aaron and Thomas Ward are listed in the 1820 census for Ossining, Westchester County, N.Y., p. 275, living next door to each other on land that was owned by Thomas's father, Thomas Ward Sr. However, we cannot prove conclusively that the Maj. Gen. Aaron Ward listed in the service list for the Brooklyn area was Lucinda's uncle, but it seems a reasonable possibility.

17 Peter Maslowski, military historian in the History Department at the University of Nebraska-Lincoln, personal communication, December 11, 2001.

18 Madeline Bingham Ricards, Lucinda's great-great-granddaughter, telephone interview, August 12, 2001.

19 Federal census, 1850, New York, New York County, New York City District 13, p. 273;federal census, 1850, New York, Kings County, Williamsburg District, p. 393.

20 Federal census, 1850, New York, Kings County, Williamsburg District, p. 393.

21 Williamsburg Chamber of Commerce, History of Williamsburg (New York: Williamsburg Chamber of

la a ezwig 1•F 6

Commerce, 1985): p.

230. An old photograph found in this history of the area contains an image of a house in the same neighborhood showing a two-story structure of similar architecture in red brick with dark shutters.

22 'bid, p. 232. The school, built in 1852, was located only three blocks from the family's home.

23 State of New York, Annual Report of the Adjunct General, transmitted to the Legislature January 31, 1868, volume 3.(Albany: The Ardis Company Printers, 1869).

24 Patty Housteau, descendant of John B. Housteau (Honstain), correspondence with author, December 14, 2001. We have been unable to confirm that his regiment was a Zouave unit. However,the Fourth Regiment of New York was formed soon after several Zouave units drilled and paraded down Broadway in New York City before thousands of onlookers in 1861, and his unit was made up largely of French-Canadian immigrants from the Brooklyn area.

25 United States Archives, Federal Pension Record, John B. Honstain, #1193664, letter from the war department on his service, dated August 11, 1897.

26 Federal Court Martial Record, John B. Houstain (Honstain).

27 Bingham family bible, marriage records.

28 State of New York, Annual Report of the Adjunct General, transmitted to the Legislature January 31, 1868, volume 3(Albany: The Ardis Company Printers, 1869).

29 Marriage record, John Honstain and Hannah Logue David, Grant County, Wisconsin. John went on to marry once more and had five children with his third wife. He lived most of the rest of his life in Youngstown, Ohio, where he carried on his business as a tailor and was considered a popular war hero. He died on January 7, 1911, and was buried in Oakhill Cemetery, Youngstown,Ohio(family papers in the possession of Patty Housteau).

30 Death certificate of Lucinda Honstain.

01

iM RIM 10 1i

0'

Q194 I,el ,T„ A

-urt .._. A

z

Appliqué quilt top, dated 1867, New England, 88 • 79", whereabouts unknown This image appeared in The Quilt Engagement Calendar, 1975, published by E.P. Dutton & Co., Inc., New York.

Photograph courtesy George E. Schoellkopt Gallery.

he only piece similar to the Reconciliation Quilt known to exist is an unfinished quilt top, also dated 1867.

The top, featured in The Quilt Engagement Calendar, 1975, has many of the same motifs. It seems likely, given the similarities in at least a dozen blocks, that the quilt top was made by Lucinda Ward Honstain or someone else in her family or social circle. Therefore, the authors would like to locate this quilt top, and ask that anyone who has information as to its current whereabouts or its history contact Patricia Cox Crews or Melissa Stewart Jurgena, at the International Quilt Study Center, College of Education and Human Sciences, 234 HE Building, P.O. Box 830838, Lincoln, NE 68583-0838.

FALL 2003 FOLK ART 47

Christ Triumphant

By Celene Ryan

Frank W. Baldwin's Painting of the Crucifixion rank W. Baldwin (1875-1964) became something of a celebrity in the small towns of the Great North Woods region that spans upper New Hampshire and Vermont. An archetype of the American entrepreneurial spirit of the 1920s and 1930s, Baldwin was a businessman who had his hand in a wide variety of endeavors that earned him both financial success and renown within his community. His lasting legacy, however, may be a painting of the Crucifixion that he did in the last years of his life.

Frank Baldwin was born and raised in Pittsburg, New Hampshire, where he inherited the family business—a general store—from his father in 1908. The store, locally recognized for its vast line of merchandise, was run and maintained by Frank Baldwin for more than fifty years, until the 1960s. His other business ventures included the Baldwin Auto Company in Colebrook, New Hampshire, which he opened in 1915 and sold in 1920. It was the first auto shop in the region to sell and service Ford automobiles. On the second floor of the shop Baldwin operated the Halcyon Theater, where he showed silent films and hosted live homegrown talent, as well as traveling shows. According to Christie Johnson, who worked as Baldwin's bookkeeper for forty-eight years, he even had his own act—he had raised and tamed several deer and featured them in shows he put on for local children on Sundays.'

It was said of Baldwin that "there wasn't much going on for miles that he didn't know about:* a knowledge that served him well as a regular correspondent for the local paper, the Coos County Democrat—another one of his sidelines. Baldwin also participated in local government. According to Cindy M. Dorman, Pittsburg's current town clerk, the minutes of a town meeting held on March 11, 1930, reveal that the first order of business was to elect a town clerk. After seven refusals, Frank W. Baldwin finally accepted the nomination and was elected by one vote. He was also voted town treasurer during the same election. Baldwin served as town clerk and town treasurer for twelve years,from 1930 to 1942.3 One of his final busi-

48 FALL 2003 FOLK ART

ness investments was the Bluebird Pavilion, a dance hall and restaurant that he opened in Lemington, Vermont, where well-known bands and orchestras from Boston drew crowds. The business, unfortunately, was destroyed in a fire, and Baldwin lost a good deal of money.

As well known as Baldwin was in New Hampshire as a businessman and entrepreneur, new generations will know him more for his painting, The Crucifixion, now part of the permanent collection of the American Folk Art Museum,through the generosity of David B. Wiggins.

Although one of the most familiar subjects of Christian art, depictions of the Crucifixion did not appear until four hundred years after the death of Christ, about the year 430. By the mid-thirteenth century, however, it was one of the most popular and common subjects of Christian imagery. During the Renaissance, visual interpretations of the Crucifixion became somewhat standardized, incorporating people and details from all four Gospels. Clearly, Baldwin, a twentieth-century artist, was familiar with and particularly fond of these images, because he followed these models closely in his own painting.

Like the Renaissance examples, Baldwin's Jesus is nailed to a cross, draped in a loincloth, and is wearing a crown of thorns. Two thieves are shown being crucified on either side of him,one turned from view. At the base of the cross the artist includes a pole with a sponge attached and a bowl of liquid, symbols of the humiliation of Jesus, who had asked for water and instead was mockingly given a sponge on a reed saturated with vinegar.

All four Gospels describe a crowd of Roman soldiers and citizens at the Crucifixion. Baldwin includes in his depiction two Roman soldiers who lurk from behind the cross, one with a knife and the other a rope, two thieves who dash away to the right, and two anonymous women draped in black, huddled in mourning at the base of the cross.

Typically, Crucifixion scenes from the Renaissance include all three Marys: the Virgin Mary, Mary Magdalene, and Mary the mother of James the Less. The Virgin Mary in Baldwin's painting is shown in the foreground draped in a white and silvery gray robe. As in many other related paintings, she is shown here in a state of collapse, being

THE CRUCIFIXION Frank W. Baldwin 11875-19641 Probably Pittsburg, New Hampshire Twentieth century Oil on canvas 40 48" Collection American Folk Art Museum, gift of David B. Wiggins, 2001.28.1

comforted by Saint John. Also at Jesus' feet is Mary Magdalene, who can be identified by her ointment jar. Her head is uncovered, showing her long hair, and she is wearing, as most often depicted, a red robe intended to remind the viewer that she had been a prostitute. It was only from the fourteenth century on, as more attention was paid to the human emotion of the scene, that Mary Magdalene became a regular member of the crowd. It is unclear whether the third Mary is included in Baldwin's painting. Perhaps she is the figure crouching in the right foreground corner, covering her face with her hands, or she may be the woman standing next to Mary Magdalene.

The laceration on Christ's right side is only mentioned in one of the Gospels, John 19:34-5,"But when they came to Jesus, and saw that he was dead already, they broke not his legs; But one of the soldiers with a spear pierced his side, and forthwith came there out blood and water." The soldier who pierced Christ is identified in legend as Longinus. Said to have had trouble with his vision, Longinus wiped his eyes with Jesus' blood on his hands and miraculously regained his sight. He was converted at that moment and was later recognized in the hagiography

of the church as Saint Longinus, identified in art by his lance. This story was so powerful that thereafter, the bleeding wound became a tradition that dominated the iconography of the Crucifixion.

Three of the four Gospels also tell of a Roman centurion present at the Crucifixion who is converted at the moment of Jesus' death and exclaims,"Truly this man was a son of God." Typically, he is shown pointing toward the heavens as he speaks this declaration, more often than not, is depicted on horseback.

Baldwin has included both of these Roman soldiers in his Crucifixion scene. Longinus appears on the right, a large man dressed in green with his bloodstained spear in hand. It is the soldier on horseback, however, who takes front stage to deliver the message of the painting—Christ's triumph over suffering.

The crowds and characters that appeared in the Crucifixion images of the fourteenth and fifteenth centuries disappear by the sixteenth century, when Counter-Reformation attitudes demanded that the focus of this art be placed solely on the suffering of Christ. Thus, the drama of the mourning crowd is replaced by a blackening of the sky

FALL 2003 FOLK ART Al

or by showing the sun and moon together, demonstrating the cosmic upheaval that took place while Jesus was on the cross, as described in Luke 23:44-5, "And it was about the sixth hour, and therefore was a darkness over the earth until the ninth hour. And the sun was darkened ..." and in Matthew 27:51,"and the earth did quake...."

It is in his handling of the sky that Baldwin is most inventive as a painter. He took great care to build the feeling of a torrent by using the quality of the paint to emphasize swirling patterns with surprising texture. In other areas Baldwin's Crucifixion is uneven and sometimes awkward.

He seems to be experimenting with chiaroscuro—the arrangement of light and shade—as well as scale and perspective. For instance, the soldier on horseback turning back toward Jerusalem on the left successfully falls into the background because of his scale, but the tiny size of the bearded figure behind the mounted centurion on the right makes him look misplaced and puppetlike. To his credit, however, Baldwin's balanced use of jewel tones and his placement of the figures ultimately hold the composition together.

The Oxford Companion to Christian Art and Architecture identifies two types of Crucifixion scenes. Christus Patiens, the most common genre, depicts Christ as dead or dying, slouched with head down, with the focus on his agonizing death as a reminder of his suffering. Baldwin's work is typical of the second type, Christus Triumphans—Triumphant Christ. His Christ is quite alive and full ofjoy, not just smiling but with his mouth open, as if he were singing.

Thus, the message for the viewer is of Christ's victory over suffering—His hope and compassion.

The American Folk Art Museum is indeed indebted to David B. Wiggins, a twelfth-generation native New Englander, for the gift of this wonderful painting for its permanent collection. Wiggins is an established painter, drawing inspiration from the portraits, murals, and interior decorations of the nineteenth century. Like Baldwin, he too went into a family business, and deals in antiques with his father and uncle. Wiggins has always had a great interest in folk art, particularly in works with religious themes. He first saw this Crucifixion painting while spending time at a summer resort in Maine in 1976. He immediately recognized the significance of the piece, but it took more than a year to persuade the owner to sell it to him. Wiggins later learned that the owner had purchased the painting at a garage sale in the Great North Woods region of New Hampshire, and it is through his dedicated research that David Wiggins was able to identify the artist of this unsigned work as Frank W.Baldwin.

Working with Edith Costa, a local journalist, Wiggins ran a story along with a photo of the painting on October 10, 1976, in the New Hampshire Sunday News, asking for information. He soon received a number of letters identifying Frank Baldwin as the painter. Following up on the leads he received, Wiggins interviewed Christie Johnson, a former Baldwin employee who had worked in his general store for forty-eight years, until 1962—two years before Baldwin died. She remembers Baldwin using this painting to illustrate sermons at the town hall, and recalled at least one other painting by him, which she referred to as "Manna from Heaven."4

50 FALL 2003 FOLK ART

Johnson pointed out that it was only later in life that Baldwin became religious, joining the Baptist Church. Considering Baldwin's business drive, it is not surprising that he also joined The Gideons International, the oldest Christian business and professional men's association in America. Johnson also remembered that Baldwin had an interest in Aimee Semple McPherson, the popular evangelist of the 1920s who drew a following with her theatrical interpretations of Bible stories.5 Johnson described Baldwin as "a good man, but he had his oddities." "He was the biggest man in town. He kept the town running for years with the store, lumbering, and all his other interests. He was good for the town. There was more prosperity when he was active."6 Frank Baldwin died in a nursing home on December 22, 1964, within days of his eighty-sixth birthday. Because of his business acumen, Baldwin's obituary made the front pages of the local newspapers.

After Wiggins gathered his information, a follow-up article, "Hunt for Mystery Painter Has Surprise Denouement," by Edith Costa, appeared in the New Hampshire Sunday News (Manchester, N.H., November 28, 1978), with photographs of Baldwin, Christie Johnson and her husband, Arthur, and the painting, and the story was told to the Northeast-area population. And now, twenty-five years later, through the generosity of David B. Wiggins, Frank W. Baldwin's story—and his dynamic painting—will be known to the world.* Editors' note: We wish to acknowledge the work of Edith L. Costa, and the helpful information supplied by David B. Wiggins, in the preparation of this essay.

Celene Ryan recently served as a curatorial assistantfor the American Folk Art Museum's Contemporary Center, where she took on the assignment of researching the Frank Baldwin painting when it was introduced into the museum's permanent collection. Ryan received a B.F.A.from the School ofthe Art Institute of Chicago, and an M.A. in Folk Art Studiesfrom New York University. She is pursuingfreelance research work in thefields oftraditional and contemporaryfolk art.

Notes 1 Edith L. Costa,"Hunt for Mystery Painter Has Surprise Denouement," New Hampshire Sunday News(Manchester, N.H.: Sunday, November 28, 1976).

2 Obituary for Frank Baldwin,"Well-Known Pittsburg Man Dies Here," The Coos County Democrat(Lancaster, N.H.: Wednesday, December 30, 1964).

3 Letter from Cindy M. Dorman,Town Clerk, Pittsburg, N.H., dated June 16, 2003. American Folk Art Museum, Curatorial Files.

4 From author's conversations with David Wiggins, spring 2002.

5 Aimee Semple McPherson was born in 1890, married evangelist Robert James Semple in 1907, and pioneered a church with him in Ontario, Canada. In 1919 she received ordination from the Assemblies of God as an evangelist. She received various other ordinations and licenses from other churches, and built Angelus Temple in Los Angeles in 1921. She remained active until her death in 1944. See Dictionary ofPentecostal and Charismatic Movements, Stanley M.Burgess and Gary B. McGee,eds.(Grand Rapids, Mich.: Zondervan Publishing House, 1988), pp. 568-71.

6 Costa, op. cit.

Quest

ion F.,jth•

EXPLOITATION

NILM PO H A Y

Folk

By Jean Ellen Jones of self-taught artists during the emergence of the contemporary self-taught art field has generated vehement condemnation from some professionals in the field. The issues came o c ear ocus as m erviewed thirty persons who were promoters and friends of prominent self-taught artists.' About half of them had dealt in the buying and selling of the work of these artists. They described a chaotic environment during the 1970s and 1980s, when few artists worked with an agent to help them navigate the established artworld system. Artists and buyers were making up the rules as they went along. It was common to hear stories of buyers trading food, drink, or art supplies for a pile of paintings, or of persons masquerading as a lonely artist's friend only to disappear after they got the work they wanted. While promoters found many exploitive behaviors such as these to be clearly wrong, they experienced other situations in which right actions were debatable, even with twenty years' hindsight.

EXPLOITATIO

Even in the self-taught art environment of today, in which self-taught artists are more likely to be familiar with the ways of the artworld, the time seems right to take a closer look at the gray areas that became evident during the emergence of the self-taught art field. Distanced from the heat of this controversial period, such an academic examination provides the opportunity to clarify key issues from the past, and may yet offer direction in the field today. It may be that the ethical questions that have persisted will always be present whenever a buyer begins to deal with an emerging self-taught artist unfamiliar with the artworld.

As promoters of self-taught artists described problematic situations during their interview, I was able to dis-

till two central questions: 1) Under what conditions does a buyer exploit a self-taught artist? 2) What does the person with professional knowledge—the buyer—owe to the selftaught artist who is without such knowledge? I have turned to the ethics field for answers, relying on essays about exploitation by Alan Wertheimer to set parameters for what can be considered exploitation, and its attendant degrees of seriousness.2To explore the problem of unequal knowledge, I have used the concept of "limited paternalism" as developed by James M. Ebejer and Michael J. Morden,3 and Kerry S. Walters.4 I have selected situations described by promoters in the self-taught art field to illustrate how the ethical principles espoused by these authors may be applied.

FALL 2003 FOLK ART 51

Exploitation Usual discourse about exploitation in the business environment casts the seller of the goods as the exploiter and the buyer as the one who is exploited. Caveat emptor, or "buyer beware," is the commonly recited phrase. In discussions about exploitation in the self-taught art arena, however, caveat venditor, "seller beware," becomes the main concern. This is not to say that the artist cannot exploit the buyer. There have been numerous stories of artists who engaged in questionable transactions. For example, an artist would agree to deal with one agent and then sell or give away work on the side. But the artist as victim is the most common concern, and the focus of examples here.

Exploitation of self-taught artists occurs when a buyer takes unfair advantage of them. The buyer must gain from the transaction, but the self-taught artist may or may not gain. The moral question revolves around fairness and what fairness requires in the transaction.

The artist's consent is a necessary aspect of a fair transaction. The promoters I interviewed said it like this: It is important to respect the artist's wishes.

Let the artist decide what the artist wants out of attention the artwork has attracted, and then help the artist accomplish that. If the artist wants to be left alone, the artist should be respected for that wish.

This "respect for persons," an idea most closely associated with Immanuel Kant, is a commonly applied ethical principle.5 Although willing participation is necessary, it is not sufficient to render a fair transaction. Even though the artist must be granted the right to make free choices, the outcomes of those choices can seem very wrong.

Wertheimer illustrates why consent can still pose a problem.6 He asks that we examine the way we respect a person's choice to smoke, yet still hold the tobacco company responsible for his habit. While there are conditions that call for the state's involvement, the presence of consensual exploitation usually justifies moral censure rather than legal action. The smoker, after all, has willingly agreed to the deal.

Cases in which the artist consents to the transaction and actually gains from it raise the most questions. Those are the cases that will be the focus here. Mutually advantageous consensual exploitation in the world of self-taught art can occur when an artist sells a painting for $20 that the buyer knows she can sell for $500. One might conclude in this case that even though the artist is better off than if the artist had not sold the painting, the artist has nevertheless been exploited—in other words, as Richard Arneson defines it, the "share of the profit violates an independent standard of proportional benefit or deservingness."7 A buyer may argue, however, that there are many reasons to justify a buyer's large gain; a single transaction with an artist may not accurately represent the totality of their dealings. The buyer may also point out that she deserves some reward for the many years spent building

52 FALL 2003 FOLK ART

up an expertise in this type of art, time the artist has not spent. Plus, given the pressure to make money, to buy low and sell high, there is only so much that can reasonably be expected of a buyer during a transaction. Some would argue that in the business world, self-interest rules, even when transactions are ethically suspect. Still, if the buyer wants to behave ethically, she must add a consideration of fairness to the mix.

Contrary to the common use of the term "exploitation" in an accusatory, negative sense, Wertheimer views the term more broadly. Actions that reap disproportionate or undeserved rewards are not necessarily ill-intended. For example, Wertheimer asserts that even if the buyer believes that the purchase price is fair, but actually it is not, the buyer still exploits, although in that case, the buyer's ignorance may engender less blame. Wertheimer goes on to speculate that there may be situations in which a person exploits but should not be censured at al1.8 Just such a case may arise when art becomes valuable over time. When works initially bought for $100 become worth $10,000 in the marketplace, the large gain can appear to be in violation of"an independent standard of proportional benefit or deservingness."9 The buyer may not deserve censure, but he should feel some obligation beyond his self-interest. The many instances of individuals making donations to art museums may be motivated in part by the donors' recognition of their extreme good fortune and attendant obligations. Directing some of the financial gain back to the artist is another ethical response.

If the buyer must move beyond self-interest to take care of the interests of the artist, the question of how much care should be required arises. Paternalism is not the answer. Intending to protect a self-taught artist from some harm, the paternalistic buyer makes a decision for the artist "for his own good." For example, a promoter of a black self-taught artist described in the interview how she stepped in and bought a painting that had been commissioned by another buyer. The promoter believed that the work, which pictured a black boy eating watermelon, was so demeaning and atypical of the artist's work that it would harm the artist's reputation if it were known.

Another promoter realized that an artist's family was painting the shapes that the artist had cut out. The promoter bought all the painted cutouts, took them home, washed off the painting, and then took the cutouts back for the artist to paint. This promoter also warned others who might be interested in the work. In both cases, their intervention ultimately made little difference in the behavior of the artists. And more to the point of ethical behavior, the promoters/buyers interfered with the artists' personal autonomy, which is rarely justified.

Limited Paternalism

Limited paternalism may be called for in dealing with self-taught artists. As defined by James M. Ebejer and Michael J. Morden, "this limited paternalism, which is typically an element in professionalism, applies when an individual in a position of superior knowledge has an active duty to explain the consequences of a decision."° Ultimately, the professional adviser does not make the decision for the individual. The adviser ensures only

that the individual is fully informed. Ebejer and Morden cite the example of how a physician is required to explain all the consequences of an operation to the patient before the procedure.

A key determinant is how much the seller should know about the value of the art. A self-taught artist—who may not even consider himself an artist—cannot be expected to know much, and must be presumed to be at a disadvantage. The buyer, therefore, is under some obligation to provide information that a professional artist should know in order to bargain on an equal footing. In contrast, when the seller is an art dealer—who should already know about his wares—the buyer is not obligated to provide that information.

Consider the earlier example of the artist who asked $20 for a painting that the buyer knew was worth $500 in the marketplace. Finding herself in a position of possibly exploiting the artist, the buyer should determine what a fair price would be. Wertheimer offers a "hypothetical competitive market price" as the place to start." Using this standard, assume that $500 is the competitive market price for a work of art. In the "academic artworld," in which artists work through dealers and galleries, a standard formula stipulates that the artist should receive 50 percent of the market/selling price. If this standard is applied to the non-gallery situation, then the artist should be paid $250 for the work. But the solution is not that simple.

Ethicists emphasize that context is everything, and in the self-taught art field, the buyer's position outside the gallery system must be taken into account. The gallery owner often takes a work on consignment, and can return it to the artist if it does not sell. In contrast, the buyer in the non-gallery system purchases the work outright, taking the risk of being stuck with work he or she cannot sell.

Often the market value of the work is unstable because the artist is unknown or just entering the art market. The buyer outside the gallery system should be allowed to deviate from the market-price standard for taking the risk of not gaining. How much of a deviation depends on the perceived risk involved.

Returning again to the buyer who knows she can sell the $20 painting for $500, ethicists would instruct the buyer to inform the artist that the painting is worth more, and to suggest a price that seems fair, all things considered. The artist may then choose to ask a higher price or stay with the $20 price. Here is how one promoter/buyer applied this principle: I always wanted him to suggest the pricing, and if I thought it was too low or something like that, I'd always tell him, "In Atlanta they sell this for so and so. The gallery's going to sell it for $200, but if they want to sell it for $500, they're not going to give you the difference in that. You're only going to get the $100[50 percent of the original estimate], so you decide.

In Other Words Limited paternalism extends to offering information beyond the monetary value of the art. The buyer may inform the self-taught artist about the workings of

the established artworld, advantages of getting an agent, and about such matters as professional-level materials.

Providing resources to inspire high quality work is another useful professional service. The self-taught artist has the choice of whether to use the information, but it should be offered at least.

Even when the buyer has provided the necessary information, Kerry Walters emphasizes that there are cases in which the buyer is still not off the hook.12 If the artist ignores the buyer's information and the artist's actions violate the buyer's basic beliefs of right and wrong, the buyer should not ignore the situation, and may even withdraw from it.

One promoter/buyer (an artist himself) explained to an artist that art should be a personal statement, not something duplicated. The artist nevertheless persisted in his "factory approach." The promoter/buyer related the situation: You never knew what you were going to get, and I'd go to [the artist], there'd be like a hundred paintings in the house, and I wouldn't buy one. Just couldn't stand them, even though I knew that if I bought them, I could sell them and make money. So the last, about the last three or four years, I've really gotten involved in my own work.

Limited paternalism may be extended beyond providing information, to cultivating an honest and respectful relationship that is free of conflict of interest. The wellmeaning buyer who has developed a friendship with a self-taught artist must separate his role as an art dealer from that of a friend. Here is how one promoter/buyer described how he deals with the potential conflict of interest, and how the artist's trust can be exploited: If I go in and say, "You want to sell these things? People say you want to sell? Fine, how much do you want for them?" I am not saying I am the highest buyer. I am not saying I am going to tell you the value of these things.

What's gone on in the South has been a whole different thing: "I am your friend." "I am going to look after you." That's all lies and deceit. .

You can see this fever in their eyes that they're buying things for nothing.

Buyers for whom friendship with the artist is paramount may want to follow the advice of this promoter/buyer: I think you just really need to promote the artist in your community, wherever they come from, and to not get involved in selling the work. I mean, to me that's the ethical issue. If you're going to acquire it for yourself, fine, but don't sell it.

Caveat and Conclusion While it may be wrong for a buyer to exploit, even in a mutually advantageous consensual relationship, there are

FALL 2003 FOLK ART 53

What Will the Future Hold?

many circumstances that justify deviation from the guidelines just outlined. After all, even if a person lets himself or herself be exploited, if that person gains, he or she may still be better off than if the exploiter had never entered the picture. In the end, the advice of promoters experienced in the field may be the best available: "It is important to respect the artist." Ebejer and Morden sununarize that in the world of buying and selling, respect extends to treating the other as one would like to be treated.째 They add that if this "golden rule" seems too simple,one should consider the practical side of acting ethically. If a buyer of self-taught art gets a reputation for being honest, the buyer may well make up any short-term losses through the goodwill of the artist. When the buyer provides professional advice, both the artist and the buyer win. The more like a professional the artist acts, the more likely it will be that the art will be worth more, and that both parties will prosper.* Author's note: The author wishes to thank the promoters for liberally contributing their time, and ethicists Alan Wertheimer and Kip Wellman, and art dealers Robert Reeves and James Allen, for their helpful comments on earlier drafts of this article.

Jean Ellen Jones is Professor Emeritus ofArt at Georgia State University. Her research hasfocused on adult art education as it occurs outsideformal educational settings, and on self-directed learning theory. A promoter ofself-taught artist Lizzie Wilkerson in the early 1980s, Jones has most recently studied the nature of the promoter's role in the emergence ofthe self-taught artfield.

She may be reached via e-mail atjejones@gsu.edu.

THE FARWELL CHILDREN/ attributed to Deacon Robert Peckham 11785-1877)/ 2x / Fitchburg, Worcester County, Massachusetts / c. 1841 / oil on canvas / 521 39'"/ Collection American Folk Art Museum, promised gift of Ralph Esmerian

hrough a planned gift, you can provide enduring support for the American Folk Art Museum, which will assist you to achieve both your charitable goals and your estate-planning objectives.

Planned-gift vehicles include bequests, charitable remainder trusts, and donations of appreciated assets, such as works of art, securities, and real estate.

If you would like assistance in planning a gift to the Museum, please contact: Cathy Michelsen Director of Development American Folk Art Museum 1414 Avenue of the Americas New York, NY 10019-2514 Phone: 212/977-7170, ext. 316 Fax: 212/977-8134 cmichel @folkartmuseum.org

54 FALL 2003 FOLK ART

Notes 1 There is more about the study in a chapter by Jean Ellen Jones,"Personal Histories of Artists Who Assisted Prominent Self-taught Artists," in Histories of Community-Based Art Education, eds. Kristin G. Congdon,Doug Blandy, and Paul E. Bolin (Reston, Va.: National Art Education Association, 2001), pp. 71-81.

2 Alan Wertheimer,Exploitation (Princeton, NJ.: Princeton University Press, 1996).

3 James M.Ebejer and Michael J. Morden,"Paternalism in the Marketplace: Should a Salesman Be His Buyer's Keeper?" In Ethical Theory and Business, eds. Tom L. Beauchamp and Norman E. Bowie(Upper Saddle River, NJ.: Prentice Hall, 1997), pp. 463-65.

4 Kerry S. Walters,"Limited Paternalism and the Pontius Pilate Plight." In Ethical Theory and Business, eds. Tom L. Beauchamp and Norman E. Bowie(Upper Saddle River, NJ.: Prentice Hall, 1997), pp.465-72.

5 Immanuel Kant,Lectures in Ethics, eds. P. Heath and J. B. Schneewind, trans. P. Heath (Cambridge, Mass.: Cambridge University Press, 1779/1997).

6 Wertheimer, p. 252.

7 Richard Arneson,"Exploitation." In Encyclopedia ofEthics,

eds. Lawrence Becker and Charlotte Becker(New York: Routledge, 2001), p. 351.

8 Wertheimer, p. 209.

9 Arneson, p. 351.

10 Ebejer and Morden, p. 464.

11 Wertheimer, p. 230.

12 Walters, pp. 465-72.

13 Ebejer and Morden, p. 465.

WILTON HISTORICAL SOCIETY Celebrates

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This show features 150 of America's finest artisans and artists working in the traditional manner. A special feature will be "Decorating the Traditional Home." Chris Ohrstrom of Adelphi Paper Hangings will show handmade historic wall papers; David Kline of Family Heirloom Weavers will show reproduction ingrain carpets and coverlet's, and Christopher Gurshin will demonstrate mural painting and wall stenciling.

PRODUCED BY MARILYN GOULD

Wilton Historical Society, 224 Danbury Road, Wilton, Conn.(203)762-7257

BOOKS

OF

INTEREST

he following recent titles are great gift-giving ideas. All titles are available at the American Folk Art Museum's Book and Gift Shops at 45 West 53rd Street and Two Lincoln Square(Columbus Avenue between 65th and 66th Streets), New York City. To order, please call 212/265-1040. Museum members receive a 10 percent discount.

T

American Anthem: Masterworks from the American Folk Art Museum, Stacy C. Hollander, Brooke Davis Anderson, and Gerard C. Werticin, American Folk Art Museum in association with Harry N. Abrams,Inc., 2001,432 pages, $65 American Radiance: The Ralph Esmerian Gift to the American Folk Art Museum, Stacy C. Hollander, American Folk Art Museum in association with Harry N. Abrams,Inc., 2001, 572 pages, $75 American Vernacular: New Discoveries in Folk, Self-taught, and Outsider Sculpture, Frank Maresca and Roger Ricco, Bulfinch Press, 2002, 304 pages, $75 The Art ofAdolf Wolfli: St. AdolfGiant-Creation, Daniel Baumann, Elka Spoerri, and Edward Gomez, American Folk Art Museum in association with Princeton University Press, 2003, 112 pages,$29.95 The Art ofthe Game:A Collection of Vintage Game Boards, Tim Chambers,Shaver and Chambers, 2001,218 pages, $125 Art ofthe Needle: One Hundred Masterpiece Quiltsfrom the Shelburne Museum, Henry Joyce, Shelburne Museum,2003, 140 pages, $24.95

Baseballfor Everyone: Stories from the Great Game, Janet Wyman Coleman with Elizabeth V. Warren, American Folk Art Museum in association with Harry N. Abrams, Inc., 2003, 48 pages, $16.95 Collective Willeuo: The Visionary Carvings ofa Navajo Artist, Shonto Begay and Lee Kogan, Museum of New Mexico Press, 2002, 115 pages,$29.95 Coverlets and the Spirit ofAmerica, Joseph Shein and Melinda Zongor, Schiffer Publishing, 2002, 224 pages, $69.95 Critters A to Z. Barbara Lovenheim, ed., American Folk Art Museum in association with BIL Charitable Trust, 2003,80 pages, $12.95 Darger: The Henry Darger Collection ofthe American Folk Art Museum, Brooke Davis Anderson, American Folk Art Museum in association with Harry N. Abrams,Inc., 128 pages,$29.95 Drawn Home:Fritz Vogt's Rural America, W.Parker Hayes Jr., Fenimore Art Museum,2002, 96 pages,$19.95 Folk Art Journey, Florence D. Bartlett and the Museum of International Folk Art, 112 pages, Museum of New Mexico Press, 2003,$27.50 Fraktur Writings and Folk Art Drawings ofthe Schwenkfelder Library Collection, Dennis K. Moyer,Pennsylvania German Society, 1997,302 pages, $69.95

Henry Darger:In the Realms of the Unreal, John MacGregor, Delano Greenidge Editions, 2001,680 pages,$85 The Highwaymen: Florida's African-American Landscape Painters, Gary Monroe, University Press of Florida, 2001, 149 pages, $29.95 Home Sweet Home: The House in American Folk Art, Deborah Harding and Laura Fisher, Rizzoli, 2001, 160 pages,$50 Jonathan Lerman: Drawings by an Artist with Autism, Lyle Rexer, George Braziller, Inc., 2002, 127 pages, $22.95 The Kingdoms ofEdward Hicks, Carolyn J. Weeldey, Harry N. Abrams,Inc., 1999,254 pages, $39.95 Madness and Art: The Life and Works ofAdolf Wolfli, Walter Morgenthaler, M.D.,translated

by Aaron H. Esman,M.D., University of Nebraska Press, reprint 1992, 127 pages,$60 Painted Saws/Jacob Kass, Lee Kogan, American Folk Art Museum,2002,56 pages, $14.95 The Perfect Game: America Looks at Baseball, Elizabeth V. Warren, American Folk Art Museum in association with Harry N. Abrams,Inc., 2003, 150 pages,$29.95 Raw Vision Outsider Art Sourcebook, John Maizels,ed., Raw Vision magazine, 2002,$29.95

56 FALL 2003 FOLK ART

The Schlumpers: Art Without Borders, Gfinther Gercken and Christoph Eissing-Christopherson, eds., Springer Wien New York, 2001,219 pages,$44 Sins and Needles: A Story of Spiritual Mending, Ray and Melanie Materson, Algonquin Books,2002,212 pages, $20.95 Spiritually Moving: A Collection ofAmerican Folk Art Sculpture, Tom Geismar and Harvey Kahn, Harry N. Abrams,Inc., 1998, 176 pages, hardcover. Autographed

by Harvey Kahn. Limited quantity available,$244;)$175 Symphonic Poem: The Art of Aminah Brenda Lynn Robinson, Columbus Museum of Art in Association with Harry N. Abrams,Inc., 2002,200 pages, $45 Timeless Beauty: Traditional Japanese Artfrom the Montgomery Collection, various essayists, Skira, 2002,377 pages,$75 Uncommon Legacies: NativeAmerican Artfrom the Peabody Essex Museum, John R. Grimes, Christian F. Feest, and Mary Lou Curran, American Federation of Arts in association with University of Washington Press, 2002, 272 pages,$60 Wonders to Behold: The Visionary Art ofMyrtice West, Carol Crown, Mustang Publishing, 1999, 143 pages,$55 Work Life, Tod Williams and Billie Tsien, The Monacelli Press, 270 pages,$60

What's Everyone Looking At? The New November 15, 2003

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FOLK ART

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

COLLECTION New Directions * MANI-G 'Raps Under Wraps!

Mani-G 'Raps, a manufacturer renowned for its collections of exquisitely designed gift wrap and coordinating accessory products, is the Museum's newest licensee. Inspired by folk art from the Museum's collection, Mani-G 'Raps is creating a series of exclusive everyday and holiday gift wrap,complete with coordinating stationery and desk accessories. So remember...if good things come in small packages, make sure they're wrapped in Mani-G 'Raps! Products will be available next year.

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. *Concord Fabrics, bm.The Art of Embellishment! Andover Fabrics, a division of Concord Fabrics, is introducing a series of printed fabrics inspired by painted and stenciled tinware assembled by the Historical Society of Early American Decoration, and donated to the Museum by the society in 1991. Ornamental painters were some of the most active artisans of the 18th and 19th centuries, providing decorative finishes for room interiors, furniture, textiles, and tinware. Andover provides today's sewing enthusiast with the opportunity to bring this tradition home once again. To view Andover's

58 FALL 2003 FOLK ART

complete line of Museuminspired printed fabrics, visit Concord's website at www.concordfabrics.com. * Mary Myers No More Nuts!

Mary Myers decided no more nutcrackers this season. Myers is creating a limited edition numbered series of decorative woodcarvings that she calls table toppers.

The first three toppers, available this winter, are adaptations of the Lion and the Large and Small Eagles by Wilhelm Schimmel,from the Museum's permanent collection. Myers' toppers, like Schimmel's figures, are brightly painted and hand carved. Reserve a topper while they're still available. Choose the Lion or an Eagle—either one or OVAL TEA CANISTER / artist unidentified / Pennsylvania / both are perfect gifts for 2./4" / 2 1 C. 1825-1850 / paint on tinplate / 5/ those who deserve to be collection American Folk Art Museum, gift of the Historical Society of Early American Decoration, 76.1.7 celebrated for their strength and courage.

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 American Folk Art Museum CollectioflTM, please contact us at 212/977-7170.

LARGE EAGLE Wilhelm Schimmel Cumberland County, Pennsylvania c. 1860-1890 Paint on pine 373/4 10" Collection American Folk Art Museum, promised gift of Ralph Esmerian, P1.2001.157

Family of Licensees Carvin Folk Art Designs,Inc.(212/7556474)gold-plated and enameled jewelry.* Concord Fabrics,Inc.(212/760-0343) printed fabric by the yard and prepackaged fabric craft kits. Crossroads Accessories,Inc. (800/648-6010)quilted fabric totes, handbags, travel cases, and cosmetic bags.* Denyse Schmidt Quilts(800/621-9017)limited edition quilt collection, decorative pillows, and AFAM eye pillows.* Fotofolio (212/2260923)art postcard books, wooden postcards, boxed note cards, and magnets.* FUNQuilts (708/445-1817)limited edition quilt collection.* Galloon (212/354-8840) boxed note cards and jigsaw puzzle.* LEAVES Pure Teas (877/532-8378)loose tea in decorative tins.* MANI-G 'Raps(800/510-7277) decorative gift wrap and coordinating accessories.* Mary Myers Studio (800/829-9603) wooden nutcrackers, tree ornaments, and table toppers.* On The Wall Productions,Inc.(800/788-

SMALL EAGLE Wilhelm Schimmel Cumberland County, Pennsylvania c. 1860-1890 Paint on pine 8 14 6" Collection American Folk Art Museum, promised gift of Ralph Esmerian, P1.2001.158

4044) Magic Cubes.* Organic Lands (607/544-1090) organic deli items. Ozone Design,Inc.(212/563-2990)socks.* PDK Worldwide Enterprises,Inc.(508/676-2155) bedcovers, quilts, and coordinated pillows.

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INTERPRE TATIONS

Martin Johnson Heade in Florida Roberta Smith Favis 184pp.10 X 7.58 bdrw photos,15 color plates, notes, bibliography,index. Cloth $29.95

A History of Visual Art in Sarasota GARY MONROE

Pat Ringling Buck, Marcia Corbino,and Kevin Dean 160pp.7 x 9. 25 color plates,50 b&w photos.

Cloth,$29.95

Extraordinary Interpretations Florida s Self-Taught Artists Gary Monroe "Captures not only essential characteristics of these 61 artists but also clear and honest discoveries of the creative process.[The] writing is poignant... with a warmth and respect for the subjects that makes us feel a kinship to their eccentricities."—Amy Vigilante Dickerson, University of Florida November. 144pp.7 X 10. 130 color photos,6 bdrw photos. Cloth $34.95

The Highwaymen Florida s African-American Landscape Painters Gary Monroe "The book includes more than 60 beautifully rendered photographic reproductions of Highwaymen paintings that are a joy to behold.

For anyone who loves Florida—with its intense vivid colors, its subtropical flora and climate, its sunrises and sunsets,its wind swept palm trees, and its many birds—this remarkable story will speak volumes."—The Observer

Florida s Golden Age of Souvenirs, 1890-1930 Larry Roberts 224 pp.81/2 x 11. Jacket. 500 color photos, bibliography,index.

Cloth,$39.95

Also available through full-service booksellers or our website at www.upf.com

128 pp. 10 x 8.63 color photos, notes. Cloth,$29.95

This collection ofreproduction fabrics is based on the c.1850 Sarah Morrell Album Quilt, the American Folk Art Museum's earliest example ofa sampler album quilt. These historically correct colors and patterns can be combined with thosefrom Andover'sfirst edition Broderie Perse Collection to create authentic-looking quiltsfrom the period. Askfor them by name at your local quilt shop today!

ndover 'Fabricsmakower uk.

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FALL 2003 FOLK ART 59

NEW ENGLAND'S 20th ANNIVERSARY FOLK ART SHOW & SALE! Museum-quality reproductions of American antique furniture and accessories, both country and formal, & contemporary folk art by America's most talented artisans.

amed one of the finest Folk Art Shows in the country by Early American Life Magazine.

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

October 24, 25, 26, 2003 "Unparalleled Traditional Craftsmanship" Judy Marks, Box 134, Glen Ellyn, IL 60138 (630) 858-1568 • fax:(630) 858-4568 www.folkartfest.com

Friday, October 24th, 6pm - 10pm Saturday, October 25th, 10am - 6pm Sunday, October 26th, 11am - 4pm 3-DAY ADMISSION: $8.00 Travel & Lodging Information:(888) 543-9500

Kentucky Folk Art Center www kyfolkart org Kentucky Folk Art Center is a cultural,educational and economic development service of Morehead State University

rom the 8-foot-tall metal rooster outside to the paintings of Charley Kinney inside,the creative expressions of Kentucky's self-taught artists make the Kentucky Folk Art Center a unique and truly authentic reflection of the region's culture. Our 900piece permanent collection includes the work of the state's finest folk artists. In addition, we bring at least four new exhibitions to Morehead each year. "Neon as an Art Form," a new exhibition by Jeffery Hill,opens September 4,2003.

F

ANNUAL EVENTS • 1st Weekend of June Bluegrass 'n More, A Celebration ofAppalachian Heritage,includes Appalachian Arts & Crafts Fair • 1st Saturday of June A Day in the Country Folk Art Show & Auction • 1st Saturday of December Holiday Arts & Crafts Fair

KFAC is open: Monday - Saturday 9 a.m.- 5 p.m. • Sunday 1 - 5 p.m.

Admission: $3 Monday - Saturday • FREE Sunday 102 W. First Street • Morehead, KY 40351 • 606.783.2204

60 FALL 2003 FOLK ART

INTRODUCING

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uilt Collection

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THE ADA/HISTORIC DEERFIELD ANTIQUES SHOW DEERFIELD MASSACHUSETTS

SATURDAY, OCTOBER 11TH, 11AM-6PM SUNDAY, OCTOBER 12TH, 11AM-5PM DIRECTIONS: 1-91 IN MASSACHUSETTS TAKE EXIT 24N OR EXIT 25S. C't

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62 FALL 2003 FOLK ART

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A Twenty-First Century American Tradition

The American Antiques Show A Benefit for the American Folk Art Museum

January 15 January 18, 2004 New York City

Featuring 45 exhibitors A "who's who" of Americana and folk art dealers

Gala Benefit Preview Wednesday, January 14, 2004 Limited tickets available

The American Antiques Show Thursday, January 15-Sunday, January 18, 2004 TAAS doors open daily at NOON General Admission $15 (includes TAAS catalog) For more TAAS 2004 information visit www.folkartmuseum.org, email taas@folkartmuseum.org, or call 212.977.7170

THE AMERICAN ANTIQUES SHOW

A benefit for the American Folk Art Museum at the Metropolitan Pavilion, 125 West 18th Street, NYC Managed by Keeling Wainwright Associates

FALL

PROGRAMS

Unless otherwise specified, all programs are held at the American Folk Art Museum,45 West 53rd Street, New York City. For more information, please call the education department at 212/265-1040, ext. 119, or pick up the museum's Public Programs brochure.

PANEL DISCUSSIONS Treasured Memories: Sportswriters Talk About Baseball Roger Angell, The New Yorker Claire Smith, The Philadelphia Inquirer Tom Verducci, Sports Illustrated Steve Wulf,ESPN The Magazine Moderator: Marty Appel, author Tuesday, Sept. 16 6:30 PM $25 General $20 Members, seniors, and students Inspired By Baseball: Artists Speak Ray Materson Yvonne Wells Malcah Zeldis Friday, Oct. 3 6:30 Pm $15 General $10 Members, seniors, and students Catch the Fever: Baseball Collectors Share Their Passion for Folk Art and the Game Bill and Millie Gladstone David Hunt Paul Rieferson Friday, Nov.7 6:30 PM Reception to follow $20 General $15 Members, seniors, and students

TALK AND MUSICAL PERFORMANCE Baseball Music: From "Slide, Kelly,Slide" to "Talkin' Baseball" Marty Appel, author, Slide, Kelly, Slide: The Wild Times of Mike "King" Kelly, Baseball's First Superstar Terry Cashman,songwriter "Talldn' Baseball" Thursday, Oct. 23 1:30PM $10 General $5 Members, seniors, and students

LET'S TALK FOLK ART Tuesdays at 12:30 PM This slide-talk series takes place at the Donnell Library Center, 20 West 53rd Street Free admission Oct. 21 The Perfect Game: America Looks at Baseball Elizabeth V. Warren, exhibition curator Nov. 18 Vestie Davis's Paintings and Drawings: Central Park to Coney Island Lee Kogan, director, Folk Art Institute, curator ofspecial projectsfor the museum's Contemporary Center Dec. 16 Women in Folk Art Celene Ryan, independent scholar

The museum's public programs arefunded in part by the Carnegie Corporation ofNew York, Consolidated Edison, New York City Department of Cultural Affairs, and the New York Mets.

64 FALL 2003 FOLK ART

RED McKEE / Charles M. Conlon (1868-1945)/ New York / C. 1913/ gelatin silver print / 5 collection of Paul Reiferson and Julie Spivack

FAMILY PROGRAMS Folk Art Fun for Families (For ages 6 and up) Sundays from 2:00-4:00 PM One session: $10 per family $8 per member family Entire program series: $60 per family $48 per member family Tickets include museum admission. Reservations required; please call for details.

September: Draw It Your Favorite Place Sept. 21 October: Design It Terrific T-shirts Oct. 12 Blazing Bats Oct. 19 November: Illustrate It Take Me Out to the Ball Game Nov.9 Over the River and Through the Woods Nov. 16 December: Symbolize It Charming Magnets Dec. 14 Holiday Magnets Dec. 21

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ANNUAL QUILT WEEKEND Oct. 3 10:00 Am-4:00 PM Quilt Workshop Please callfor details Oct. 4 Guided Tour: Textiles in "The Perfect Game" 11:15 AM Lee Kogan, director, Folk Art Institute, curator ofspecial projectsfor the museum's Contemporary Center Quilting Demonstrations Area Quilt Guilds 12:00-4:00 PM Wool Applique/Penny Rug Purse Workshop 10:00 AM-1:00 PM

GALLERY TOURS Thursdays at noon Going to the Perfect Game Elizabeth V. Warren,exhibition curator,"The Perfect Game: America Looks At Baseball" Nov. 13 and Dec. 18

GROUP TOURS To book a group tour, please call the education department at 212/265-1040, ext. 119.

SAVE THE DATE!

2004 OUTSIDER ART FAIR BENEFIT PREVIEW FOR THE

AMERICAN FOLK ART MUSEUM

THURSDAY, JANUARY 22, 2004 THE PUCK BUILDING, SOHO, NEW YORK CITY

Join us for the 12th annual Outsider Art Fair Opening Night Preview, a benefit evening for the American Folk Art Museum.

This unique event offers a first look at an amazing variety of works by contemporary self-taught artists from around the world—presented by more than 30 of the best and most respected American and international galleries in the field.

Enjoy food, drink, and folk music at this exuberant evening of art and discovery!

For more information on ticket prices and entry times, please contact the museum's special events department at: specialevents@folkartmuseum.orq or 212. 977. 7170, ext. 308.

ABOVE: Jackie Robinson Stealing Home / Sam Doyle (1906-1985) / St. Helena Island, South Carolina / 1978-1981/ Enamel on tin / 51 x 36 in. / Collection of Lanford Wilson On display in the American Folk Art Museum's current exhibition "The Perfect Game: America Looks at Baseball."

The 2004 Outsider Art Fair is produced by Sanford L. Smith and Associates.

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The Perfect Game Benefit Dinner he American Folk Art Museum opened its baseball season—"The Perfect Game: America Looks at Baseball," on view from June 17, 2003,to Feb. 1, 2004—with a benefit dinner to honor longtime museum supporters and avid baseball art collectors Millie and Bill Gladstone, and honorary chairs Steve Greenberg, Fay Vincent, and Fred Wilpon. The funfilled event, held on Thursday, June 5, was organized to help support museum exhibitions and related educational programs.

After the confetti settled, it was announced that the museum raised more than $500,000.

The festivities started off with a cocktail reception at the museum,and a behind-the-scenes peek at the exhibition as it was being readied for opening on June 17. Guests were then paraded across New York's Avenue of the Americas—led by museum volunteers and members of the MOM1X dance troupe—to dinner and entertainment at the New York Hilton. The event was attended by a joyful group of art enthusiasts, baseball fans, and baseball legends Yogi Berra and Phil Rizzuto. The evening included a lovely dinner; a live auction, with prizes of Behind the Scenes Spring Training with the

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Mark and Taryn Leavitt

66 FALL 2003 FOLK ART

New York Mets,Behind the Scenes Spring Training with the Boston Red Sox, and First Pitch with the Tri-City ValleyCats; and a dance performance of excerpts from "Baseball" by MOMIX,the internationally known dance company, under the leadership of artistic director Moses Pendleton.

The festivities concluded with a silent auction, featuring baseball

Yogi Berra and his wife, Carmen

Thisbe I.. loin Wilkerson and his wife, Barbara

bats and balls decorated and donated by folk artists from around the country.

On behalf of the museum,as well as the special events team, headed by Monique A. BrizzWalker, director of special events, and Katie Hush, special events coordinator, we wish to thank benefit co-chairs Lucy and Mike Danziger, Taryn and Mark Leavim Laura and Richard Parsons, and Angela and Selig Sacks for

Trustee Joyce B. Cowin

Charles Atkins and Trustee Lucy C. Danziger

National Baseball Hall of Fame and Museum's chairman Jane Forbes Clark, and President Dale Petroskey with Millie Gladstone

Phil Rizzuto with Elizabeth and Irwin Warren

Edgar Cullman Sr.

Jackie Robinson's granddaughter, Sonya Pankey, and Len Coleman, Jackie Robinson Foundation chairman

Millie Gladstone and Fred Wilpon

New York Mets, the National Baseball Hall of Fame and Museum,Sonya Pankey, Dale Petroskey,Phil Rizzuto, Jackie Robinson Foundation, Riccardo Salmona, Schieffelin & Somerset Co., and the Tri-City ValleyCats.

The American Folk Art Museum expresses its deep appreciation to the gifted members of the exhibition team who organized "The Perfect Game: America Looks at Baseball."

Special thanks to the following artists for their donations of artwork to the silent auction: Anthony Dominguez Tom Duncan Dolores Furnari JoHann Garber Keith Goodhart Bernard Goodman Anne Grgich Ken Grimes Chris Hipkiss Mr. Imagination Levent Isik Barbara Knickerbocker Linda Carter Leflco Raymond Materson Donald Mitchell Kevin Sampson Judith Scott Rubens Teles Nancy Toombs LaVon VanWilliams Pascal Verbena Myrtice West Malcah Zeldis

Members of NIOMIX dance troupe

their many efforts to make this special night possible. We also wish to acknowledge the support of benefactors AOL Time Warner, Bear Stearns, Citigroup, Louise and Edgar Cullman Sr., and Deutsche Bank. Additionally,

the evening could not have been the "home run" it was without the assistance of Yogi Berra,the Boston Red Sox, the Brooklyn Cyclones, Anne Bruno Floral Designs, Jane Forbes Clark, Len Coleman, Alva Greenberg, the

Yogi Berta, Trustee Edward V. Blanchard Jr., and Phil Rizzuto

Through their creative efforts, the museum truly celebrates the important contributions of baseball to American life and culture: Elizabeth V. Warren, exhibition curator; Margaret S. Smeal, assistant exhibition curator; Michael Morris and Yoshiko Sato, Morris/Sato Studio, exhibition designers; and Linda Doherty, exhibition graphics designer. We also wish to thank the following exhibition sponsors for their support: Andrew W. Mellon Foundation; Major League Baseball Foundation; New York Mets; Sports Illustrated magazine; The American Folk Art Society; and Van Wagner Communications.

Participants at the silent auction table—the museum's Chairman of the Board, Ralph 0.

Esmerian, writes in his bid

Volunteers Pearl Chow, Xiao Situ, and Judy Rothenberg prepare to lead guests from the museum to the Hilton hotel

FALL 2003 FOLK ART 67

Baseball Season Opens on 53rd Street embroideries—but also on the useum members and evolution of the game,including friends gathered the "women's game," the "chiltogether on June 17 to celebrate the presentation of"The dren's game," and baseball as an international sport. Michael MorPerfect Game: America Looks at Baseball," which opened that day ris and Yoshiko Sato, the exhibition designers, and Linda to rave reviews: from Sports Doherty,the exhibition graphics Illustrated,"A collection of designer, have presented Warabout 100 works describing the ren's vision in an exciting, innolength and depth of the nation's vative, and baseball-loving love for the sport"; from New display that extols the art and York magazine's Edith Newhall, evokes the joyful emotions that "Batter Up—the American Folk come with watching and playing Art Museum has stepped up to ball. Their design includes a the plate with 'The Perfect Game'";from Mila Andre of the "magic lantern" slide show (complete with stadium seats); audio Daily News,"Play Ball! The presentations of old-time baseball American Folk Art Museum has songs; diagrams and bird's-eye hit a home run with its new exhiviews of baseball stadiums across bition"; and from Museums New York, "You'll find your own Roger Angell favorites among the 100 or so (left) treasures sharing the field in 'The Perfect Game.' SpanCathy Michelson (right), the ning 150 years of peanuts and museum's crackerjacks, the lineup includes director of portraits, trade figures, weatherdevelopment vanes, croquet figures... and, of course, baseball cards." Jim Bouton (the New York Times, Sunday,June 28)commented on Mist Ray Materson and getting lost in a cloud of baseball art dealer Aame nostalgia at the American Folk Anton Art Museum:"You were like a kid in there,' said my wife, Paula, as we left the exhibition,'running around and pointing at everything.' For a few hours I was a kid again, reliving memories sparked by the dozens of puppets and paintings, quilts and Omar and Rachel Minaga carvings, weathervanes and with Bill whirligigs that combined my Gladstone two earliest passions—baseball and art."

Guest curator Elizabeth V. Warren has organized a brilliant exhibition, laid out on three floors of the museum; it focuses not only on folk art—paintings, carvings, carnival figures, quilts,

M

68 FALL 2003 FOLK ART

Millie and Bill Gladstone with Lynne and Mark Cooper

The exhibition team (back row, left to right): Ann•Marie Reilly, Michael Morris, Arturo Barcenas, Luis Padron, J. Christopher Forman;(front row): Linda Doherty, Yoshiko Sato, Elizabeth V. Warren, Margaret S. Smeal, and Stacy C. Hollander

David R. Mellor (above) with his wife, Denise, and daughters Cockey (left) and Ton Harry N. Abrams Managing Editor Harriet Welchel and Senior Editor Susan Van Metre

Photography by Matt Flynn

Music conductor Leonard Marcus, artist Malcah Zeldis, and Lee Kogan, director of the museum's Folk Art Institute and curator of special projects

Director Gerard C. Wertkin with collector David T. Owsley

Liz Warren and Janet Wyman Coleman

the country; giant blowups of baseball photographs; and, of course, the pithy quotes of Yogi Berra, among other baseball greats, as wall text. Millie and Bill Gladstone own one of the most respected collections of baseball art in the country, and a good part of it is generously on loan for this exhibition, as well as on public view for the first time. Ray Materson's incredibly detailed miniature embroidered portraits, each approximately two inches square, feature baseball greats such as Whitey Ford, Elston Howard, Mickey Mantle, Roger Mans, and Joe Pepitone.

Malcah Zeldis's radiant three-by-four-foot painting, Homage to Hank Greenberg, is on loan from the Fenimore Art Museum, New York State Historical Association, in Cooperstown, New York. Among the many surprises in the show is a work of art made up of nine 24-by-24-inch photos of"rolled grass." The grass patterns were created by the director of grounds at Boston's famed Fenway Park, David R. Mellor—an artist with an unusual medium. Mellor's book, The Lawn Bible, is available in the museum's book and gift shop.

Guests arrived in not only the expected after-work business attire but also in jackets and hats displaying the emblem of their favorite team. Roger Angell, the well-known baseball writer and editor with The New Yorker, and author of the introduction to the exhibition catalog, was among the guests, along with Omar Minaga, general manager of the Montreal Expos, and Janet Wyman Coleman, author, with Elizabeth V. Warren, of Harry N. Abrams' new children's book,Baseball for Everyone. The museum's book and gift shop,featuring an array of baseball-related objects, including the books just mentioned, did a grand-slam business. The exhibition, sponsored in part by Andrew W. Mellon Foundation, Major League Baseball Foundation, New York Mets, Sports Illustrated magazine, The American Folk Art Society, Van Wagner Communications, and Weil, Gotshal & Manges LLP,will be on view through Feb. 1, 2004. You shouldn't miss it!

Peter Bazar, Lidia Bazar, Frank Tosto, and Dr. R. David Sudarsky

Drawn Home n May 20, under the careful stewardship of the museum's senior curator, Stacy C. Hollander, the beautiful, sometimes wistful architectural portraits of Fritz Vogt were mounted on the museum's top floor as a charming companion to the baseball exhibition below."Drawn Home: Fritz Vogt's Rural America," on view through September 21, was organized by curator W.Parker Hayes Jr. for the Fenimore Art Museum in Cooperstown, New York. The exhibition documents the artistic career of an itinerant immigrant who traveled the counties west of Albany, New York,from between 1890 and 1900—often on foot—and produced more than 200 detailed drawings. Ken Johnson of the New York Times commented:"A German who found pragmatic beauty in small-town America."

"Drawn Home" is presented with the generous support of the R. David Sudarsky Charitable Trust and Frank Tosto, as well as Myron and Lidia Bazar, Lucy and Mike Danziger, Moe Frankel, Vera and Pepi Jelinek, Sybil and Arthur Kern, Morton Kinzler, Barbara and David Krashes, and Patricia and Frederick Selch.

W. Parker Hayes Jr., Stacy C. Hollander, Paul D'Ambrosio, chief curator, Fenimore Art Museum, and collector Frank Tosto

Visitor Henry Moskowitz going through the "just for the fun of it" baseball stadium turnstile, followed by his mom, Julie Lapore

FALL 2003 FOLK ART 69

MUSEUM

NEWS

Front row: Diana Schlesinger, Howard and Ellen Schustennan, Dr. Delores Malaspina, and Pier Consagra. Back row: Roger Cardinal, Lyle Rexer, Brooke Davis Anderson, and Dr. J. David Sweatt

2003 Museum Graduation and Docent Awards Joan Fineman, Sylvia B. Groen, he American Folk Art Carol M. Gruber, Antonio Museum held its annual Hidalgo, John C. Hood, Mildred Folk Art Institute ComE. Kaliski, Sue Karp, Carol A. mencement and Docent Awards Keyser, Roberta Y. Krakoff, and Ceremonies on Monday, June 2.

Lupe Miller. Hayes spoke about The happy events, attended by the museum's mission and the museum staff, family members, importance of its docent proand friends, were graced with gram. She presented certificates opening remarks by the of recognition to three-year museum's director, Gerard C. Wertkin,followed by "America's docents Lenore Blank, Sherril Kraus, and Krystyna Pitula, and First Garden Rooms: New Perto 10-year docents Deborah Ash, spectives on the Use and Placement of Painted Furniture," this year's Esther Stevens Brazer Memorial Lecture, given by Wendy Cooper, the Winterthur Museum's Lois F. and Henry S. McNeil Senior Curator of Furniture.

Dianne Goldman Wendy Cooper Lee Kogan, director of the museum's Folk Linda Simon, and Roberta Art Institute, led the commenceRabin. Participants received a ment exercises, and Trustee well-deserved grand round of Frances Sirota Martinson, Esq., applause. awarded a certificate to graduatSpecial thanks go to Joan ing fellow Dianne Goldman.

Bloom and Folk Art Institute felKogan and Rebecca Hayes, low Deborah Ash for overseeing manager of school and docent programs, presented New Docent the refreshments and lovely decorations.

Certificates to Suzanne DeVito,

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The Top of the Fifth es a hit on Fifth Avenue.

"The Perfect Game: America Looks at Baseball" scored a home run in the Gant store window with an eye-catching red, white, and blue display devoted to the museum's exciting current exhibition. Designed to coincide with the mid-June opening, the use of Gant's highly visible Fifth Avenue storefront was donated

by Ari Hoffman,CEO of Gant USA Corporation, to celebrate the museum and "The Perfect Game." Jonathan Javins, Gant's visual director, created an engaging patriotic vignette. A blowup

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Symposium: Intersection of Art and Psychiatry sored the program and joined the t the first Dr. Joseph M. audience.

Winston Annual MemoDr. J. David Sweatt, professor, rial Symposium,held Division of Neuroscience and May 10 at the American Folk Art Department of Molecular PhysiolMuseum to a sold-out audience, ogy and Biophysics, Baylor Colscholars in the fields of art, psychiatry, and medicine explored the lege of Medicine, opened the day with a neurobiological look at the relationships between neurobiocreative process. Roger Cardinal, logical disorders and the artistic art historian and author of Outtemperament. The program, sider Art(1972),followed with a which ran from 10:00 AM to talk about the flowering of art 3:00 PM,included the following within the psychiatric institution, discussions:"The Intersection of and the importance of its designaNeurobiological Disorders and tion as art. The afternoon session Art,""A Look to Art Brut: Hisbegan with a fully mapped out toric Contexts and Artists,""New discussion of schizophrenia and Insights into Neurobiology," and "Some Contemporary Self-Taught recent research by Dr. Delores Malaspina, associate professor of Artists." The symposium was coclinical psychiatry, Columbia Uniorganized by the museum's eduversity New York State Psychication department and the atric Institute. Lyle Rexer, critic National Alliance for Research on and writer, and artist Pier ConSchizophrenia and Depression sagra completed the presentations (NARSAD).Brooke Davis with a discussion of drawing as a Anderson, director and curator of the museum's Contemporary Cen- process that invites imagination.

The day concluded with a lively ter, and Howard and Ellen Schustennan of the National Leadership forum,including discussions among speakers and the audience Council of NARSAD warmly about everything from neurobiointroduced the speakers throughlogical influences on creativity to out the day. Much appreciation the primacy of aesthetics. goes to Jan Winston, who spon-

of an all-star quilt, silk-screened on mesh vinyl, formed a lively and colorful backdrop for Gant rugby shirts and baseball caps.

The actual work,My Favorite Baseball Stars Quilt, made between 1954 and 1964 by Clara Schmitt Rothmeier of Gerald, Missouri, along with an array of paintings, carvings, carnival figures, embroideries, game boards, photographs, and early bats, balls, and scorecards, are on view in this spirited show. Gant store customers were invited to take exhibition brochures and Family Day postcards.

MUSEUM

NEWS

Galerie Bonheur Too-Ra-Loo-Ra-Loo-Ral: Explorers in Ireland rom May 14-25, museum members traveled around the beautiful Emerald Isle. They viewed gorgeous landscapes, walked through magnificent gardens, met varied locals—from quiltmakers to lords—and learned a great deal about Irish history and culture.

Their national guide, Noreen O'Farrell, was well informed and incredibly kind. Bus driver Paddy O'Donovan sang while driving through the countryside, and kept the group laughing with his stories and limericks. The first few days were spent in the charming town of Adare, which is full of traditional thatched-roof cottages.

George and Michelina Stacpoole, who own a local antiques shop in Adare, graciously hosted the welcome dinner at their home.

Other highlights were a grand lunch at Bin Castle, including a tour of the castle and grounds with Lord Rosse, and tea at the Lucy Erridge shop, where Lucy's mother, quiltmaker Alison Erridge, discussed her work.

After Adare the tour took the scenic route to the next stop, via the gorgeous Dingle Peninsula, and spent the next several days in Killarney and then Cashel, where members wandered through town, stopping at pubs to listen to traditional Irish music, as well as meeting local artists, including basket-weaver Norbert Platz, woodcarver John McCarthy, stained-glass maker Sheila Angel, potter Nicholas Mosse, quiltmaker Grania McElligott, and painters Wendy Walsh and Lesley Fennell. Then came a tour of Kilkenny Castle, Jerpoint Abbey, Burtown House, and Kilfane Gardens. A highlight of the trip was meeting recently retired membership

F

In Manley (left side of cart): members Mitch and Mary Mitchell and Harry Strauss; (right side) members Susan Yecies and Helen Bing with fanner membership director Beth Bergin

director Beth Bergin's daughter, Amy O'Shea. Mrs. O'Shea catered a fabulous lunch for the group at her cafe, The Melting Pot, in the charming fishing village of Dumore East.

The last three days of the tour were spent in Dublin, with visits to the "Book of Kells," at Trinity College, the National Gallery with curator Adrian LeHarivel, a "John the Painter" exhibition at the Irish Museum of Modern Art, and tea at the home and garden of Helen Dillon. During some free time, members were able to catch a play at The Gaiety Theater, and wander through the streets and parks, shopping and sightseeing.

The final night's dinner was at the gorgeous Georgian townhouse of Desiree Shortt.

On behalf of the museum, Beth Bergin and Lauren Potters would like to thank the participants of the tour; Fraizer Walker and Ellen Renstrom at Academic Arrangements Abroad; all of the lovely hosts, who welcomed everyone so graciously; and especially Noreen O'Farrell and Paddy O'Donovan, who introduced the museum's explorers to the wonderful country of Ireland.

If you are interested in joining us on upcoming tours, please call the membership department at 212/977-7170.

Efrain NADEREAU,Cuba Nature at its Best 19" x 14" Acrylic on paper

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FALL 2003 FOLK ART 71

TAAS 2003: A Benefit for the American Folk Art Museum savvy collectors" and "a lot of fered by the Ricco/Maresca he American Antiques interior designers," said owner gallery, are perfect examples of Show (TAAS),a four-day Kass Hogan and husband Jeff the crossover in aesthetics." benefit event for the Cherry. Other notable furniture was committee designers' A sigMuseum, American Folk Art successes included a set of 10 created this year. Its 30 charter naled the start of Americana members, representative of Amer- arm and side chairs, circa 1820 Week in New York City with a (asking price, $45,000), sold by ica's best-known designer firms, gala benefit preview on WednesNathan Liverant and Son as names familiar such included Metrothe at 2003, day, Jan. 15, Antiques of Colchester, Conpolitan Pavilion, right in the heart Karin Blake, Mario Buatta, Cullnecticut. Lincoln and Jean Sander man & Kravis, Diamond and of Chelsea. TAAS celebrated its American Antiques from Sandy Baratta, Mica Ertegiin, Kitty second year of tradition with Hook,Connecticut, sold five Hawks,Jed Johnson & Associstyle, once again proving its metpieces, including a rare Queen ates, Juan Montoya, and Rose tle by showcasing dealers from Anne drop-leaf table (asking Tarlow. The support of these and across the country. Its roster of price, $16,500). David Good/ home in names stellar other many Antique 45 dealers offered what Samuel Forsythe Antiques from design sends a strong signal: Review Preview called "some of Camden,Ohio, sold a Vermont Americana is not your grandthe best to be seen during Americana Week." The 30,000-squarefoot Metropolitan Pavilion's uninterrupted space provided dealers with elegant, spacious booths that invited both viewing and buying.

Paige Rense, editor-in-chief of Architectural Digest and an avid collector of Americana, was this year's honorary chair and recipient of the museum's American Spirit Award. She joined executive chair Barry Briskin and executive co-chair Joan Johnson at a triumphantly packed gala. Exhibitors from 15 states, American Folk Art Museum director Gerard C. Wertkin and Paige Rense, honorary chair foot-tapping fiddle music, and Bennett and Judie Weinstock, charter classic American comfort food members of TAAS designers' committee all made for a fun-filled evening. mother's attic—it is resonant, unique, and chic! As designer "Tradition and innovation go Cullman,TAAS Interior Ellie AmeriThe enthused together," Designers' Committee honorary can Antiques Show's executive chair notes,"There is an unexdirector, Alice J. Hoffman. pected dialogue that develops "American folk art offers tradibetween the traditional, nostalgic tionalists history and proveelements of folk art, and its modnance, while collectors with a ern, abstract characteristics." passion for modernism find that The well-choreographed variits spare lines and subtle patinas ety of items at TAAS ranged add the perfect punch to contemfrom bargains, priced at $100,to porary settings. A luminously treasures selling for more than mysterious marble bust, sold by $100,000. Rustic cedar and birch the Hill Gallery of Birmingham, furniture from the Cherry Gallery Michigan, and a smoothly modsold out the first night, to "very eled weathervane of a horse, of-

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72 FALL 2003 FOLK ART

Chris Wilkerson and Alexis Shein, TAAS Ainericus chairs

two-drawer decorated blanket box, circa 1820, with an asking price of $39,000.

A large and witty wooden model of the Lusitania was snapped up opening night from Ricco/Maresca. A Chester County sampler from 1824, offered by M.Finkel & Daughter of Philadelphia for $84,000, was one of many samplers sold at TAAS. Raccoon Creek of Bridgeport, New Jersey, sold items priced from $1,500 to $50,000, and Arthur Guy Kaplan from Baltimore, a dealer specializing in antique jewelry, was delighted with repeat visits

Photography by Eli Askenazi

Members of Americus, the museum's young collectors group—all under 40, looking at objects all over 40 Mary Emeding, creative director, Country Home magazine

Paige Reuse, editor-in-chief, Architectural Digest, and TAAS honorary chair and American Spirit Award recipient; and John Loring, design director, Tiffany & Co.

from discriminating clients.

First-time exhibitor David Cook, who came from Colorado, said sales were "great" and called TAAS "the best new show." Clifford Wallach, a tramp-art specialist from Brooklyn, New York, who sold 10 pieces on preview night, priced his 1930s clock tower at $38,000. For David Wheatcroft, TAAS was "the best for American paintings"; the Massachusetts dealer sold several paintings, including one by

Elissa Cullman, TAAS designers' committee honorary chair, and dealer Amy Finkel

Artist John Kalymnios with TAAS executive chairs Edie and Barry Briskin

Sheldon Peck with a six-figure price tag.

As a show committed to both excellence and education, TAAS

presented mini-courses on connoisseurship with its sold-out walking tours and appraisal clinic, In the Company of Experts, and In

the Company of Objects: What's It Worth. America Toasts, an American wine-tasting event presented by Morrell & Company, was oversubscribed as well as a smashing success. The Young Collectors' Americus Evening, Eat, Drink, and Discover, hosted a group twice the size of last year's.

Due to popular demand, all of these events are scheduled to return at TAAS 2004.

Said Martha Stewart:"TAAS is full of some of the most unusual antiques you'll find anywhere; plan to spend a day." Grace Glueck of the New York Times noted,"The museum venture is off to a solid start. Its lively mix would soften the most diehard art-fair grinch." Antiques and the Arts Online said,"The American Antiques Show presented some of the best American country furniture and folk art on the market."

Save the date for TAAS 2004, same time, third week in January: Wednesday,Jan. 14 through Sunday, Jan. 18; same place: Metropolitan Pavilion, 125 West 18th Street; same excellence, and lots of surprises!

FALL 2003 FOLK ART 73

Amboy Center coordinator Barbara Booker (second to last row,far left, standing) and book artist Ben Rinehart (kneeling, front row, left) with students from the Amboy Neighborhood Center and New York Cares volunteers.

MUSEUM

NEWS

Art and Poetry: Two Exciting Museum Programs ew York Cares: The museum's education department completed a second successful year of collaboration with New York Cares, an organization that mobilizes volunteers to work on projects addressing critical community and social issues, and the Amboy Neighborhood Center, a temporary housing shelter for families, located in Brooklyn. Twice a month,from February through May—with a goal set toward writing creatively about artwork—adult volunteers and children toured the museum's collection with Diana Schlesinger, the director of education; were shown how to make their own

N

A Poem about the loss of innocence and the mystery of Existence or lack thereof

Eternity doesn't exist Pity won't be missed Hold me Nicely Love me Softly Live while you can while time passes our world crashes I run but stay in place Have fun Just one in the race I'm faint I'm dying no saint no lying.

Oh well.

unique journals by book artist Ben Rinehart; and,in a series of poetry-writing workshops led by teachers and poets Dave Johnson and Tanya Foster, were encouraged to fill them with their own original poems.

•••

ay With(out) Art: For the past 14 years, Dec. 1 has been recognized as the International Day With(out) Art, to increase AIDS awareness in the visual arts. To mark this special day, Clifford Smith, an artist living with HIV,presented his art, at the American Folk Art

D

Untitled To you children of mothers of other mothers that somehow look like mine I'll stand in between the dagger and your pulse that beats without knowing its own rhythm the dagger knows no rhythm like the one of your pulse that pangs against the cage of your heart odd how I hear it thousands of miles away and how I play with its waves in our salty ocean that has no master and is no slave I am not your master you are the ocean free to bathe in your own pulsating waves no dagger will kill your water that quenches my thirst and his and hers I live in this poem for you.

museum acknowledges the generosity of William Louis-Dreyfus, president of the American Poetry Society, for annual support of this program. Special thanks go to Ed McCarthy,coordinator of school activities for La Guardia High School of the Arts; Karyn Kay,La Guardia creative writing teacher; Ann De Simone, assistant to William Louis-Dreyfus; and especially artist Clifford Smith and the students of La Guardia.

The following four poems were selected for special mention:

My Cliff Song I sit and I pick the world from underneath my nails I scoop it out and flick it to the floor.

It regrows.

I wipe the life from my face every morning.

I scrub it off and it runs to the sewer, to join the other lives that have also been disposed of.

I stop the death from growing, every night, on my face, by sleeping.

I sleep away the death that would grow did I not sleep it away.

I contemplate this as I scrape the life all out of my nails, wash the knowledge from my hair, wipe the experience from under my eyes, and put the denial, the clean denial in its place.

How clean denial is....

By Daphne Holowid

By Brittany Slattery

By Rosal Colon

74 FALL 2003 FOLK ART

Museum,to the students of a creative writing class from New York's La Guardia High School of the Arts. After returning to La Guardia, the students were asked to draw on this experience to create their own poetry. On May 2, the students returned to the museum for a breakfast and poetry reading.

The museum's participation in the Day With(out) Art was organized by Diana Schlesinger, the museum's director of education; Amy Sadao, executive director; and Nelson Santos, assistant director of Visual AIDS.The

ANNOUNCEMENT

CRAIG FARROW AMERICAN

0 MUSEUM

Museum Hours and Admissions

Cabinetmaker

American Folk Art Museum 45 West 53rd Street New York, NY 10019 Phone: 212/265-1040

Admission: Adults

$9

Students

$7

Seniors

$7

Children under 12

Free

Members

Free

Friday evening

5:30-7:30 pm Free to all

Museum Hours: Wednesday—Sunday

10:30 Am-5:30 Pm

Friday

10:30 Am-7:30 PM

Monday and Tuesday

Closed

Shop Hours: Daily

10:00 Am-6:00 PM

Friday

10:00 Am-8:00 pm

Group Tours available Please call for information 212/265-1040 Public Transportation Subway E or V to Fifth Avenue/53rd Street F to 47-50th Street, Rockefeller Center Bus Ml, M2, M3, M4, M5, M6, or M7

Untitled Standing in the warmth of the yellow icebox glow.

She places her hand on her protruding belly neatly tucked beneath the cheap cotton maternity gown that itches her and stifles her walk.

The Sapporo bottle grotesquely balanced in the other hand. She fails to notice me as she adds up the calories.

I don't mind.

I only try to preserve the picture like a foreign postcard. I'll send it to myself when you're all alone and have forgotten what it was like to have these nights almost to yourself.

You've never looked so beautiful.

By Abby Davis

History and Artistry in Wood 17th and 18th Century American Furniture Reproductions PO. Box 828 Woodbury, CT 06798

Please call 203-266-0276

FALL 2003 FOLK ART 75

OBITUARIES

Bernard Goodman (1910-2003) ernard Goodman,a 93year-old self-taught painter and social activist in New York City, died May 26, at Beth Israel Medical Center, of a massive cerebral hemorrhage.

In excellent health preceding a stroke on May 13, Goodman was scheduled to give a gallery talk at the Andrew Edlin Gallery the next day. He was an inspiring speaker at the American Folk Art Museum's January 2003 Uncommon Artists Symposium,and had previously lectured to classes at the museum's Folk Art Institute.

A self-educated man, Goodman had a difficult childhood; after his first birthday, he spent 14 years in the Brooklyn Children's Orphan Asylum,following his parents' deaths. He joined the Merchant Marines in 1935,for which he actively served for 23 years. He was an organizer for the Sailor's Union, and later a tenants' advocate at the Legal Aid Society and at the Chelsea Action Committee funded by the city of New York.

Goodman began to paint at age 80, when his wife, Pauline

B

SuIton Rogers(1922-2003)

Levy, bought him paint, brushes, and related supplies. Many of his canvases were densely filled with people, some depictions of his local community and others of the broader global society. His confidence as a painter was evident in his recent 3-by-7-foot antiwar canvas, Not in Our Name, a departure from his more familiar 8-by-10 and 24-by-36-inch formats.

A frequent lecturer at senior centers and homes, Goodman advised residents(many younger than himself) to remain active and to experiment—to discover their own creativity as a way to maintain their health and well-being.

Goodman received a 1998 fellowship grant from the New York Foundation for the Arts, and four consecutive years of studio space in the Clock Tower building, which was granted by a Brooklyn Museum/P.S. 1 project.

ulton Rogers, a New York State and Mississippi woodcarver, died of a massive stroke on April 5,following a history of chronic heart disease.

Rogers' interest in carving began at an early age, when he learned carpentry from his father, Will Rogers. Although he whittled small animals and figures as a young man, Rogers did not begin to carve seriously until he worked the night shift at Allied Chemical in Syracuse, New York, where he was employed from 1970 to 1984.

Following retirement, he continued to carve. He moved back to Taylor, Mississippi, about eight years ago, after developing health problems.

The artist completed thousands of carvings, including a large number of satirical figures—snakes, bodies in coffins, and vampires among them. Soft woods, such as sugar pine and gum, were his favorite materials.

He usually used solid blocks of wood, but sometimes glued boards together to create the volume he needed to make a carving.

Rogers rough-carved his forms,

S

using a saw, and finished them with a pocketknife. He then painted the work.

Professor William Ferris, who has served as director of the Center for Southern Culture in Mississippi, and as director of the National Endowment for the Humanities in Washington, D.C., thought of Rogers as "an exceptionally sensitive artist, whose wood sculpture is striking for its imaginative, surreal qualities." Ferris also said that Rogers was ". . inspired by images he drew from the media and from his personal experience," and that "he carved highly expressive human figures that chronicled the black community."

Works by Sulton Rogers are in the permanent collections of the Universal Mississippi Art Museum,the State Historical Museum in Mississippi, and the Fenimore Art Museum in Cooperstown, New York.

of his works have complex moving parts. Scott's art began as a hobby after he retired, but soon became a consistent and necessary creative outlet. He carefully examined his completed works, and was known to completely redo those that failed to meet his artistic standards.

James Scott was born in Orina, Louisiana. He moved to New Orleans, where he lived with his wife, Evelina Jackson, and worked on commercial boats, in construction, and unloading trucks. In 1962 he moved to

Lafitte, where he had inherited a house. This move contributed to the breakup of his 16-year marriage, because his wife refused to leave New Orleans. Scott worked on fishing boats and hunted muskrats to earn a living. From 1975-84, he was employed as a maintenance man and machine operator at the Lafitte Canning Company.

Scott's work was featured in such exhibitions as "It'll Come True: Eleven Artists, First and Last"(1992), organized by Sylvia and Warren Lowe for the Artists

Alliance, in Lafayette, Louisiana; and "Passionate Visions of the American South: Self-Taught Artists from 1940 to the Present" (1993), at the New Orleans Museum of Art, curated by Alice Yelen. Scott is also included in the Museum ofAmerican Folk Art Encyclopedia of Twentieth-Century American Folk Art and Artists, by Chuck and Jan Rosenalc(1990); and Self-Taught, Outsider, and Folk Art, by Betty Carol Sellen with Cynthia Johanson (2000).

—Lee Kogan

James Scott(1922-2003) ames P. Scott, a modelboat builder from Lafitte, Louisiana, died mid-April, in New Orleans. In addition to boats, Scott constructed model vernacular houses, a church, airplanes, and an oilrig. Using recycled materials, such as driftwood,tin, garden hoses, and linoleum, to name just a few, he glued and nailed the parts together, finished his models with brightly colored paint, and sometimes added further embellishments of Mardi Gras beads, shells, trinkets, and flags. Many

J

76 FALL 2003 FOLK ART

ANNOUNCEMENT

Fall Book Sale Shirley K. Schlafer Library American Folk Art Museum 45 West 53rd Street New York City Wednesday, October 15

ANTON RAARDT GALLERY 2858 Magazine St. New Orleans, LA 70115 (504)891-9080 t (504)897-2050 f www.antonart.com

SHIPS BY

JOHN TAYLOR

GARDE RAIL GALLERY ships on view at

www.garde-rail.com TEL. 206.721.0107

The Museum's Shirley K. Schlafer Library will hold its second annual Fall Book Sale this Oct. 15. Several hundred books and catalogs will be offered at bargain prices, with all

LECTERN BOX Artist unidentified New England Second half nineteenth century Paint on wood with applied printed pages 7/ 1 2 x 141 / 4 10/ 1 2 " Collection American Folk Art Museum, promised gift of Ralph Esmerian, P1.2001.86

proceeds benefiting the Library's Book Acquisitions Fund.

If you would like to donate additional materials for the sale, please contact the librarian, James Mitchell, at 212/265-1040,ext. 110, or e-mail jmitchell@folkartmuseum.org.

FALL 2003 FOLK ART 77

TRUS TEES /DONOR S

AMERICAN

FOLK

ART

MUSEUM

BOARD OF TRUSTEES Executive Committee Ralph 0.Esmerian Chairman ofthe Board L. John Wilkerson President Frances Sirota Martinson, Esq. Executive Vice President and Chairman, Executive Committee Lucy C. Danziger Executive Vice President Joan M.Johnson Vice President Barry D. Briskin Treasurer Jacqueline Fowler Secretary

Members Didi Barrett Edward V. Blanchard Jr. Paul W.Cam Barbara Cate David L. Davies Susan Gutfreund

Robert L. Hirschhorn Kristina Johnson, Esq. David Krashes Taryn Gottlieb Leavitt Nancy Mead George H. Meyer, Esq. Cyril I. Nelson Laura Parsons J. Randall Plummer Julia T. Richie

Margaret Z. Robson Selig D. Sacks, Esq. Bonnie Strauss Nathaniel J. Sutton Richard H. Walker. Esq.

Gail Brown Marc Brown & Laurene Krasny Brown J. Bruce Antiques Fred & Theresa Buchanan in memory of Sybil Gibson Charles & Deborah Burgess Jim Burk Antique Shows The Burnett Group Marcy L. Burns/American Indian Arts Joyce A. Burns Paul & Dana Caan Lewis P. Cabot Elinor B. Cahn Mr.& Mrs. Donald Campbell Bliss & Brigitte Carnochan Caterpillar Foundation John W.Castello in memory of Adele Earnest Donald N. Cavanaugh & Edward G.Blue Edward Lee Cave Virginia G.Cave Shari Cavin & Randall Morris Peter P. C , Pere Sharon S. Cheeseman Christie's Richard & Teresa Ciccotelli Barbara L. Cluster Lori Cohen Alexis & George Contos In memory of Daniel Cowin Mrs. Daniel Cowin Jeanne D.Creps Mr.& Mrs. Edgar M. Cullman Elissa F. & Edgar M. Cullman Jr. Joe & Joan Cullman Susan R. Cullman Catherine G. Curran Kendra & Allan Daniel David & Sheena Danziger Lucy & Mike Danziger Peggy & Richard M.Danziger David L. Davies Darwin/Carolinn Pocher & William Woody Joseph Del Valle Vincent & Stephanie DiCicco H. Richard Dietrich Jr. Mr.& Mrs. Charles M.Biker Patricia McFadden Dombal Colette & Jim Donovan Doyle New York/Kathleen M. Doyle Deborah & Arnold Dunn Ray & Susan Egan Gloria Einbender Sharon & Ted Eisenstat Elitzer Family Fund in honor of Anne Hill & Monty Blanchard David & Doris Walton Epner Joyce & Klaus Eppler Ralph 0. Esmerian Susan H.Evans In Memory of Heila D. Everard Sam & Betsey Farber Nancy Farmer & Everette James Mike & Doris Feinsilber Bequest of Eva & Morris Feld Elizabeth C. Feldmann M. Finkel & Daughter Fireman's Fund Insurance Company Deborah Fishbein

Alexander & Enid Fisher Laura Fisher/Antique Quilts & Americana Jacqueline Fowler Beverly Frank Gretchen Freeman & Alan Silverman Mrs. Albert D.Freiberg Susan 0. Friedman Alvin E. Friedman-Kien, M.D. Furthermore, the publication program of the J.M. Kaplan Fund Galerie St. Etienne, Inc. Gallery of Graphic Arts, Ltd. Rebecca & Michael Gamzon Judy & Jules Garel Garth's Auctions, Inc. Rich & Pat Garthoeffner Sidney & Sandra Gecker Nancy Gerber Morad Ghadamian Sims Ghadamian Merle & Barry Ginsburg James & Nancy Glazer Mr.& Mrs. Merle H. Glick Carla T. Goers Edith H. Goldberg Russ & Karen Goldberger Mrs. Toni L. Goldfarb Tracy Goodnow Art & Antiques Ellin & Baron Gordon Howard Graff Jonathan Green Nancy M.& Ben S. Greenberg Greene & Mays American Antiques Marion E. Greene Blanche Greenstein & Thomas Woodard William & Shirley E. Greenwald Peg & Judd Gregory Audrey Elkinson Griff Bonnie Grossman/The Ames Gallery Pat Guthman Alan & Elaine Haid Robert & Linda Hall Cordelia Hamilton Ken & Debra Hamlett Nancy B. Hamon Jeanne & Herbert Hartsell Deborah Harding Marion Harris & Jerry Rosenfeld Harvey Art & Antiques Audrey Heckler Donald Heller, Heller/Washam Nina Hellman Jeffrey Henkel Mr.& Mrs. George Henry Mr. & Mrs. Samuel Herrup Ann Hickerson & Martha Hickerson Antonio Hidalgo The High Five Foundation Frederick D. Hill Pamela & Timothy Hill Kit Hinrichs The Hirschhorn Foundation, Robert & Marjorie Hirschhorn, Carolyn Hirschhorn Schenker Historical Society of Early American Decoration Arlene & Leonard Hochman Mr.& Mrs. Joseph C. Hoopes Jr.

Carter G. Houck Sr. Evelyn Houlroyd Ellen E. Howe Mr.& Mrs. Philip Howlett Allen & Barry Huffman Peter D. Hynson Antiques Paul Ingersoll In the Beginning Fabrics Thomas Isenberg In memory of Laura N. Israel Thomas & Barbara Israel The Jamison Williams Foundation Johnson & Johnson Joan & Victor Johnson Kristina Johnson, Esq. Louise & George Kaminow Julie & Sandy Palley and Samuel & Rebecca ICardon Foundation Allan & Penny Katz Edwin U. Keates, M.D. Steven & Helen Kellogg Jolie Kelter & Michael Make Richard Kemble & George Korn, Forager House Collection Mrs. David J. Kend Leigh Keno Amy Keys Jacqueline & Jonathan King Phyllis Kind Joe K. Kindig Ill Susan & Robert E. Klein Nancy Knudsen Nancy Kollisch & Jeffrey Pressman Greg K. Kramer David & Barbara Krashes Dr. Robert & Arlene Kreisler Sherry & Mark Kronenfeld Robert A. Landau Bruno & Lindsey LaRocca Michelle & Lawrence Lasser William & Karen Lauder Jerry & Susan Lauren Wendy & Mel Lavitt Mark & Taryn Leavitt The Edith and Herbert Lehman Foundation, Inc. In Memory of Henry J. & Erna D. Lair John A. Levin & Co., Inc. Bertram Levinston, M.D. Levy Charitable Trust Judy Lewis The Liman Foundation Lipman Family Foundation The 2000 Lipman Fellows Bruce Lisman In Memory of Zeke Liverant Nancy MacKay Nancy & Erwin Maddrey Anne & Vincent Mai Maine Antique Digest The Jane Marcher Foundation Harriet Marple Plehn Trust Paul Martinson, Frances Martinson, & Howard Graff in memory of Burt Martinson Mr.& Mrs. Christopher Mayer In Honor of Nancy Mayer Mrs. Myron Mayer

Joyce B. Cowin Samuel Farber

Trustees Emeriti Joseph F. Cullman 3rd Cordelia Hamilton George F. Shaskan Jr.

CAPITAL CAMPAIGN DONORS The American Folk Art Museum announced a $34.5 million campaign to construct and endow its new home on West 53rd Street. As of June 30, 2003, the following donors have contributed $33,1300,000: Marjorie W. Abel James & Gail Addiss Dr. & Mrs. Karl P. Adler Alconda-Owsley Foundation Judith Alexander George R. Allen/Gordon L. Wyckoff-Raccoon Creek Antiques American Capital Access The American Folk Art Society Barbara Anderson Ingrid & Richard Anderson Marna Anderson Judy Angelo Cowen Foundation Marie T. Annoual Aarne Anton Barbara Ardizone Marion Armstrong R.R. Atkins Foundation Lois S. & Gad Avigad Joan & Darwin Bahm Marcia Bain Lori Ann Baker, Baker & Co. Designs Ltd. Marianne E. Balazs Denny Beach Judy & Barry Beil in honor of Alice & Ron Hoffman Bankers Trust Company Barn Star Productions, Inc. Didi & David Barrett Jimi Barton-Rhinebeck Antiques Fair Joyce & Ron Bassin/Bird In Hand Patricia Beatty Mary F. Beck Ellen Stone-Belic Philip & Leah Bell Laurine Hawkins Ben-Dov Mrs. Arthur M. Berger Julie M. Bernson Big Apple Wrecking & Construction Corporation Mrs. George P. Bissell Jr. Diana H. Bittel Edward V. Blanchard & M. Anne Hill Blanchette Hooker Rockefeller Fund Lenore & Stephen Blank Bloomberg L.P. The Bodman Foundation Booth Ferris Foundation Robert, Katharine, & Courtney Booth Catherine & Chris Botta Marilyn W.Bottjer Edith S. & Barry D. Briskin/Shirley K. Schlafer Foundation Susan Brodish Florence Brody Sheila & Amon Brog R. Scott Bromley The Brown Foundation, Inc., Houston Curtis F. Brown, Hayden Goldberg Mr.& Mrs. Edward James Brown

78 FALL 2003 FOLK ART

DONORS

Kerry McCarthy Milly McGehee Nancy & Dana Mead Mary 0. Mecagni Robert & Meryl Meltzer Charles W. Merrels Evelyn S. Meyer George H. Meyer Jim & Enid Michelman Mrs. E.J. Milano Mr.& Mrs. Samuel C. Miller Judith & James Milne Jean Mitchell Sandra Moers JP Morgan Chase & Co.,Inc. Keith & Lauren Morgan Morris Levinson Foundation, Inc. Alden & Jane Munson Lucia Cirino Murphy Drew Neisser Cyril Irwin Nelson New York City Department of Cultural Affairs New York State Margaret & David Nichols Thurston Nichols Mr.& Mrs. Frank N. Norris Jr. Northeast Auctions, Ronald Bourgeault Susan Nova Sally W.O'Day Odd Fellows Antiques Bequest of Mattie Lou O'Kelley Olde Hope Antiques Cheryl Oppenheim & John Waters The Overbrook Foundation Patsy Palmer & Talbot D'Alemberte Virginia Parks Patemostro Investments Eloise Paula Rolando & Karin Perez Jan Petry Philip Morris Companies Inc. Elizabeth A. Pile Harvey S. Shipley Miller & J. Randall Plummer Frank & Barbara Pollack Lucile & Maurice Pollak Fund Pook & Pook Inc./Ronald & Debra Pook Wayne Pratt, Inc. Fran Puccinelli Jackie Radwin Teresa Ranellone Christopher T. Rebello Antiques Ricco/Maresca Gallery Julia & Leroy Richie Jeanne Riger Marguerite Riordan John & Margaret Robson Foundation Le Rowell Miss Virginia Carolyn Rudd F. Russack Antiques & Books, Inc. Selig D. Sacks Judith Sagan Mary Sams-Ballyhack Antiques Jack & Mary-Lou Savitt Peter L. Schaffer Carol Peden Schatt Shirley K.Schlafer Memorial Fund In Memory of Esther & Sam Schwartz Marilyn & Joseph Schwartz The Schwarz Gallery, Philadelphia Phyllis & Al Selnick Jean S. & Frederic A. Sharf The Peter Jay Sharp Foundation In Honor of George Shaskan The George and Myra Shaslcan Foundation, Inc. Roz & Steve Shaw Arthur & Suzanne Shawe Elle Shushan Jo Sibley John Sideli Eleanor R. Siegal

Francisco F. Sierra Elizabeth Silverman Skinner, Inc., Auctioneers and Appraisers of Antiques and Fine Art Sanford L.Smith & Patricia Lynch Smith Sarah Barr Snook Elliott & Grace Snyder Mr. & Mrs. Peter J. Solomon Sotheby's Maxine Spiegel The Splendid Peasant/Martin & Kitty Jacobs Nancy T.& Gary J. Stass Frederick Stacker Stella Show Mgmt. Co. Su-Ellyn Stem Tamar Stone & Robert Eckstein Rachel & Donald Strauber Bonnie & Tom Strauss The R. David Sudarsky Charitable Foundation Nathaniel J. Sutton Leslie Sweedler John & Catherine Sweeney William Swislow Takashimaya Co., Ltd. Connie Tavel Richard & Maureen Taylor Nancy Thomas David Teiger Tiffany & Co. Jeffrey Tillou Antiques Peter Tillou Pamela P. Tisza Jean L. & Raymond S. Troubh Fund Tucker Station Antiques Karen Ulfers John & Kathleen Ullmann Lee & Cynthia Vance Jacob & Ray Van Gelder Bob & Ellie Vermillion Joan & Clifford Vemick Joseph & Meryle Viener Robert E. Voelkle David & Jane Walentas Jennifer Walker Clifford A. Wallach Irene N. Walsh Don Walters & Mary Benisek Warburg Pincus The Andy Warhol Foundation for the Visual Arts Elizabeth & Irwin Warren Nani S. Warren Martha Watterson Weeden Brothers: Bill, Alan, Jack, & Don Mr.& Mrs. Alan N. Weeden Weil, Gotshal & Manges LLP Frederick S. Weiser David M. Weiss Jay & Meryl Weiss Ed Weissman Julia Weissman Mr.& Mrs. Peter Wells Ben Wertldn David Wheatcroft Harry Wicks Donald K. Wilkerson, M.D. John & Barbara Wilkerson Nelson M. Williams John Wilmerding Charles & Phyllis Wilson Robert N. Wilson & Anne Wright Wilson Dr. Joseph M.& Janet H. Winston Susan Yecies J. Evelyn Yoder Valerie Young Shelly Zegart Antique Quilts Malcah Zeldis I. H. & Birgitta X.L. von Zelowitz Bernadette Mary Zemenick Steven J. Zick Jon & Becky Zoler 27 Anonymous Donors

Intuit Intuit: The Center for Intuitive and Outsider Art 756 N. Milwaukee Ave. Chicago, IL 60622 312.243.9088 fax 312.243.9089 intuit@art.org Open Wednesday-Saturday noon to 5 and by appointment

www.artorg

ALEXANDRA HUBER new works on-line and at the gallery BEVERLY KAYE 15 LORRAINE DRIVE WOODBRIDGE, CT

203.387.5700

artbrut.COTTI by appointment

FALL 2003 FOLK ART 79

DONORS

WORKS BY

SUSAN SLYMAN DONORS FOR EXHIBITIONS AND OPERATIONS— July 1, 2002-June 30, 2003 The American Folk Art Museum appreciates the generous support of the following friends: $100,000 and above Carnegie Corporation The Andrew W.Mellon Foundation Sports Illustrated Van Wagner Communications

CAN BE SEEN AT

FRANK J. MIELE CONTEMPORARY AMERICAN FOLK ART 10E16 MADISON AVENUE NEW YORK, N.Y. 10028 212.249.7250

GALLERIE JE REVIENS ONE RIVERSIDE AVENUE WESTPORT CT. 068E30 203.227.771B

LESLIE MUTH GALLERY Contemporary American Folk Art SINCE 1981 AND NOW ON LINE A sample of artists on the website: Minnie and Greg Adkins Eddie Arning "Uncle Pete" Drgac Jake Harwell William Hawkins Greg Pelner "Alex" Sandoval Derek Webster and Navajo Folk Artists www.lesliemuthgallery.com 221 E. de Vargas Sante Fe New Mexico 87501 phone 505-989-4620 fax 505-466-2816 lesliemuth@aol.com By appointment or chance

80 FALL 2003 FOLK ART

$99,999—$50,000 Bloomberg L.P. William Randolph Hearst Foundation Leir Charitable Trusts Major League Baseball SwissPeaks Festival Corporation John & Barbara Wilkerson Two anonymous donors $49,999-820,000 Edith S. & Barry D. Briskin Burnett Group Paul & Dana Caan Cahill Gordon & Reindel Mrs. Daniel Cowin Joseph F. Cullman 3rd Lucy & Mike Danziger David L. Davies & Jack Weeden Deutsche Bank Ralph 0.Esmerian Samuel BE Betsy Farber Jacqueline Fowler Mr.& Mrs. John H. Gutfreund Mr. & Mrs. Robert Hirschhorn Joan M.& Victor L. Johnson Kristina Johnson, Esq. Barbara & David Krashes Mr. & Mrs. Lawrence J. Lasser Latham & Watkins LLP Taryn & Mark Leavitt Frances Sirota Martinson, Esq. Nancy & Dana Mead George H. Meyer, Esq. National Endowment for the Arts Dr. Laura & Mr. Richard D. Parsons J. Randall Plummer Julia T.& Leroy Richie Margaret Z. Robson Selig D. Sacks Shearman & Sterling Sidley Austin Brown & Wood Bonnie & Tom Strauss Nathaniel J. Sutton Richard H. Walker, Esq. The Andy Warhol Foundation for the Visual Arts Fred Wilpon/New York Mets Two anonymous donors $19,999—$10,000 Altria Group,Inc. Athena Group LLC The Bachmann Strauss Family Fund,Inc. Dr. & Mrs. Alex Berenstein Bristol-Myers Squibb Company Brooklyn Digital Foundry Cadwalader, Wickersham,& Taft Vice President & Mrs. Richard B. Cheney Citigroup, Inc. Consolidated Edison Credit Suisse First Boston Debevoise & Plimpton The Gladys Krieble Delmas Foundation

William Doyle Galleries Douglas E. Ente in memory of Ellin Ente Furthermore, the publication program of the J.M. Kaplan Fund Marion Greene Johnson & Johnson Companies The Robert and Luise Kleinberg Fund at the Jewish Communal Fund KPMG LLP The Lipman Family Foundation, Inc. Mr.& Mrs. Vincent Mai JP Morgan Chase & Co.,Inc. Mr.& Mrs. Keith Morgan National Financial Partners New York State Council on the Arts Pfizer, Inc. PricewaterhouseCoopers LLP Mr.& Mrs. Daniel Rose The Judith Rothschild Foundation The Shirley K. Schlafer Foundation R. David Sudarsky Charitable Foundation The Tomorrow Foundation Weil, Gotshal, & Manges LLP The Jamison Williams Foundation One anonymous donor 89,99944,000 The American Folk Art Society AOL Time Warner,Inc. Molly F. Ashby & Gerald M.Lodge The Bloomingdale's Fund of the Federated Department Stores Foundation Bernard & Judy Briskin in honor of Barry Briskin The John R.& Dorothy D.Caples Fund The Jay Chiat Foundation The Judy Angelo Cowen Foundation Peggy & Richard M. Danziger Steven Ente in memory of Ellin Ente Evelyn Frank in honor of Myra & George Shaskan Barry & Merle Ginsburg Audrey B. Heckler Stephen M. Hill JoCarole & Richard Lauder The Magazine Group Manoogian Simone Foundation Marsdand Foundation Christopher Mayer MBNA America, NA. New York City Department of Cultural Affairs The Mattie Lou O'Kelley Memorial Trust The Overbrook Foundation Pat Parsons Paul & Judy Patemostro Fticco/Maresca Gallery The William P.& Gertrude Schweitzer Foundation, Inc. The George F. and Myra Shaskan Foundation, Inc. E. Newbold and Margaret duPont Smith Foundation Irwin H.& Elizabeth V. Warren Robert N. Wilson/Pheasant Hill Foundation Three anonymous donors 83,999-82,000 The Acorn Foundation, Massachusetts Mr.& Mrs. Bob Alexander Deborah & James Ash Avenue of the Americas Association Jeremy L. Banta

DONORS

Ms. Denise Benmosche Alvan & Claude Bisnoff Mr. Thomas Block & Ms. Marilyn Friedman Mr.& Mrs. Sheldon Bonovitz Robert & Kathy Booth Edward J. & Margaret Brown John Castle Mr.& Mrs. Edgar M. Cullman Maureen D. Donovan The Charles Edlin Family Charitable Foundation Fastsigns Eric J. & Anne Gleacher Elise Goldschlag & Kevin Lundeen Allan & Penny Katz Mr.& Mrs. Robert Kleinberg Mr.& Mrs. Lawrence J. Lasser Jerry & Susan Lauren Lehman Brothers Mary & Stephen Meadow Merrill Lynch Loree & Richard Meyer Mr.& Mrs. J. Jefferson Miller II Leslie Miller & Richard Whorley Donald & Cynthia Murphy Oshman's Foundation Rolando & Karin Perez Dorothea & Leo Rabkin Mr. & Mrs. Keith Reinhard Paige Rense Marguerite & Arthur Riordan John R. Robinson, Esq. Carol Peden Schatt Su-Ellyn Stern Dorothy C. Treisman Mr.& Mrs. John L. Weinberg Gerard C. Wertkin The Zankel Fund $1,899—$1,000 Mr.& Mrs. A. Marshall Acuff Jr. Mr.& Mrs. Ted Alfond Grace Allen Joseph S. Allerhand Jamie Davis Anchin James Asselstine & Bette J. Davis Ms. Anne H. Bass Marvin & Jill Baten Mr.& Mrs. Barry Beil Daniel Berman Jessica & Natan Bibliowicz Mrs. Peter Bing Rhoda & Gerald Blumberg Betsy Bogner Marvin & Lois P. Broder/Lucile & Maurice Pollak Fund Brenda Brody Brooklyn Cyclones Marc & Laurie Krasny Brown Ms. Gale M. Brudner Charles & Deborah Burgess Citicorp Foundation Matching Gifts Program Coach Dairy Goat Farm Congregation Beth Israel, Houston Mr.& Mrs. Edgar M. Cullman Kendra & Allan Daniel Aaron & Judy Daniels Greg A.& Susan Danilow Michael Del Castello Mr. & Mrs. Richard DeScherer Michael Donovan & Nancye Green Louis Dreyfus Holding Company Dunphy Family Foundation, Inc. The Echo Foundation Gloria G. Einbender Jill Gallagher Daniel M.and Lianna Gantt

Mr.& Mrs. Bruce Geismar Dr. Kurt A. Gitter & Ms. Alice Yelen Barbara Gordon & Steve Cannon Susan Zises Green Cordelia Hamilton Mr.& Mrs. James Harithas Mr. Simca Heled Mr.& Mrs. Richard Herbst Stephen Hessler & Mary Ellen Vehlow The Hirschhorn Foundation Mr. Paul Hurley Thomas Isenberg Theodore J. Israel Mr.& Mrs. Thomas C. Israel Pepi & Vera Jelinek Betty Wold Johnson & Douglas F. Bushnell Richard T. Kanter Nancy Kollish & Jeffrey Pressman Mr.& Mrs. Abraham Krasnoff Robert A. Landau Mr.& Mrs. Ronald S. Lauder Glorya & Fred Leighton Barbara S. Levinson Mr.& Mrs. Carl M. Lindberg Ronnie Livia Carl D. Lobel] Macy's East Michael T. Martin The Helen R.& Harold C. Mayer Foundation Mrs. Myron L. Mayer Michael & Gael Mendelsohn Mr.& Mrs. Danny Meyer Virginia B. Michel Judith & Bernard Newman New York Yankees Foundation Victor & Susan Niederhoffer David O'Connor Philip V. Oppenheimer & Mary Close Mr.& Mrs. Francis C.Parson Jr. Anthony J. Petullo Foundation Robert & Marianne Polak Mr.& Mrs. Mortimer Propp Jack & Roberta E. Rabin Jackie & Howard Radwin Jean Rather Irene Reichert William D. Rondina Mr.& Mrs. Jeff T. Rose Dr. & Mrs. Roger Rose Robert A. Roth Derald & Janet Ruttenberg Paul J. Schatt Paul & Elizabeth Schaffer Peter L Schaffer Mr.& Mrs. Marvin Schwartz Philip & Cipora Schwartz Semlitz Glazer Foundation Mr.& Mrs. Peter L. Sheldon Harvey S. Shipley Miller Myron B.& Cecile B. Shure Francisco F. Sierra Hardwick Simmons Joel & Susan Simon Donna & Elliott Slade Richard & Stephanie Solar Jennifer Allan Soros Patricia & Robert Stempel Elizabeth & Geoffrey A. Stern Donald & Rachel Strauber Maryann Sudo Doris & Stanley Tananbaum David Teiger Dennis Thomas Ms. Karel F. Wahrsager Jennifer Walker Linda Waterman Pastor Frederick S. Weiser

AMERICA'S OLDEST MAKERS OF COLONIAL AND EARLY AMERICAN LIGHTING FIXTURES

AUTHENTIC DESIGNS www.authentic-designs.com West Rupert, Vermont 05776 (802) 394-7713 • 800-844-9416 Catalogue $3.00

BARN STAR PRODUCTIONS IN COOPERATION WITH JIM BURK ANTIQUES SHOWS PROUDLY ANNOUNCES

THE PENNSYLVANIA ANTIQUES SHOW 0*1 41 :ER 31 - NOVEMBER 1 1. _ FillIDAY, 9AM - 7PM ,10AM - 5PM

Ove

reviews•No Early-Buyers

AT THE YORK EXPO ARENA YORK, PA

Two GREAT SHOWS UNDER ONE ROOF!

FOR COMPLETE SHOW INFORMATION CALL (845) 876-0616/www.barnstar.com

FALL 2003 FOLK ART Si

DONORS

New York's Largest & Most Comprehensive Antiques Show!

TRIPLE PIER ANTIQUES NOV.8-9 & 15-16 600 DIFFERENT DEALERS EACH WEEKEND! 17th to 20th Century Furniture, Folk Art, Fine Art, Fashion, Jewelry & Objects

Passenger Ship Terminal Piers 88-90-92 12th Avenue @ 48th - 55th Streets, NYC Winter/Spring Pier Shows: Jan. 17-18 and Mar. 20-21, 2004 Stella Show Mgmt. Co. 212-255-0020 • www.stellashows.com

BROORLY11 PLACES FOLK ART mums fino PRIATS

BY SELF-TAUGHT ARTIST

inn ROOTH

on the web at:

WWW.BROOKLYNPLACES.COM 607-146-8122

82 FALL 2003 FOLK ART

Janis & William Wetsman Mrs. Joseph M. Winston Ms. Teri Wilford Wood & Mr. John Busey Wood Four anonymous donors S999-5500 Kristin Accola & Gary Snyder Robert & Wendy Adler George R. Allen/Gordon L. Wycoff-Raccoon Creek Antiques Richard C.& Ingrid Anderson Anthony Annese Lucy & Joel Banker Didi & David Barrett Frank & June Barsalona Mr.& Mrs. Myron Bazar Deborah Bergman Mrs. George P. Bissell Jr. Edward V. Blanchard Jr. Dena Bock Mr.& Mrs. James A. Block Mr.& Mrs. Leonard Block Jeffrey & Tina Bolton Marilyn & Orren Bradley Valerie Brown Miriam Cahn Marcy Carsey Gabrielle & Frank Casson Barbara Cate WE.Charming & Company, Inc. The Chase Manhattan Foundation Matching Gift Program Marjorie Chester Kathleen Cole Mr. George-Anthony N. Colettis Mrs. Phyllis Collins Stephen H. Cooper & Prof. Karen Gross Simon Critchell Susan R. Cullman Kathryn M. Curran Gary Davenport David & Sheena Danziger Dr. Janet L. Denlinger Richard and Barbara Donsky Foundation Nancy Drucicman Arnold & Debbie Dunn Shirley Durst Mr.& Mrs. James A.Edmonds Jr. Sanford B. Ehrenlcranz Evnin/AE Charitable Foundation Ross & Gladys Faires Jessie Lee Farber Eva & Morris Feld Fund Burton M.& Helaine Fendelman Thomas K. Figge Lawrence Fink Jane Fonda Charlotte Frank Ms. Evelyn Frank Mr.& Mrs. John Funabiki Gail Furman,Ph.D. Judy & Jules Garet Gemini Antiques, Ltd. Margaret A. Gilliam Mrs. Bruce Gimbel Millie & Bill Gladstone Merle & Barbara Glick Henry Goldstein & Linda Broessel Kelly Gonda Ellin & Baron J. Gordon Marten Gordon Howard M.Graff Peter T.& Laura Grauer Robert M.Greenberg Nanette & Irvin Greif John Herrmann Leonard & Arlene Hochman

Mr.& Mrs. Robert Hodes John & Laima Hood Pamela J. Hoiles John & Sandra Horvitz Michael T. Incantalupo Mr.& Mrs. Ken Iscol Guy Johnson Todd & Paige Johnson Mr. & Mrs. Austin Kalish Kandell Fund Mr.& Mrs. Martin Katz Steven & Helen Kellogg Ms. Joan E. Kend Mary Kettaneh John J. Kirby Jr. Mr.& Mrs. Michael Klein Barbara S. Klinger Mr.& Mrs. Stuart ICrinsly Mr. & Mrs. Theodore A. Kurz Nancy Lasalle Wendy & Mel Levitt Sam & Stephanie Lebowitz Judith Lewis Robert A. Lewis Frances & James Lieu Sherwin & Shirley Lindenbaum Billie & Phil Logan Gloria Lonergan Nancy Maddrey Jane Marcher Foundation Esperanza G. Martinez Chriss Mattsson Mr.& Mrs. John A. Mayer Grete Meilman Joan & Martin Messinger Evelyn S. Meyer Michael & Pamela Miles Jonathan Miller & Phyllis Winstral Judith & James Milne Museums New York Ann & Walter Nathan Cyril I. Nelson New Vernon Garden Club Olde Hope Antiques, Inc. Robert & Stephanie Olmsted David Passerman Bob Patton & Busser Howell Dr. Burton W.Pearl Ms. Betty Pecore Janet S. Petry Mr.& Mrs. Anthony P. Picadio Mr.& Mrs. Terry Pillow Daniel & Susan Pollack Mr.& Mrs. F.F. Randolph Jr. Toby & Nataly Ritter Cheryl Rivers & Steve Simons Abbey Rosenwald Frank & Nancy Russell Mr.& Mrs. Robert T. Schaffner Jean S. & Frederic A.Sharf Margaret Schmidt Mr.& Mrs. Carl J. Schmitt Mr.& Mrs. Michael P. Schulhof Mr.& Mrs. Joseph D. Shein Mr.& Mrs. Ronald Shelp Raymond & Linda Simon Arun & Barbara Singh Arthur M.Sislcind & Mary Ann Siskind Stephanie Smither Theresa Snyder Karen Sobotka Donald & Rachel Strauber Jane Supino Mr.& Mrs. Peter Tishman Mr. Frank Tosto Mr.& Mrs. David Walentas Donald & Pat Weeden Brenda Weeks-Nerz

DONORS

GALERIE SUSI BRUNNER Bennett & Judie Weinstock Judy & Harold Weissman Herbert C. Wells Mr.& Mrs. Ira Wender Richard & Margaret Wenstrup Mr.& Mrs. C. A. Wimpfheimer Cyria & Melvyn Wolff Family Foundation Rosalie Wood

J. Evelyn Yoder Tim & Nina Zagat Diana Zanganas Louis & Susan Zinterhofer Jon & Becky Zoler Benjamin & Barbara Zucker Mr.& Mrs. Donald Zuckert Linda Zukas

SPRING BENEFIT CELEBRATING THE PERFECT GAME: AMERICA LOOKS AT BASEBALL The American Folk Art Museum appreciates the generous support of the following friends: 549,999-520,000 AOL Time Warner Bear Steams Companies Inc. Citigroup, Inc. Louise & Edgar Cullman Sr. Deutsche Bank 819,999410,000 Comcast Lucy & Mike Danziger Ralph 0.Esmerian Sam & Betsey Farber Jacqueline Fowler Millie & Bill Gladstone Mr. & Mrs. Leonard A. Lauder Taryn & Mark Leavitt Mr. & Mrs. Dana G. Mead Margaret Z. Robson Richard & Amy Rubenstein Selig Sacks/Pryor Cashman Sherman and Flynn, LLP SFX Sports Group/Clear Channel Entertainment Bonnie & Tom Strauss Nathaniel J. Sutton TD Waterhouse USA Weil, Gotshal, & Manges LLP L. John & Barbara Wilkerson 89,99944,000 Eleanor F. Bourke & John M.Sullivan Jane Forbes Clark Dorothy & Lewis B. Cullman Ellie & Edgar M. Cullman Jr. Susan R. Cullman Peggy & Richard M.Danziger Mr.& Mrs. Alfred C. Eckert III Margot & John Ernst Steve & Myrna Greenberg Mr.& Mrs. Robert L. Hirschhorn JoCarole & Ronald S. Lauder Mr. & Mrs. Peter O'Malley 83,99942,000 Judy & John M. Angelo The Bibliowicz Family Thomas Block & Marilyn Friedman Edith S. & Barry D. Brislcin The Churchill Family Foundation Amy Finkel & Richard Braemer Henry Hacker Robert & Luise Kleinberg Dave & Barbara Krashes John A. Levin Frances S. Martinson Meg Smeal Peter J. Solomon Family Foundation Judy & Michael Steinhardt Mrs. Claire F. Vanderbilt Fay Vincent Sue & Edgar Wachenheim HI

Stephen & Suzanne Weiss Barbara & Gerard C. Wertkin $1,989-$1,000 Molly F. Ashby Martin & Rhoda Barr Dish & David Barrett John & Violaine Bembach Edward V. Blanchard Jr. Mr. & Mrs. James A. Block Murray & Kay Delaney Bring Jane & Sandy Burton Mrs. Daniel Cowin Joseph F. Cullman 3rd Allan & Kendra Daniel Katie Danziger & Steven Horowitz Nancy C. Drucicman T.J. Dermot Dunphy Andrew Edlin & Batia Zumwalt Ellie & Arthur Redskin Arlyn & Edward Gardner Ray J. Groves Mr.& Mrs. David Hunt Christopher Jones & Debbie McAlister Stephanie & Ron Kramer Cynthia & Dan Lufkin Robert & Meryl Meltzer Nancy & Morris W. Offit Robert & Stephanie Olmsted Robert & Karen Osar Mr.& Mrs. Richard Perez Jill & Mark Rachesky Lisa & Gregg Rechler Paul Reiferson & Julie Spivack Julia T.& Leroy Richie Jerry & Dorothy Rosenberg Richard & Judith Rosenberg Helene & Jim Rosenthal Abbey & Tom Rosenwald Arthur Ross Foundation Howard J. Rubenstein Linda & Donald Schapiro Phyllis & Alfred Selnick Harvey S. Shipley Miller Linda & Ray Simon William W.Stahl Jr. Mr.& Mrs. David F. Stein H. Peter Stern Donald & Rachel Strauber David Teiger Jean L.& Raymond S. Troubh Family Foundation John & Kathleen Ullmann Elizabeth & Irwin Warren Giulia & Marc Weisman Roger Weiss Family Foundation

Spitalgasse 10 • 8001 Zurich Tel 01/251 23 42 • Fax 01/ 261 23 49 • www.susibrunnerch

Mr.& Mrs. Aaron Daniels Bruce DiSanto Strachan Donnelley,Ph.D. Elsmere Foundation Inc. Judy & Tony Evnin Frances J. Frawley Margot & Norman Freedman Denise McN.Froelich Cordelia Hamilton Audrey B. Heckler Sanford L. Herzfeld & Audrey L Dursht Michael Incantalupo Michele Jones Sean P. Leary Lone Cowen Levy John S. Martinson/China Mist Tea Company Meg & David Nichols Mr.& Mrs. James Riordan Al & Pam Roberts Margot Rosenberg Jeanne & Robert Savitt Carol Schatt Lisa & Michael Schultz Mr.& Mrs. Hardwick Simmons Diane Smith Margaret Wright Steele Barry Tucker Amy & John S. Weinberg

RECENT DONORS TO THE COLLECTIONS David L. Davies Ralph 0. Esmerian Sam and Betsey Farber Mary Finnani Etienne Forel & Dr. Jacqueline Porret Forel Jacqueline Fowler Daniel M.Friedenberg Jules & Julie Garel Sam & Myra Gotoff Alex Palley Grossberg Ray Kass & Dr. Jerrie Pike Wendy Lavitt Michael Lerner Stephen Mazoh Colette F. McDonald Gloria Bley Miller Cyril Irwin Nelson Kyra Palley Margot B. Palley Jan Petry & Angie Mills Shirley Rubenstein Mr. F.C. Seibold Lynn Tackett Estate of Pauline Unger Gerard C. Wertkin

8999-$500 Irwin B. Ackerman Peg Alston Lee & Paul Belsky Therese & Paul Bembach The Brout Foundation Inc. Ann E. Cannel Howard & Roni Cowan

FALL 2003 FOLK ART 83

EPSTEIN/POWELL 66 Grand St., New York, N.Y. 10013

By Appointment(212)226-7316 e-mail: artfoLksOverizon.net

Jesse Aaron Rex Clawson Donovan Durham Antonio Esteves Victor Joseph Gatto (Estate) Lonnie Holley S.L. Jones Charlie Lucas

Justin McCarthy Old Ironsides Pry Popeye Reed Max Romain Bill Roseman Jack Savitsky Clarence Stringfield Mose Tolliver and other American outsiders

INDEX

Antique Dealers' Association of America Allan Katz Ames Gallery

Epstein/Powell

84

Mennello Museum

62

Fleisher-Olhnan

27,29

9

Galerie Bonheur

71

Raccoon Creek Antiques, L.L.C.

Galerie Susi Brunner

83

Ricco/Maresca Gallery

77

Sidney Gecker

18

62

Slotin Folk Fest

57

Stella Rubin

20

79

Stella Show Management

82

82

Stephen O'Brien

28

19

Aame Anton Art & Antiques

11

Garde Rail Gallery

Andover Fabrics

59

Hancock Shaker Village

Anton Haardt Gallery

77

Hill Gallery

Authentic Designs

81

Intuit

Inside Back Cover

Odd Fellows

Barbara Archer

16

Ivan Koota

Barn Star Productions, Inc.

81

Jackie Radwin

Beverly Kaye

79

Jan Whitlock

Charlton Bradsher

20

Jeffrey Tillou Antiques

Christie's

25

Kentucky Folk Art Center

60

Thurston Nichols

Cherry Gallery

23

Laura Fisher Antiques

26

Trotta-Bono

Classic Rug

61

Leslie Muth

80

University of Florida Press

Country Folk Art Festival

60

Lindsay Gallery

10

Walters/Benisek

Craig Farrow

75

MCG Productions/Wilton

55

M.Finkel and Daughter

28

David Wheatcroft Antiques

84 FALL 2003 FOLK ART

26

Back Cover 17 3

Steve Miller Susan Slyman Thomas Schwenke

12, 13 21

Inside Front Cover

1 80 5 14 4 59 6

HILL GALLERY

THERE IS NO OEATHWHi\J SELMS SO,IS TRANSITION

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407 West Brown St. Birmingham MI 48009 248.540.9288

JACKIE RADWIN

Rare Pair of Pastel Portraits New Jersey, circa 1820 Height 18". Width 15".

Artist unknown Provenance: Purchased by Edgar and Bernice Garbisch in 1953 from Roger Bacon.

Gifted by the Garbisches in 1981 to the Museum of Fine Arts in Boston where they have remained until this year.

By appointment• San Antonio, Texas •(210) 824-7711 Visit us at our website www.jackieradwin.com