THE PHILADELPHIA ANTIQUES & ART SHOW 2016
NEEDLE KNIFE TORCH [&] BRUSH
S T E V E N
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P OW E R S
Assembled for exhibition and sale at The Philadelphia Antiques & Art Show April 15-17 2016 with a gala preview party April 14.
The Navy Yard, Marine Parade Grounds, Philadelphia, PA 19112 show website: philadelphiaantiquesandartshow.com
W O R K S O F & a m e r i c a n a
A R T
360 Court Street #28, Brooklyn, NY 11231 | 718.625.1715 or 917.518.0809 | stevenspowers.com | member: ADA
Following are three remarkable embroideries by Joseph Roth, a schizophrenic patient at the Central Islip Psychiatric Center, NY 1905. At least eleven works by Roth have been identified, ranging in date from 1905-1921. The earlier ones while he was in Central Islip and then later when he was a patient at the Binghamton State Hospital. Roth and these works are an important addition to the canon and study of American Outsider Art. They are written in broken English and German, without punctuation and only in capital letters. Some are highly illustrative, while others, like the examples herein are more focused on the written word.
Joseph Roth Kalane.Sunday.August.27.1905..Report Embroidered thread on linen Dated: August 27, 1905 Size: 10 3/8" (w) x 16 1/16" (h)
As of now, I have not been able to identify Roth, however it can be inferred that he was likely a German immigrant and that he was institutionalized for schizophrenia and having a “messiah complex.” On four embroideries Roth declares that he is the, “World Erloser” which translates from German as “savior or redeemer.” In trying to find Joseph Roth, I found that the New York Times and other papers reported in May of 1902 that a “Joseph Roth” a butler, was wanted for check fraud. It may be a
coincidence, but on several occasions Roth mentions money and the Homer Lee Banknote Company. Given these interests, artistic talent and his unstable mind, the fraud may be tied to this Joseph Roth. At the turn of the 19thC and into the 20thC, institutions began using arts and crafts as occupational therapies—embroidery was one such craft. In thinking of the patience required for such involved and ambitious works, one can see how embroidery would slow down ones racing thoughts. One cannot frenetically scribble their mad rambling words—the deliberate action of threading the needle, pushing it through the obverse and reverse, step and repeat, forces one to consider their thoughts at a more manageable pace. It is during this time that we see embroideries and other artistic creations documented in Europe—most famously by Dr. Hans Prinzhorn, a German psychiatrist and art scholar. Because of the materials used, Roth’s work draws comparison to the work of Lorina Bulwer (1838–1912) who was a British needleworker and a patient at the Great Yarmouth Workhouse. Bulwer created embroideries with illustrations and copy also written all in capital letters and without punctuation to express her anger at her situation. Agnes Richter (1844-1918) a patient in a German insane asylum obsessively embroidered her straight jacket. Roth’s work also conjures up the colorful and obsessive drawings of Adolf Wölfli (1864-1930) of the Waldau Clinic in Bern, Switzerland, as well as James Edward Deeds, Jr. (1908-1987) who was in State House #3 in Missouri. The textile on the previous page is the earliest recorded and dates from August 27, 1905. It is entitled, the “REPORT.” It begins with name of Dr. West (who Roth refers to several times) and lists a number of vocations; Brikleker (bricklayers), Stonemeson (stonemason), Sourbuilthers (sewer builders), etc. Roth then declares that he wants to go into NYC with Dr. West to the Homer Lee Banknote Company. It ends by Roth stating that he wants to see President Roosevelt in Washington [about] “the gold and silver money mashinry [sic].” And signs the textile, “Joseph Roth = World Erloser (world savior).” Note that not only does he refer to himself as the redeemer; he decidedly uses the equals (=) sign!
“THE GOLD AND SILVER MONEY MACHINERY.” —JOSEPH ROTH
Joseph Roth Central Islip.Kalane.Den.10.September=1905 Embroidered thread on linen Dated: September 10, 1905 Size: 14 5/8" (h) x 25" (w)
As mentioned above Roth appears obsessed with money—note the composition of the following two large textiles—they are composed as bills, banknotes or bonds with a central illustrative devise flanked by copy. The embroidery above is quite rich and complex. Dated September 10, 1905 (less than two weeks after the “Report.”) it begins, as one would start a letter, “Dear Father, first of all, heart felt greetings to you. I am longingly waiting for my freedom.” Was he committed against his will? Was there an incident? Roth continues recalling an event of May 18 and his “heathen” doctor and how he saw his bride, whom he did not recognize. Roth again mentions President Roosevelt and “the State House wherein lies millions of dollars of tax money from the War of 1866 [the Austro-Prussian War].” Roth continues that he wishes to celebrate his wedding and hold his “first big sermon” on a trip around the world. The center is headed with two American flags and a seal of New York along with eight portraits, four of which are identical (his bride). Others are the superintendent, Dr. Marcus B. Heyman (Heiman [sic]), his Mother, the ship’s captain and possibly a self-portrait. The textile to the right is dated, November 6, 1905 and as the above was a letter to his father, this one is a letter to his brother. “Dear brother, it is hard to be suffering for such a long time under the weeds, but as soon as I am free, I will be Lord and Master of the earth.” Roth’s work is an important addition to American Outsider Art and his story is fascinating—and with more study and as more works are discovered or identified, the more fascinating his story will become.
“...AS SOON AS I AM FREE, I WILL BE LORD AND MASTER OF THE EARTH.” —JOSEPH ROTH
Joseph Roth Central Islip.Den.6.November=1905 Embroidered thread on linen Dated: November 6, 1905 Size: 12 7/8" (h) x 24 1/2" (w)
A Record 1300 Words by John F. Ritter micro-writing, pen and ink on a penny postcard Circa: October 22, 1902 Size: 3 1/4" (w) x 5 1/2" (h)
Mysterious Four Armed Girl Folk Art Doll Carved wood & polychrome Circa: 1880 Size: 9" (h) x 4" (w) x 2 3/4" (d) Provenance: Marvill Collection Illustrated and discussed in American Vernacular, page 126.
John David Wissler “My passion has always been the landscape. I feel a sense of history when painting… the painters I admire and study, Corot, Constable, Turner, Inness, Bonnard, Resika…the history of the land itself and my own familiar connection to it. Painting comes through the study of nature…transformed, not merely copied. Seeing the immediacy of the place…what strikes me first. The way trees react to fields, colour to colour, shape to shape…pushing and pulling the plastic nature of the picture plane, creating believable space. I find the challenge of using what I have observed, taking it to my studio, and creating a new painting invigorating. Drawing upon the memory of place and experience…using the language, I have learned from nature, trying to keep the painting fresh…space, clarity, surprise…that’s painting!” —John David Wissler
John David Wissler (1963 -) Recovering Cold Oil on board 2012 Size: 12 1/2" (h) x 12 7/8" (w) Exhibited: Julio Fine Arts Gallery, Loyola University
John David Wissler (1963 -) Frozen Project Oil on board 2015 Size: 11 3/4" (w) x 13 7/8" (h)
John David Wissler (1963 -) Thicket Oil on board 2013 Size: 9" (h) x 12" (w)
New England Small Red Painted Wall Box with Symmetrically Scalloped Back Circa: 1780 Size: 7" (w) 7 1/4" (h) x 4 3/4" (d)
Exceptional Paint Decorated New England Traveler’s Mirror with Carved Shell Circa: 1730-1750 Size: 6 1/2" (h) x 3 11/16" (w)
German Wrought Iron Lever - Serpent with Crown and Apple Circa: 16thC - 17thC Size: 60" oal
Turned Ash Burl Covered Bowl Circa: 1780 Size: 5 1/2" (d) x 5 3/4" (h) Literature: Pictured in North American Burl Treen: Colonial & Native American, page 73, plate 3/13
Acorn Shaped Turned Ash Burl Bowl Circa: 1800 Size: 5 1/2" (d) x 2 3/4" (h)
Northeast Woodlands Ash Burl Bowl Circa: 1780 Size: 6 1/8" (d) x 2 5/8" (h) Literature: Pictured in North American Burl Treen: Colonial & Native American, page 46, plate 1/38
William Kocher I use memory, direct observation, and imagination (past, present, and future) to make paintings that are a correspondence with nature and sensation. My first recollections of drawing and painting began while watching my father (a graduate of MICA) working in his studio, or drawing sketches for us at the kitchen table. For me, my father’s agile renderings encompassed all of the power that mark-making could reach. Those impressions have never left me. —William Kocher
William Kocher (1962 -) Solo Oil on board 2015 Size: 12" (w) x 6" (h)
William Kocher (1962 -) Pink Moon, Racing Green Oil on board 2015 Size: 12" (w) x 6" (h) Exhibited: Julio Fine Arts Gallery, Loyola University
William Kocher (1962 -) Down East Oil on board 2014 Size: 12" (w) x 6" (h) Exhibited: Julio Fine Arts Gallery, Loyola University
Eve Walter Tinna (Oswego, NY) Carved wood and polychrome Circa: 1940-50 Size: 21 1/2" (h)
Scrimshaw Toothpick Holder of a Woman and Child Whalebone Circa: mid 19thC Size: 2 3/4" (h) Provenance: Brams Collection; Marvill Collection
Still Life with Fruits & Flowers Reverse painting on glass Circa: 1860 Size: 18 1/8" (h) x 24 1/8" (w)
Provenance: Phyllis Rosner & Judy Lenett; Marvill Collection
(opposite upper) The Three Mystics Carved mahogany, nickel plated bronze Circa: 1960’s Size: 4" (d) (opposite below) Asleep Reading Carved cedar Circa: 1930’s Size: 10" (l) x 6" (h) Provenance: Marvill Collection (above) Limber & Nothing to Hide Carved mahogany, nickel plated bronze Circa: 1960’s Size: 5" (d)
A Collection of Early Eye Glasses; Syphilis Green, Motorcycle, Lodge, Sharp Shooter, and Turquoise Circa: range from 1800-1920
New England Bat House Carved pine with dovetailed joints, paint Circa: 1880 Size: 16 5/8" (h) x 12 1/2" (w) x 4 3/8" (d)
Howard Rackliffe (American, 1917–1987) Acadian Cliffs Mixed media on board Circa: 1968 Size: 21 1/2" (h) x 27 1/2" (w)
Rackliffe’s work was the focus of a retrospective exhibition in 1990 at the New Britain Museum of American Art, CT. which traveled to the Farnsworth Museum, Rockland, ME. Rackliffe’s works are represented in the collections of the Barnes Foundation; New Britain Museum of American Art; Portland Museum of Art; and The Farnsworth Museum.
Steven Powers (1968 -) Birch Bark Oil on panel 2015 Size: 9" (h) x 12" (w)
Steven Powers (1968 -) Woodlands (Acadia) Oil on panel 2015 Size: 11" (h) x 14" (w)
Life Sized Folk Art Redware Head of a Man Midwest Circa: 1860-1880 Size: 10 1/2" (h) x 7" (w) Provenance: Frank Maresca; Marvill Collection
The Pipefitters Forged and welded iron Ohio Circa: 1930 Size: (left) 9 1/2" (h) | (right) 10" (h) Provenance: America Hurrah; Marvill Collection
Illustrated and discussed in American Vernacular, page 132.
Steven Powers (1968 -) Untitled Tree: Maple Oil on panel 2015 Size: 9" (h) x 12" (w)
Joshua Shaw (1776 - 1860) Wild Tree with Waterfall Circa: 1825 Size: 16" (w) x 20" (h) (sight)
(left) Loincloth Larry Wood, leather Circa: 1920 Size: 10 3/8" (h) Provenance: Marvill Collection
(right) Half-Headed Henrietta Concrete, plaster, newspaper, paint Circa: 1930 Size: 9 1/2" (w) x 11" (h)
George E. Morgan (1870-1969) Hallowell: View of Lower Water Street Dated: June 1963 Oil on canvas board Size: 12" (h) x 16" (w) Provenance: Anne K. Wardwell; Mr. & Mrs. Sumner and Helen Johnston; Joe Wetherell; Raymond Saroff and Howard Rose; Peter Brams Exhibitions: The Playhouse, Boothbay, ME 1963; Farnsworth Art Museum, Rockland, ME, 1998; The Center for Intuitive and Outsider Art, Chicago, IL, 1999. Literature: Unexpected Eloquence, by Howard Rose; “George E. Morgan: Self Taught Maine Artist,” Folk Art Magazine, Summer 1998, p.33.
George E. Morgan (1870-1969) Freshet 1923 Dated: June 1963 Oil on canvas board Size: 16" (h) x 12" (w)
Exhibitions: The Playhouse, Boothbay, ME 1963; Farnsworth Art Museum, Rockland, ME, 1998; The Center for Intuitive and Outsider Art, Chicago, IL, 1999.
Literature: Unexpected Eloquence, by Howard Provenance: Anne K. Wardwell; Mr. & Mrs. Sumner Rose; “George E. Morgan: Self Taught Maine and Helen Johnston; Joe Wetherell; Raymond Saroff Artist,” Folk Art Magazine, Summer 1998, p.31; “Art,” Chicago Reader, Chicago, IL, March 12, and Howard Rose; Peter Brams 1999.
Obsessive Proposal Circa: Fort Dix 1944 Size: 11 5/8" (h) x 13 1/4" (w) A unique marriage proposal in the style of a ransom note from Eric to Heidi (Pastor) done as an acrostic (read down from the first letter of each line..."jeg elsker dig" is Danish for "I love you.") In the second paragraph he asks, "Gee wouldn't it be grand if you were my wife?" Eric was a linguist in WWII and did this from Fort Dix 1944.
Fascinating American Folk Art Embroidered Textile Circa: 1897-1904 Size: 24" (h) x 24" (w) Wrought by Edith Owen-Bruyere (1878-1958) of Glen Ridge NJ. The center with vines, each leaf with initials of a sibling, then scattered autographs and illustrations of a devil, skull, playing cards, a neat illustration of a woman at an easel with an ink pot (possibly Violet Oakley), a trumpet, snail, boat, golf clubs a Bissell carpet sweeper(!) and many more.
Folk Art Fantasy of a Woodlands Pipe Steatite Circa: 1880 Size: 5 5/8" (h) Provenance: Frank Maresca; Marvill Collection
S T E V E N
S .
P OW E R S
Assembled for exhibition and sale at The Philadelphia Antiques & Art Show April 15-17 2016 O Gala Preview O April 14, 5-9 pm The Navy Yard, Marine Parade Grounds, Philadelphia, PA 19112
show website: philadelphiaantiquesandartshow.com
W O R K S O F & a m e r i c a n a
A R T
360 Court Street #28, Brooklyn, NY 11231 | 718.625.1715 or 917.518.0809 | stevenspowers.com | member: ADA