G O O D W O O D treen • folk art • americana
volume 1
Copyright © 2008 by Steven S. Powers • All Rights Reserved • All photography except where noted © 2008 by Steven S. Powers Printed in U.S.A. by Kirkwood Printing, Wilmington, MA For: Leslie, Nathaniel & Eli
As a member of The Antiques Dealers' Association of America (ADA) all objects are guaranteed as represented.
G
ood
wood
is
g re a t
treen—exceptional, surprising, unexpect-
e d , re m a r k a b l e , s u b l i m e a n d (for the alliterative), wonderful wood! Good wood is ash, elm, maple,
c h e r r y, p i n e , p o p l a r, w a l n u t , birch and boxwood. It is wood carved
thin,
delicate
and
strong—worn soft like skin or warm glazed porcelain. I t i s c o m p l e x , l i k e a s u rf a c e acquired through use and age— air, fire, water, oil and food— carbonized, burnished, patinated and oxidized. Good wood is tactile and sometimes sensual, often subtle and understated, however confident and uniquely present. The aim of the GOOD WOOD catalog is to not only represent and define the very best in North
American
(and
select
English) treen, but also to offer choice American folk art and historical Americana.
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Obj. 1: New England Handled Ash Burl Bowl Circa: 1780-1800 Size: 18" L x 14" W x 6 3/4" H Provenance: Ted Trotta & Anna Bono, Shrub Oak, NY; Peter Brams, Jackson Heights, NY Literature: NORTH AMERICAN BURL TREEN: COLONIAL & NATIVE AMERICAN, Steven S. Powers, 2005, page 137, pl. 7/23 a/b. The quality of this bowl is truly remarkable—from the masterful execution of its organic bean-like form, tab handles, thin walls, dramatic concave lead into the foot and refined details of the rim (which is sharply beveled and dips in the middle). As for surface integrity, the rich dark nutty brown hue and burnt sienna undertones of the exterior contrasted with the dry tonal gradations of the interior makes it a benchmark for perfection.
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Obj. 2: Rare Marine Ivory Teetotum & Stand Circa: 1680-1710 Size: (ball) 1 3/4" D; (stand) 3" H x 2" W Related literature: see, The Adler Collection, Sotheby’s, London, Feb. 24, 2005, lot 93 Carved from solid marine ivory each of the thirty-two faceted sides are numbered. Only a few such examples are known. I know of no other with an accompanying stand. A teetotum is a polygonal gambling ball of which there are numerous variations (the Jewish dreidel being one).
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Obj. 3: Folk Art Walking Stick Circa: 1840 Size: 33" OAL A pre-Civil War and atypical cane with a portrait bust of a woman carved from within the solid of the shaft. She is polychromed and has ringlet carved hair (reminds one of early carved doll heads).
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Obj. 4: Carpenter’s Carved Walking Stick Circa: 1880 Size: 34 3/4" OAL A superb occupational cane with thirty-one unique carvings (each painted—including seven animals and twenty one tools) relating to the carpenters trade and the owner. The grip displays a bearded man and a dog. The shaft includes: Odd Fellows three-link-chain, a turtle, frog, fish, snake, two hoofs, saddle, vine, iron hook, two different saws, a plane, two chisels, coopers draw knife, broad axe, brace, wrench, pliers, calipers, file, horse shoe, nail, stirrups, shovel, hatchet, fork & knife.
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Obj. 5: American Painted Tin Dome Top Box Circa: 1820-30 Size: 9 1/2" W x 6" D x 7 1/2" H Provenance: Private, NY Related literature: AMERICAN PAINTED TINWARE, Martin & Tucker, 2007, volumes III-IV Attributed to the Lansingburg, New York tinshop of Augustus & Oliver Filley. This box was picked directly from a house in the Coeymans/New Baltimore, NY area (purportedly from the house depicted on the box—the Filley tinshop was located just 20 north up the Hudson River). The Dutch architecture seen in the painting is typical of the early houses dotted along the Hudson.
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Obj. 6: New York City Draft Riots Broadside Dated: Saturday, July 18, 1863 Size: 18 5/8" x 11 3/4"
“STOP and THINK!” The New York City draft riots (July 11-16, 1863) began as an unruly response to the first US conscription act—mob mentality escalated it into a widespread racist massacre. That weekend, “the city awoke one morning to find dwellings, fences, and sidewalks placarded with small posters....The posters warned the rioters to beware of outraged public feeling. A most wholesome effect was produced.”1 The man responsible for the posters was printer-become-activist, Sinclair Tousey (1818-1887). “Keep the peace and all will be well. -A Democratic Workingman.” 1 Sinclair Tousey obituary, New York Times, June 17, 1887
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Obj. 7: Iroquois Double Handled Elm Burl Bowl Circa: 1740-1760 Size: 22 1/2" L x 18 1/2" W x 8 1/2" H Provenance: Private, NY collection since 1958 The beauty of this bowl is the graceful undulating rim—rhythmically guided along the slow slopes of the handles and sides. The rim of prototypical Iroquoian double handled bowls dip down in between the valley of the handles—here it comes back up. The smooth oval open handles are also atypical (usually the are rectangular or half-moons). The surface is untouched and maintains a dry patina—possessing a fine burnish to the handles and rim. The wood specimen had a number of natural inclusions that did not bother the maker or I, (one has an 18th century lathe plaster fill that has a remarkable burnish to it).
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Obj. 8: Three Masted Bark, MAINE Oil on Academy Board (Wadsworth, Howland & Co. Boston, MA) Circa: 1890-1900 Size: 18" H x 24" W Ship portraits tend towards academic or schooled works—here is a striking, well balanced folk art example done with a tight palette.
Obj. 9: American Carved Goose Duster or Brush Handle Circa: 1860 Size: 15 7/8" W x 6 1/2" H x 1 1/4" D Great lines. Perfectly oxidized poplar. Probably PA origin.
➧ Obj. 10: Rare American Alphabet Board
Circa: 1820-1840 Size: 10 1/2" H x 8 1/8" W Rare teaching guide with great paint and surface. Backside displays a quiet painting of a cow. I like looking for the incidentals words and acronyms, e.g., “FOX”, “DMV”—also that the numbers go from 1-11.
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Obj. 11: Folk Art Painted Snuffbox - Ohio Flag Circa: 1810-1820 Size: 3 1/8" D Rare American painted papier mache snuffbox with a wind flapped flag displaying seventeen eight-pointed stars. Likely made commemorating Ohio statehood (1803).
➧ Obj. 12: Root Burl Carved Eagle
Circa: 1860 Size: 5 3/8" H x 4 1/4" W x 2 1/2" D Carved from solid of an incredibly dense specimen, this eagle carving is beautifully detailed and has a great presence. Probably PA origin. I’ll take this over a Schimmel any day. Carved initial, “E” on base front left.
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THE THOMPSON FAMILY HUMAN EFFIGY FEAST LADLE
Fig 1: Portrait of Alexander Thompson II Ammi Phillips (1788-1865) Circa: 1824 Size: 24" W x 30" H Phillips also painted portraits of the subject’s wife, Hannah Bull; his cousin Robert R. Thompson and wife Sarah McCurdy; and Daniel and Katherine Bull (Hannah’s parents). Photo: © Christie’s Images Ltd. 1982
This important Lenni Lenape (Delaware) human effigy feast ladle is quite large in scale—the bowl is carved exceptionally thin and the figure sitting atop the incurvate crook of the handle has delicate open carving between the arms and legs. Above the figure’s right eye a feather pattern is carved (likely representing a tattoo or headdress). A small cavity is present on the chest where the heart would be, (it is unclear whether this was carved or incidental to age). It maintains a dry untouched surface with remarkable patination to the figure and high points. The ladle was found decades ago in the basement of the Alexander Thompson homestead, in Thompson Ridge, Orange County, New York. William Thompson (ca. 1700- ca. 1780) came from England to America in 1729 and settled near Hamptonburgh, Orange Co., NY.1 He later acquired 600 acres and his three sons, Alexander (1739-1814), Andrew (ca. 1741-1804), and Robert (1742-1832) divided the property between them. Alexander took the best lot and built a fine home and a working farm. His son, Alexander II (1782-1868) later took over the property and became one of the areas most successful farmers.2 In 1803, Alexander II married Hannah Bull (1783-1865), a descendant of William Bull (1689-1775) and Sarah Wells (1694-1796), of Hamptonburgh, Orange Co., NY. Sarah Wells was the daughter of Christopher Denn, who was a partner of the original Wawayanda Patent. She was also the first permanent settler of Orange County.3 The figure seen here is powerfully portrayed— the face is minimally carved with only the eyes and nose delineated (no mouth). This reductive
Obj. 13 (detail) : Lenni Lenape Seated Human Effigy Feast Ladle
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carving is representative of great Woodlands sculpture—the maker looking to capture the essence of the subject—it is not an attempt at portraiture. Similar faces are seen on pre-contact stone maskettes4 and on an important Southern New England ash burl human effigy bowl.5 The full figure sits with backside to the ground, knees up and arms forward. This posture is seen on a small sample a ladles and a pipe. A smaller Mohawk ladle6 collected at the Saint Regis Reservation, Franklin Co., NY displays a similar character (though seated in the opposite direction). Another related effigy ladle7 descended within a Herkimer Co., NY family, it too presents a full-seated figure and faces the bowl. There is a small body of human effigy ladles that hold and/or drink from a keg, however they are stylistically quite different in feel and though similar in posture, they do not appear to be related to these seated figure ladles—something else is going on here. This figure (and the one at the AMNH) has arms that rest to the knees and looks to have had held something between them. A grey stone pipe8, as well as the aforementioned Herkimer Co. ladle, displays a seated figure that holds a nondescript cylinder between its knees. Based on the form and architecture it is likely that the ladle seen here, as well as the ladle at the AMNH, also held a cylinder-type carving across its knees. It is proposed that what this tube represents is some sort of scroll (possibly a document on parchment or a rolled wampum belt). At this point what the cylinder represents is conjecture, nonetheless it is a compelling device and warrants additional study. 1 THE ORIGINAL HOUSES ON THOMPSON RIDGE 1778-1822, an essay by an unknown author, obtained from the Orange County Historical Society. Additional information on the history of the Thompson’s and the founding of Thomson Ridge can be found on the web. 2 Seese, Mildred Parker, OLD ORANGE HOUSES, Vol II, 1941, p.85 “Good farmers were the Thompsons. ...in 1819 [the] property [of Alexander Thomson II was rated] ‘the best improved farm of less than 100 acres’ in the county.” 3 The story of Sarah Wells has been written about many times—here from the New York Times, September 14, 1884, WILLIAM BULL’S FORTUNE, “...a sixteen year old girl [Sarah Wells] trampling in the wilderness where no white man had ever been before, and not a civilized being lived, with wild men [Indians] as her guides....” 4 Willoughby, Charles C. Antiquities of the New England Indians. Cambridge: Peabody Museum of Archaeology and Ethnology, 1973, p.163. 5 Powers, Steven, S. North American Burl Treen: Colonial & Native American. Brooklyn, NY, 2005, pps. 100-102. 6 American Museum of Natural History catalogue no. 50.1/1555 7 Private collection 8 Private collection
Obj. 13: Lenni Lenape Seated Human Effigy Feast Ladle Circa: 1720-40 Size: 12" OAL; (bowl) 7" W x 6" D Provenance: Private Collection, Orange Co., NY
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Obj. 14: Whalebone Checkerboard with Drawer and Original Game Pieces Circa: 1840-60 Size: 12 7/8" x 12 7/8" x 1 3/4" Exceptional gameboard and a great rarity of scrimshaw. Fine details include a molded edge, turned legs, and the drawer has a nicely scalloped edge and thumb recess. I love the shrinkage cracks, e.g., in the center where the bone feathers out like the joinery of a fine Scottish bicker or quaich.
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tokens were probably the L ove inspiration for the earliest folk art—possibly first crafted before man could speak. Examples can be found in every culture, in any period, and in any material. Here are some first rate examples in wood.
Obj. 15: Carved Double Heart Love Token Circa: 1840 Size: 5 3/4" x 4 1/2" x 1 1/8" (shown actual size)
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Large and bold example. Your heart (“JF”) is in mine (“TF”). Great grungy red paint. ➧
Obj. 16: Carved Maple Burl Knuckles Circa: 1820-40 Size: 4 1/2" x 2 1/2" x 3/4" (shown actual size) Tough Love!
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➧ Obj. 17: Carved Ash Burl Love Token with Red Wax Fill Circa: 1841 Size: 1 7/8" x 1 7/8" x 3/16" (shown actual size) front: A. E. KINGPORT / CHURCHVILLE / DAUPHIN, CO. PA, BORN / JUNE 7 / 1841 back: FROM / GEORGIA
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Abraham E. Kingport served as a private in the 127th PA Infantry, Company G (Aug. 09, 1862 - May 29, 1863).
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Obj. 18: Elm Rolling Pin - Love Token Dated: 1725 Size: 14" x 1 3/4" D (shown actual size) English. Remarkable object! The same sentiment is found on a pewter plate, hallmarked 1674, at Colonial Williamsburg. ANN RUSSELL / THE • GIFT • IS / SMALL • THE / LOVE • IS / ALL • IVLY / THE • 18 • 1725
Obj. 19: Tree Growth Engulfs Toy Pop Gun Circa: 1920-1930 Size: 15-1/2" H x 26" W x 6-1/2" NATURE TRUMPS MAN! Incidental conceptual art—Mother Nature takes gun away from mankind. Don’t worry Second Amendment-ists—your guns are safe. Southern United States.
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Obj. 20: Western Great Lakes / Prairie Burl Effigy Feast Bowl Circa: 1820 Size: 15 7/8" x 14 1/2" x 5 1/8" Less is more. The line quality of this bowl is simply poetic. The castellated sides depict two opposing Manitous in reductive terms. Possibly the finest regional example extant.
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Obj. 21: George E. Morgan (1870-1969) Bridge Dividing Kennebec River Oil on canvas board Dated: July 1963 Size: 16" x 12" Signed and dated on verso: George E. Morgan, July 1963 Printed name affixed to lower left: George E. Morgan Provenance: Anne K. Wardwell, Farmingdale, ME Mr. & Mrs. Sumner and Helen Johnston, CT Joe Wetherell, North Salem, NY Raymond Saroff and Howard Rose, New York, NY Peter Brams, Jackson Heights, NY Exhibitions: The Playhouse, Boothbay, ME 1963 Farnsworth Art Museum, Rockland, ME, “George E. Morgan: Self Taught Painter of Maine” July 16 - October 11, 1998 The Center for Intuitive and Outsider Art, Chicago, IL, “George E. Morgan: Maine Streets” February 5 - April 10, 1999 Literature: “George E. Morgan: Self Taught Maine Artist,” FOLK ART MAGAZINE, Summer 1998, p.30 by Chippy Irvine
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Obj. 22: George E. Morgan (1870-1969) Moulton Mill Oil on canvas board Dated: January 1963 Size: 20" x 16" Signed, titled, and dated on verso: George E. Morgan, Moulton Mill, Moulton, ME, January 1963 Provenance: Anne K. Wardwell, Farmingdale, ME Mr. & Mrs. Sumner and Helen Johnston, CT Joe Wetherell, North Salem, NY Raymond Saroff and Howard Rose, New York, NY Peter Brams, Jackson Heights, NY Exhibitions: The Playhouse, Boothbay, ME 1963 Farnsworth Art Museum, Rockland, ME, “George E. Morgan: Self Taught Painter of Maine” July 16 - October 11, 1998 The Center for Intuitive and Outsider Art, Chicago, IL, “George E. Morgan: Maine Streets” February 5 - April 10, 1999 Literature: “Mainer’s Art Emerges in a Fairy Tale,” BANGOR DAILY NEWS, Bangor, ME, September 19-20, 1998, Jenna Russell UNEXPECTED ELOQUENCE, The Edith Blum Art Institute, Bard College, Annandale-on-Hudson, 1990, by Howard Rose
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Obj. 23: George E. Morgan (1870-1969) Railroad Station, [Randolph, ME] Oil on canvas board Dated: December 1962 Size: 16" x 20" Signed, titled, dated and inscribed on verso: George E. Morgan, Randolph, ME, 239 State Street Augusta, December 1962 Provenance: Anne K. Wardwell, Farmingdale, ME Mr. & Mrs. Sumner and Helen Johnston, CT Joe Wetherell, North Salem, NY Raymond Saroff and Howard Rose, New York, NY Peter Brams, Jackson Heights, NY Exhibitions: The Playhouse, Boothbay, ME 1963; Farnsworth Art Museum, Rockland, ME, “George E. Morgan: Self Taught Painter of Maine” July 16 - October 11, 1998; The Center for Intuitive and Outsider Art, Chicago, IL, “George E. Morgan: Maine Streets” February 5 - April 10,1999 Literature: “Painter Makes Primitives of Early Boyhood Scenes,” KENNEBEC JOURNAL, Augusta, ME, February 18, 1966, Ruth Henderson The Kennebec Central Railroad was a narrow gauge line that ran five miles and connected Randolph to the National Veterans Home in Togus, Maine (the nation’s first veterans home).
Obj. 24: English Treen Nutcracker Dated: 1798 Size: 4 3/4" x 1 5/8" x 1/2" Intricate incised carving with complex tracery and cross-hatch patterns all over. Dated 1798 and bears the initials, “JB.� Boxwood. English. For related examples see: Pinto, Treen and other Wooden Bygones; Owen EvanThomas, Domestic Utensils of Wood; and Levi, Treen for the Table.
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Obj. 25: American Ash Burl Covered Burl Bowl Circa: 1820-1840. Size: 5 1/2" D x 7" H A fine and unusually tall and narrow form—nicely turned from a well figured burl with a well fitted top and thin body. Mushroom style finial is turned from the solid. Complex surface—retaining original and well alligatored shellac. Retains old collection label on bottom: “H. M. Wiltsie #74.”
Obj. 26: Scottish Ebony (and Rosewood) & Ivory Snuff Jar Circa: 1700-1720 Size: 5 1/4" H x 5 3/4" W This exceptional tobacco jar relates in style and form to baluster style snuff mulls of the Jacobite period. The treen cover is mounted with an ivory finial in the form of a crown.
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Obj. 27: American Folk Art Tobacconist Sign Board Circa: 1820-40 Size: 14 7/8" H x 6 3/16" W x 3/4" Exceptional snuff/tobacco trade carving depicting an American Indian conjoined with a Scottish Highlander (both symbols of the tobacco market). Carved from the solid of white pine with original and undisturbed polychromed surface.
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THE EVOLUTION OF THE WATER MANITOU AS SEEN THROUGH ITS PRESENCE IN WOODLANDS BOWLS & LADLES
At the time of European settlement in North America, the aboriginal natives who had occupied the continent for tens of thousands of years already had in place centuries-old traditions within their way of life, mythologies, and material culture. They had distinct regional vernaculars within the applied arts, incorporating carved, drawn, and woven depictions of animals, humans, and mythological spirits into aspects and objects of everyday and ceremonial life. Evidence supports naturalistic, stylistic, and reductive interpretations of life forms and symbolic devices on myriad materials ranging from wood, native metals, fibers, animal skins, and pottery. Acculturation between the American Indian and Europeans forever changed these traditions and eventually all but forced them out. This writing focuses on the evolution of abstract depictions of a mythological Manitou on wooden carved bowls and spoons (ladles) from the Woodlands people from the time of the first European settlements in New England (early- to mid-16th century) through the early- to mid-19th century. Important to the mythological belief system of the Woodlands cultures were water spirits or Manitous. Some Manitous were realized in the form of what the Ojibwa called the Mishipizheu or Underwater Panther (also called Gitche-anahmi-bezheu). This guardian and keeper of the rivers, lakes, and oceans was both feared and revered and is often depicted on effigy bowls, ladles, and ball clubs as a snake-like feline with horns, power lines, sharp teeth, and a spiked tail.
Fig. 1. Hudson River Valley Double Handled Ash Burl Bowl Circa: 1660-1680 (or earlier) Size: 25" L x 22" W x 8" H.
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Collection: Private
A large mid- to late-17th century ash burl feast bowl (Fig. 1) gives us one of the earliest woodcarvings of an Eastern Woodlands interpretation of this Manitou. In the understated and reductive style of the Woodlands people, the bowl is masterfully executed with consistently thin walls and an engaging line quality—a large oval with sweeping rounded tabs at either end, of which demilune cutouts are incorporated to serve as handles. If we only had this singular example, we may interpret these handles as nothing more than utilitarian handles. However, given a body of related Woodlands carvings, it will be shown that these demilune cutouts are abstract depictions of the eyes of the water spirit or Manitou.
Fig. 3. Eastern Great Lakes Doubled Handled Ash Burl Effigy Bowl Circa: 1740 Size: 17 1/2" L x 14 1/2" W x 8 3/4" H Collection: Museum of Civilization, Gatineau, QC, Canada
A very large ash burl feast ladle (Fig. 2), also of the same period, displays a large terminal composed of an oval tab with cutout demilune. This ladle and the previous bowl are likely two of the earliest non-excavated examples displaying this diagnostic carving. A bowl (Fig. 3) in the collection of The Museum of Civilization, Gatineau, Canada provides similar cutouts, albeit within a more complex composition. This important bowl is masterfully designed and executed with bold representations of these characteristic half-moons. Additionally, the openwork handles are stepped and have an incurvate lead to the rounded end castellations. With a bridge of three-quarters of a century and a distance of over a thousand miles, a complexly carved ash burl bowl (Fig. 4) displays castellated terminals of lobes and points, each delineated by in-cutting. These lobes and points represent the head of the Manitou— the lobes and demilune cutouts are seen as its eyes, and the points, its horns. This particular representation is the most complete abstract depiction of the Manitou discussed herein and can be seen almost as
Fig. 4. Great Lakes Ash Burl Effigy Bowl Circa: 1820-1840 Size: 17 1/2" L x 15 1/2" W x 6 1/2" H Collection: Private
Fig. 5. Great Lakes Ash Burl Effigy Bowl Circa: 1850 Size: 16 1/2" L x 13" W x 5" H Collection: Detroit Institute of Arts (81.624)
Fig. 2. Northeastern Woodlands Ash Burl Effigy Ladle Circa: 1660-1680 Size: 11 1/2" OAL Collection: Private
Fig. 6. Great Lakes Ash Burl Effigy Bowl Circa: 1850 Size: 17 1/8" L x 15 1/2" W x 5 1/2" H Collection: Detroit Institute of Arts (81.625)
the Rosetta Stone of understanding more abstract or partial depictions of the Manitou. In GREAT LAKES INDIAN ART, Representational and Symbolic Forms in Great Lakes-Area Wooden Sculpture, Evan M. Maurer writes of two bowls in the collection of the Detroit Institute of Arts that share similar lobed features and cutouts (Figs. 5 & 6). Also from the Great Lakes region, a large belt cup or scoop (Fig. 7) illustrates the Manitou’s eye within a dynamic form of dramatic scale.
Fig. 7. Great Lakes Effigy Scoop Circa: 1800 Size: 8" OAL Collection: Private
A recently discovered ash burl bowl (Fig. 8) from the Ojibwa has a serrated or notched border along the handled ends, which appears to represent the spiky backside of the Manitou. Ancient Ojibwa rock drawings (Figs. 9 and 10) illustrate horned serpents with spiked bodies similar to the carving of this bowl. An Eastern Great Lakes ladle (Fig. 11) also exhibits this heavily gouge carved characteristic on the handle. It is likely that the prototypical Iroquoian double open-handled bowl with squared-off castellated ends (Fig. 12) is a simplified modification of the more complex double-handled bowl seen in Figure 1—the handles cut solely for utilitarian performance versus the dual purpose of mythological inspiration and function.
Fig. 11. Great Lakes Abstract Effigy Ladle Circa: 1840 Size: 8 7/8" OAL Fig. 8. Great Lakes Ash Burl Effigy Bowl Circa: 1840 Size: 13 3/8" L x 11 1/2" W x 5" H
Collection: Powers
Collection: Powers
Fig. 12. Iroquois Double Handled Ash Burl Bowl Circa: 1780-1800 Size: 25 1/8" L x 20 1/4" W x 8 5/8" H Fig. 9. Ojibwa Pictograph, Darky Lake, ONT
Collection: Private
➧ Obj. 28: Ojibwa Double Handled Ash Burl Bowl
Circa: 1840 Size: 13 3/8" L x 11 1/2" W x 5" H
Fig. 10. Ojibwa Pictograph, Agawa Rock, ONT
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Provenance: Alan Clairman, Toronto, ONT; Gardner Galleries, London, ONT (found on a local house call in eastern London, ONT).
Obj. 29: WIRE CLOTH Price Sheet Circa: 1920 Size: 12 1/4" x 8" There is something quietly compelling about this seemingly mundane office artifact—the table layout and number progressions reminds one of the beautiful work of Charles Benefiel.
STEVEN S. POWERS • 360 Court Street #28, Brooklyn, NY 11231 • !p" 718.625.1715 / !c" 917.518.0809 email: steve@stevenspowers.com • web: stevenspowers.com