MAGAZINE bF THE MUSEUM OF AMERICAN FOLK ART * SUMMER 2000 *$60
RICCO/MARESCA GALLERY
529 WEST 20TH STREET THIRD FLOOR NEW YORK NEW YORK 10011 T 212/627-4819 F 212/627-51 17 E rmgal@aol.com W www.riccomaresca.com Figure ofA Woman with Celestial Globe,American, ca. 1920-30, carved wood with polychrome, 37" x 8" x 6"
STEVE MILLER • AMERICAN FOLK ART •
A MASTERPIECE OF AMERICAN FOLK ART
Three dimensional sheet iron Indian weathervane from Vermont's N.E. Kingdom. In original condition,last quarter of the 19th century,21" high x 16" wide. Subject to prior sale.
17 East 96th Street, New York, New York 10128(212)348-5219 Gallery hours are from 1:00 pm until 6:00 pm,Tuesday through Saturday. Other hours are available by appointment.
AMERICAN PRIMITIVE
594 BROADWAY, # 205 NEW YORK, NY 10012 AARNE ANTON
212 - 966 - 1530
Fax: 212 - 343 0272
TUE - SAT 11 - 6
Dealing in remarkable folk art, outsider, and
GALLERY
visionary art of the 19th, 20th and 21st centuries
Early Rooster Weathervane with exceptional form. 28 x 28 x 7 inches.
JAMES CASTLE
1900-1977
____—..minge11111111111111S
Untitled (general store interior), n.d. Soot and spit drawing on found paper, 101/8"x 103/16"
j. Crist is the agent for the work of James Castle (A. C. Wade, Castle Collection, L.P.)
CRIST
465 West Main Street Boise, Idaho 83702 phone 208.336.2671 fax 208.336.5615 web www.jamescastle.com e-mail art@jcrist.com
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WALTERS• BENISEK ART & ANTIQUES ONE AMBER LANE • NORTHAMPTON • MASSACHUSETTS•01060 4 1 3 • 5 86 • 3 909 • DON WALTERS • MARY BENISE
FOLK ART VOLUME 25, NUMBER 2/ SUMMER 2000
F
Cover: Detail of UNTITLED / C.T. McChisky/United States/late 1940s-1950s/paper, crayon, andfoil on cardboard!13 x 15'4"/collection ofJohn Turner
Folk Art is published four times a year by the Museum of American Folk Art, 555 West 57th Street, New York, NY 10019-2925,Tel. 212/977-7170, Fax 212/977-8134. Prior to Fall 1992, Volume 17, Number 3,Folk Art was published as The Clarion. Annual subscription rate for members is included in membership dues. Copies are mailed to all members. Single copy $6.00. Published and copyright 2000 by the Museum of American Folk Art, 555 West 57th Street, New York, NY 10019-2925. The cover and contents of Folk Art are fully protected by copyright and may not be reproduced in any manner without written consent. Opinions expressed by contributors are not necessarily those of the Museum of American Folk Art. Unsolicited manuscripts or photographs should be accompanied by return postage. Folk Art assumes no responsibility for the loss or damage of such materials. Change of address: Please send both old and new addresses and allow five weeks for change. Advertising: Folk Art endeavors to accept advertisements only from advertisers whose reputation is recognized in the trade, but despite the care with which the advertising department screens photographs and texts submitted by its advertisers, it cannot guarantee the unquestionable authenticity of objects or quality of services advertised in its pages or offered for sale by its advertisers, nor can it accept responsibility for misunderstandings that may arise from the purchase or sale of objects or services advertised in its pages. The Museum is dedicated to the exhibition and interpretation of folk art and it is a violation of its principles to be involved in or to appear to be involved in the sale of works of art. For this reason, the Museum will not knowingly accept advertisements for Folk Art that illustrate or describe objects that have been exhibited at the Museum within one year of placing an advertisement.
E
ATURES
THE COLLAGES OF C.T. McCLUSKY John Turner
30
NEW ENGLAND PAINT-DECORATED CHESTS: DISCOVERIES OF ATTRIBUTIONS David Krashes
38
THE ROSENAK ARCHIVES AT THE MUSEUM OF AMERICAN FOLK ART Lee Kogan
46
DEP
AR
T
MENT
EDITOR'S COLUMN
6
DIRECTOR'S LETTER
15
NEW BUILDING UPDATE
16
MINIATURES
20
MUSEUM REPRODUCTIONS PROGRAM
60
BOOKS OF INTEREST
64
MUSEUM NEWS
66
TRAVELING EXHIBITIONS
72
OBITUARY
73
TRUSTEES/DONORS
74
SUMMER PROGRAMS
75
INDEX TO ADVERTISERS
80
SUMMER 2000 FOLK ART
EDITOR'S
COLUMN
ROSEMARY GABRIEL
It's almost summer, and work continues at the site of our new building on West 53rd Street. The plans for the building, the inaugural exhibitions, and the grand-opening events are truly taking shape. It's a very exciting time, and we will be sure to give you an update on our progress in each issue of Folk Art. For this issue's coverage, see pages 16 and 17... For generations of Americans, summer's approach has meant that the circus would soon be coming to town. For many of us,the very word "circus" evokes excitement and joy, along with anticipation that we will be transported into a world of gaiety and glitter and that our everyday lives will be suspended for a time. C.T. McClusky,a man who worked as a circus clown and spent his winters in Oaldand, California, captured that sensation in a series of dazzling circus collages. Approximately twentyfive years after McClusky created these works of art, John Turner, curator at the Museum of Craft and Folk Art in San Francisco,found them in a suitcase at a flea market in nearby Alameda. Turner shares that discovery with us, starting on page 30. Collector and researcher David ICrashes has made a discovery of another kind. American :1 paint-decorated furniture has been admired and appreciated for The site of the Museum's new building almost two hundred years. But because artisans did not often sign their work, it has been difficult—in some cases impossible—to identify the makers. One of the joys of research is to find out who created a work of art that has been attributed to an anonymous maker, and conversely, to find out that a work of art has been wrongly attributed. Krashes has done both; read "New England Paint-Decorated Chests: Discoveries of Attributions," beginning on page 38. In the area of contemporary folk art, the question of attribution is less often an issue. Thanks to the diligence of people like Chuck and Jan Rosenak, curators and researchers yet to be born will with confidence be able to identify the makers with the works, to know what the artists looked like, and to listen to their words. The Rosenaks have generously donated an archive of approximately 4,800 photographs, audiotapes, letters, and documents to the Museum of American Folk Art. Lee Kogan's essay, starting on page 46,introduces us to this important archive. I'd like to close by wishing you all a wonderful, relaxing summer. If you're in Manhattan, be sure to see our current exhibition,"The Art of William Edmondson," at the Eva and Morris Feld Gallery on Columbus Avenue(between 65th and 66th Streets); it will be on view through August 27. If you're near West 53rd Street, be sure to check out our glorious hole in the ground!
FOLK ART Rosemary Gabriel Editor and Publisher Jeffrey Kibler, The Magazine Group,Inc. Design Tanya Heinrich Associate Editor Jocelyn Meinhardt Production Editor Sarah J. Munt Assistant Editor Benjamin J. Boyington Copy Editor John Hood Advertising Sales Mel Novatt Advertising Sales Patrick H. Calkins Advertising Graphics Craftsmen Litho Printers MUSEUM OF AMERICAN FOLK ART Administration Gerard C. Werdcin Director Riccardo Salmona Deputy Director Stephen N. Roache Director ofFinance and Operations Susan Conlon Assistant to the Director Irene ICreny Accountant Daniel Rodriguez Mailroom Beverly McCarthy Mail Order/Reception Collections & Exhibitions Stacy C. Hollander Senior Curator and Director ofExhibitions Brooke Davis Anderson Director and Curator of The Contemporary Center Ann-Marie Reilly Registrar Judith Gluck Steinberg Assistant Registrar/ Coordinator of Traveling Exhibitions Sandra Wong Assistant Registrar Dale Gregory Gallery Manager Sara Kay Weekend Gallery Manager Gina Bianco Consulting Conservator Elizabeth V. Warren Consulting Curator Howard Lanser Consulting Exhibition Designer Kenneth R. Bing Security Departments Cheryl Aldridge Director ofDevelopment Beth Bergin Membership Director Marie S. DiManno Director ofMuseum Shops Susan Flamm Public Relations Director Alice J. Hoffman Director ofLicensing Janey Fire Photographic Services Suzannah Schatt Membership Associate Jennifer Claire Scott Director ofSpecial Events Jane A. McIntosh Capital Campaign Coordinator Ursula Morillo Membership Assistant Wendy Barreto Membership Clerk Edith C. Wise Consulting Librarian Eugene P. Sheehy Volunteer Librarian Rita Keckeissen Volunteer Librarian Katya Ullmann Library Assistant Programs Lee Kogan Director, Folk Art Institute/Curator ofSpecial Projects for The Contemporary Center Barbara W.Cate Educational Consultant Dr. Marilynn Karp Director, New York University Master's and Ph.D. Program in Folk Art Studies Dr. Judith Reiter Weissman Coordinator, New York University Program Arlene Hochman Docent Coordinator Linda Simon Associate Docent Coordinator Museum Shop Staff Managers: Dorothy Gargiulo, Caroline Hohenrath, Rita Pollitt, Suzanne Sypulski; Security: Bienvenido Medina; Volunteers: Marie Anderson, Olive Bates, Angela Clair, Sally Frank, Millie Gladstone, Nancy Mayer, Judy Rich, Frances Rojack, Phyllis Selnick, Lola Silvergleid, Maxine Spiegel, Marion Whitley Museum of American Folk Art Book and Gift Shop Two Lincoln Square(Columbus Avenue between 65th and 66th Streets) New York, NY 10023-6214 212/496-2966 Administrative Offices Museum of American Folk Art 555 West 57th Street, New York, NY 10019-2925 212/977-7170, Fax 212/977-8134, http://www.folkartmuseum.org
6 SUMMER 2000 FOLK ART
HILL GALLERY
rni 'Woman with Doves" C. 1920(Midwest) 72 x 36" 407 W Brown St. Birmingham MI 248.540.9288
Inc. 2000 Principal Auctioneer: Christopher Burge *761543
CHRISTIE'S
SCHOOL OF EDWARD HICKS (Late 19th Century)
Washington Crossing the Delaware oil on canvas Sold January 21, 2000 in the sale of Important American Furniture, Silver, Prints, Folk Art and Decorative Arts for $46,000
important American Furniture, Silver, Prints, Folk Art and Decorative Arts We are currently accepting property for our Fall sale
Catalogues: 800 395 6300
Inquiries: 212 636 2230
20 Rockefeller Plaza New York, New York 10020 christies.com
LOUIS MONZA A TRI - CITY EXHIBITION JUNE - JULY
JUDY A SASLOW GALLERY 300 West Superior Street CHICAGO IL 60610 312 943 - 0530
PAINTINGS The Hurricane 1956 oil/canvas 22 x 26"
DEAN JENSEN GALLERY 759 North Water Street MILWAUKEE WI 53202 414 278 - 7100
SCULPTURE & DRAWINGS The Sphinx 1966 terra-cotta 8 x 11 1/2 x 53/4"
LUISE ROSS GALLERY 568 Broadway NEWYORK NY I 0012 212 343 -2161
CRAYON DRAWINGS Going Both Ways 1972 ink,colored pencil 8'/2x 113/4"
Sam Doyle
Sam Doyle, Embalmer, ca Early 1980s: 27"H x 41"W; House Paint on Tin.
ABracrh b e a rraGallery The
flOatAWaY Bldg.
1123 Zonolite Rd •Suite 27• Atlanta, GA 30306• p - 1 888 217 6285 or 404 815 1545•f - 404 815 1544 email - barbaraarcher@mindspring.com • www.barbaraarcher.com • www.sothebys.com
TRACY GOODNOW ART iSk ANTIQUES
576 SHEFFIELD PLAIN ROAD (ROUTE 7) PO Box 1340 SHEFFIELD MA 01257 / TEL 413.229.6045 William Hawkins, Yellow Dinosaur, 1989, enamel on plywood, 48"h x 48"w
Rare Small Carved and Polychromed Lift Lid Chest c. 1820 Maine Pine 16'/4" Long x 8'/4" High
DAVID
WHEATCROFT Antiques
220 East Main Street, Westborough, Massachusetts 01581 (508) 366-1723
American Folk Art Sidney Gecker
226 West 21st Street• New York, N.1: 10011 •(212) 929-8769• Appointment Suggested sub/eel to prior sale.
ART
di
ANTIQUES
MISHEMES10--)1111."-
Ethan Allen horse weathervane, most likely by Fiske F‘ Co. circa 1870. 30.5" x 18.25".
Charlton Bradsher • 64 Biltmore Avenue • Asheville, North C
• Tel.
251
SUMMER 2000 FOLK ART 13
ANNUAL NEW HAMPSHIRE SUMMER AUCTION SATURDAY AUGUST 5TH THE ARMORY AT THE CENTER OF NEW HAMPSHIRE,HOLIDAY INN,MANCHESTER
THE AMERICANA COLLECTION OF VIRGINIA RAMSEY-POPE CAVE
1414-1
NORTHEAST AUCTIONS RONALD BOURGEAULT, Auctioneer
Illustrated Catalog $15.00. Catalog proceeds to benefit the Museum ofAmerican Folk Art Library
93 Pleasant Street,Portsmouth, NH 03801 Tel: 603-433-8400 Fax: 603-433-0415 New Hampshire License # 2109 - Buyer's Premium
DIRECTOR'S
LET TER
GERARD C. WERTIGN
ireman's Fund Insurance Company first joined in partnership just returned from an exciting week in Japan, where I helped inaugurate a traveling exhibition of quilts and other objects from the Museum's with the Museum of American Folk Art in 1998 to help underwrite the costs of the benefit preview of that year's Fall collection. The ceremonial opening of the tour occurred on March 9 in Antiques Show. This commitment was renewed in 1999, the Takashimaya Department Store in Tokyo. This beautiful show was organized by the Museum's consulting curator, Elizabeth V. Warren, when Fireman's Fund not only supported the benefit preview who traveled to Japan with me,as did Alice Hoffman,the Museum's but also provided a major grant for the Museum exhibition "Millennial Dreams: Vision and Prophecy in American Folk director of licensing. The Museum and Takashimaya have enjoyed a business relationArt." Without the encouragement of Fireman's Fund and its belief in the Museum and its mission, it would have been impossible to present ship since the early 1980s. Under the licensing agreement between the parties, Takashimaya manufactures and sells home furnishings and this show. All of us at the Museum are deeply grateful to Fireman's Fund for its continuing generosity. other products in Japan based on the traditions of American folk art. In Japan, department stores also serve as regular venues for outstanding In addition to its wholehearted commitment of resources to the Museum,Fireman's Fund is assisting the institution in other important exhibitions of works of art. The Museum's exhibition will be seen in Takashimaya department stores in ways. Thaddeus(Ted)S. Woods of Tokyo, Kyoto, Osaka, and Yokohama. Bethlehem,Pennsylvania, senior vice Elizabeth Warren was there not only president of Fireman's Fund Insurance to install the exhibition, but also to preCompany, was elected to the Board of sent a series of lectures in Tokyo and Trustees in time to attend the regular Kyoto. Following Elizabeth's return quarterly meeting last March. With a home,the Museum's senior curator and distinguished career in the insurance director of exhibitions, Stacy C. Hollanindustry and a demonstrated commitder, traveled to Japan to participate in ment to public service, Ted is already the Osaka and Yokohama installations proving to be a valuable member of and to present public lectures in those the leadership team. A member of the cities. Among the audiences turning out board of directors of the United Way for the Tokyo presentation was a group of the Greater Lehigh Valley, Ted of loyal Museum members based in serves on the executive and strategic Japan. I was proud to meet these enthuplanning committees of that organizasiastic supporters. tion. I am delighted to welcome him to MERMAID / William Edmondson / Nashville / c. 1935-1940/ carved limestone Because this issue of Folk Art is the Board. 13/ 3 4 x 32 x 5"/ The Mendelsohn Collection going to press immediately after my Also new to the Museum's Board return from the Far East, Alice Hoffman of Trustees is Jonathan Green of will provide a fuller, illustrated report on the Japanese tour and proNaples, Florida. An artist and the recipient of an honorary doctorate in grams in the next issue. I will save my more formal expressions of gratfine arts from the University of South Carolina, Jonathan has received many awards for his artistic and cultural contributions to American life. itude until then, but I do want to thank all of our hosts at Takashimaya for the warmth of their welcome and the kindness of their hospitality. His paintings and drawings, which often draw on the traditions of It was a memorable time, surely one of the highlights of my profesAfrican American vernacular culture, have been seen in many solo and sional career. group exhibitions throughout the country."A Sense of Place: The Art When this issue of Folk Art reaches you,"The Art of William of Jonathan Green" is currently on display at the Coral Springs Edmondson" will have just opened at the Museum. A truly great artist, Museum of Art in Coral Springs, Florida. Jonathan Green is the first Edmondson inexplicably has not received the critical acclaim that he practicing artist to be elected a trustee during the 39-year history of the deserves, especially since his death in 1951. I am drawn to the roughMuseum. His outlook and perspectives will be especially valuable as hewn harmony of his elegant sculptures and the technical virtuosity we approach the challenges of growth and development. I welcome that he brought to his work. I am grateful to the Cheekwood Museum him to the Board with gratitude for his willingness to serve our of Art and to its assistant curator, Rusty Freeman,for organizing this museum community. I have previously commented in this column that as new trustees are impressive presentation. In New York, the show is supported by a generous grant from Time Warner Inc. with additional support from The elected, the Board becomes increasingly diverse geographically. Shirley Schlafer Foundation and Marion E. Greene—The LEF FoundaAmong current trustees are residents of California, Florida, Michigan, tion. Edmondson is one of those artists who appeals as much to the and Pennsylvania, in addition to Connecticut, New Jersey, and New Museum's traditional constituency as he does to those committed to the York. Members of the Board's standing committees hail from other contemporary scene. I hope all of you will turn out to see this remarkstates as well, including Illinois, Massachusetts, and Tennessee. The national scope of the Museum's leadership is appropriate for an institu- able artist's work. I expect the installation to be outstanding and know that you will be as moved as I by Edmondson's contribution to our tion with a national constituency and a national program. shared heritage.* The Museum continues to reach out internationally as well. I have
F
SUMMER 2000 FOLK ART 15
111)•
Museum Construction Update NOM momm ill. 1111.111111 Ur
IIMM NMI Cr MMISM ME 1E1
B
enefiting
from an unusually mild winter, progress on the Museum's new building at 45 West 53rd Street has proceeded smoothly since breaking ground last October. These photographs, taken in February, show how far the builders have come. The excavation work has been completed and nearly 75 percent of the foundation work is done. Pavarini Construction Co. expects to start work on the building's superstructure in the next six to eight weeks.
:.. ... ''.
"Love" series - A Child's Story, Birth #3, 1999, Oil on canvas, 9 x 12 feet
Matt Lamb June 7 through July 2, 2000
Westminster Cathedral London, England one person exhibition
"Open the door to the Redeemer" Featuring 12 paintings from the Love Series (Catalogue available)
For further information contact:
FASSBENDER CHICAGO 835 W. WASHINGTON, CHICAGO, IL 60607 TEL 312-666-4302
www.fassbendergallery.com
www.mattlamb.com
BOLD LOG CABIN QUILT ca. 1960's knits and polys 66" x 78" Always buying fine examples of American Folk Art, single pieces or entire collections. Exhibiting at Wilton Outdoor Antiques Marketplace Saturday and Sunday June 24 and 25
J.E. PORCELLI AMERICAN FOLK ART Cleveland, Ohio Tel./fax: 216 932 3270 Shows Only E-mail: jeporcelli@en.com
Look for us allIit
Summer Antiquities Show June 30 —July 2. 2000 Preview Thursday,June 29 at the Sweeney Center Santa Fe, New Mexico
THE
AMES GALLERY
Dealers in exceptional self-taught, visionary, naive, and outsider art. Bonnie Grossman, Director 2661 Cedar Street, Berkeley, California 94708 Telephone 510/845-4949 Fax 510/845-6219
Wilbert Griffith, Different Races/Culture, 1999, 18"x 24", oil on canvasboard.
SUMMER 2000 FOLK ART 19
MINIATURES
COMPILED BY SARAH J. MUNT
Folk Art at Williamsburg
Sam Doyle Retrospective
Asa Ames' stunning 19th-century life-size carving of 3/ 1 2-year-old Amanda Armstrong will be on view in "Amanda and Friends" at the Abby Aldrich Rockefeller Folk Art Center(757/220-7698) in Williamsburg, Va.,through Sept. 4,2001. Also included are 10 portraits of children, including two attributed to Erastus Salisbury Field. Concurrently on view is "By Popular Demand," an exhibition that resulted from a survey among staff and visitors that asked which artworks were their favorite and why. Approximately 40 drawings and paintings are included, along with participants' comments. Among the paintings is the perennial favorite Baby in Red Chair.
The High Museum of Art (404/733-4437)in Atlanta will present"Local Heroes: Paintings and Sculpture by Sam Doyle" from July 8 to Oct. 14. The exhibition, organized by curator Lynne Spriggs, is the largest retrospective of the artist's work assembled. Doyle was a resident of St. Helena, an island off the coast of South Carolina that remained isolated from the mainland until the late 1920s. Because of this isolation the local Gullah dialect and cultural practices that combined African and Creole influences flourished within the community. Doyle was inspired by local personalities such as "root doctors" Dr. Buzzard and Dr. Eagle. However, the artist also portrayed nationally rec-
AMANDA C. ARMSTRONG Asa Ames (1824-1851) Erie County, New York 1847 Carved white pine 38/ 1 2 14 10" Collection of Barbara Rice
Quilts Shows Across the Country "Contradictory Comforts: Women and their Quilts, 1914-1945" will be on view at California's San Jose Museum of Quilts & Textiles (408/9710323)through Sept. 3. This show,featuring nearly 20 quilts, explores the changes in quiltmaking between the world wars. Women and their quilts were affected by the societal shifts during this turbulent 30-year period of American history. Examining the rise of women's education, technological advances, and the burgeoning media, the exhibition reveals the mixed messages women were giving and receiving from quilts. "Classic Quilts from the Pilgrim/Roy Collection" will be on view from July 15 to Oct. 28 at
20 SUMMER 2000 FOLK ART
the Museum of the American Quilter's Society (270/4428856)in Paducah, Ky. The exhibition contains 35 of those quilts, some of which have never been displayed or photographed before. Gerald E. Roy and the late Paul D.Pilgrim collected folk art for 25 years, and their collection eventually came to include more than 400 quilts. The quilts date from the early 19th century to the mid-20th century. Among the quilts on display will be their first purchase, the Baltimore album quilt Herrick Log Cabin, and an unusual coffin cover that was used in ritual ceremonies for the Odd Fellows Order. Also included are quilts by artists from various religious groups,
including Amish, Mennonite, Moravian, and Quaker. And the University of Michigan Museum of Art(734/7640395)in Ann Arbor will present "Amish Quilts from 1880-1940 from the Collection of Faith and Stephen Brown"from July 8 to Sept. 10. This show,organized by curators Julie Silber and Robert Shaw,features 34 quilts, most of which were made in the early 20th century. Faith and Stephen Brown began collecting in the 1970s; most of their quilts were made in Holmes County, Ohio, the largest settlement of the Amish in the Midwest. The exhibition will travel to the National Museum of American Art in Washington, D.C., later this year. A catalog will be available.
ognized African Americans like Joe Louis, Ray Charles, and Martin Luther King Jr., and tackled historical events ranging from the Civil War to the Vietnam War. A catalog will be available.
CRAB MAN Sam Doyle St. Helena, South Carolina 1975 Paint and pencil on paper 16 13,74" High Museum of Art, Atlanta; T. Marshall Hahn Jr. Collection
Hawkins at Intuit "William L. Hawkins" will be on view through Aug. 26 at Intuit: The Center for Intuitive and Outsider Art(312/243-9088)in Chicago. Born in 1895, Hawkins, a resident of Columbus, Ohio, began painting as early as the 1930s, but it wasn't until late in his life that he garnered acclaim. He frequently incorporated images from newspapers and magazines, and used gravel, wood,and found objects to create bold and vivid paintings. This exhibition features Hawkins' large-scale paintings.
ANTHONY HOPKINS
Starr Lightsfrom a Great Height, 2000, Colored pencil/paper, 6" x 8.25"
CAVIN-MORRIS GALLERY 560 Broadway,Suite 405B, New York, NY 10012 226-0155 e-mail: mysteries@aol.com www.artnet.com/cavinmorris.html (212) fax: 226-3768 (212) tel:
SAM DOYLE works by:
AIKEN BIRNBALTIVI BRICE BUTLER COINS DAWSON DOYLE FINSTER GODIE HAMILTON HAVVKINS S.L. JONES LERMAN REED MURRAY PIERCE TRAVERS WARFEL
KS. Art
SAM DOYLE (1906-1985) enamel on tin, 26 X 42 inches
73 LEONARD STREET NY NY 10013 212 219 9918
SUMMER 2000 FOLK ART 21
MINIATURES
Mark Cam Milestone recent Works se t. 8-oct 21
"I want to run away with the circus" oil on wood, 23"x26" 1999
Signs of Inspiration The City Museum (314/231-2489)in St. Louis, presents "Signs of Inspiration: Prophet William J. Blackmon" through Aug. 14. The artist, born in 1921, was a decorated soldier in World War 1I and became a street preacher and faith healer in the 1970s. Blackmon initially created hand-painted signs. His moral and spiritual beliefs dominate his artwork. The exhibition features 50 paintings that address social issues such as education, drugs, sex, and hospital policies. A catalog is available.
IN THE FIRST CHAPTER OF GENESIS William J. Blackmon Wisconsin 1996 Latex and enamel paint on wood, vinyl backing 403/4 7/ 1 2" Collection of Paul and Jeanne Phelps
Space Art
Salim of Con[emporarq NmerIcan Art 207 W 6th Street Winston-Salem, NC 27101 336 722 2345 Located in.the Downtown Antn D.Lit./act.
email: urbanarliaare@peoplepc.com
22 SUMMER 2000 FOLK ART
The Meadow Farm Museum's Orientation Center(804/5015520)in Glen Allen, Va., will present "Space Craft: The Collection of Lee E. and Kathleen H. Battaglia" from July 1 to Sept. 3. The out-of-this-world
collection features works by artists from as far away as Zimbabwe and Russia, as well as American folk artists. Each artwork—whether painting, sculpture, or textile—features space, space travel, or alien motifs.
The Laffal Collection The University of Connecticut's William Benton Museum of Art (860/486-4520)in Storrs will present "Angels of the Scattered Clouds: Contemporary Folk Art from the Collection of Flo and
Jules Laffar from June 13 to Aug. 20. This exhibition features works of 16 self-taught artists, including Clementine Hunter, Mario Sanchez, Jack Savitsky, and Edgar Tolson.
EIGIGI Pueblo Pottery "From Earth, Fire and Spirit: Historic Pueblo Pottery from the Southwest Museum"is on view from June 24, 2000, to Jan. 2,2001, at the Southwest Museum at LACMA West (323/933-4510)in Los Angeles. This exhibition features 100 works by Pueblo Indians of Arizona and New Mexico. The show will explore the changes in the pottery tradition over the last 400 years, including European influences, the tourist trade, and the current pottery revival.
JACKIE RADWIN Pueblo pottery featured in exhibition From Earth, Fire and Spirit" at the Southwest Museum at LACMA West
Folk Art for Children "Elijah's Enchanted Wood," an installation of works by Columbus barber and woodcarver Elijah Pierce(1892-1984)is part of a four-part exhibition for children,"Eye Spy: Adventures in Art," presented by the Columbus Museum of Art (614/221-6801)in Columbus, Ohio, through May 2001. Inspired by Bible stories, fables, and famous people, Pierce created lively
works that are appealing to children as well as adults. A barber's chair, which can be sat in, encourages visitors to understand the artist's life and community. Designed for children ages 6 to 12,"Eye Spy" aims to stir creative thought and problem-solving skills through interpretation of the artwork.
painted furniture, quilts and folk art RHINO Elijah Pierce (1892-1984) Columbus, Ohio 1981 Painted wood 2 2" 1 4 4/ / 33 Columbus Museum of Art, gift of Michael Milligan
5405 Broadway San Antonio, Texas 78209 (210) 824-7711
SUMMER 2000 FOLK ART 23
Webb Gallery 209-211 W. Franklin Waxahachie, Texas 75165 972.938.8085 www.webbartgallery.corn
4 Houses 1989 22" x 28" Rev. Johnnie Swearingen
Ginger Young Gallery Southern Self-Taught Art By appointment 919.932.6003 Works by more than four dozen artists, including: Rudolph Bostic • Raymond Coins Howard Finster Sybil Gibson Willie links M. C. Jones • Mary Klein Joe Light • Woodie Long R. A. Miller • Reginald Mitchell Sarah Rakes • J. P. Scott • Lorenzo Scott Earl Simmons • James "Buddy" Snipes • Jimmy Lee Sudduth Mose Tolliver John Henry Toney • Myrtice West • Willie White Purvis Young • tramp art
For a free CD catalogue, please contact: Ginger Young Gallery 5802 Brisbane Drive Chapel Hill, NC 27514 Phone/Fax 919.932.6003 gingerart@aoLcom www.GingerYoung.com
Please visit our website to view over 300 works. "Crossing the Road", by Nellie Mae Rowe, crayon, pencil, color pencil, craypas on paper, 18" x 24", c.1980.
24 SUMMER 2000 FOLK ART
melinda
david
pearson
marie
najera
jim
alf ord
stephen
k.
melinda
k.hall
duren
hall
CORIIESPO.,NDANCE
"La Chanteuse Souterraine", 41" x33". Acrylic/Mixed Media/Paper 0 February, 20110
patricia 554 CANYON ROAD
carlisle
SANTA FE, NEW MEXICO 87501
505/820-0596
fine
art
TOLL FREE 888/820-0596
inc
www.carlislefa.com
Extraordinary cedar fence post carved man & woman
16 inches
Untouched, excellent paint circa 1910
17 inches
518 483 1868 Rte. 11B, Malone, NY 12953 e-mail scotkesu@slic.com
26 SUMMER 2000 FOLK ART
LINDSAY GALLERY
Also featuring: Elijah Pierce Popeye Reed Thornton Dial Herbert Singleton Eileen Doman Hugo Sperger Janis Price Levent Isik Michelle Kovalik and Visionary Inventor Chris Mohlor
-Jesus of the Wolves"
DUFF LINDSAY 1991 GUILFORD RD. COLUMBUS,OHIO 43221 614-486-1973 www.lindsaygallery.homestead.com
"OUTSIDE EYE"
Exclusive representation of the OUTSIDER PHOTOGRAPHY PROJECT Photographs by homeless and street people Curator: TOM KENNAUGH
Gallery
Barbara Brogdon 51 Sang Road Cleveland, GA 30528 (706)865-6345 FAX (706) 219-3112 email: rosehips@hemc.net
Untitled North Georgia artist, Eric Legge 36"w x 48"h - $640.00
visi+ our on -tine ga((ery a+ www.rosehipsart.com
:MENTIINIE
,1 NIT BE SURE TO VISIT OUR BOOTH AT FOLK FEST 2000 IN ATLANTA, AUGUST 18, 19, & 20.
CALLEY6
CALLMY M
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Melrose Quilt, c.1960, 49"x 67'; Appliqued.
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SUMMER 2000 FOLK ART
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The Collages of C.T.
UNTITLED United States Late 1940s-1950s Paper, crayon, foil, and ballpoint pen on cardboard 6¼>< 13"
ot much is known about the life of C.T. McClusky, certainly not enough to construct a romanticized tale of travails and tragedy. All I ever learned from my only source was that he worked in a circus as a clown and that he spent his winter months in Oakland, California, where he resided in the same rooming house for a number of years. This scant information was passed on to me in 1975 by a middle-aged woman who was a part-time dealer at the Alameda Penny Market, a weekend swap meet held at the Island Drive In, located in Alameda, California. The dealer's mother had owned the rooming house in which McClusky rented a room each off-season. The dealer spoke fondly of McClusky, the man who had the room at the end of the hall when she was a child and who regaled her and her friends with tales of the circus and life on the road. She remembered his room as almost bare of possessions—McClusky was only a seasonal tenant—except for a battered black suitcase and a stack of newspapers and Life magazines he kept beneath his bed. On the top of that suitcase was pasted a scrap of paper with the word "CIRCUS"(probably cut from an advertising poster), and inside—along with scissors, glue, and scraps of paper and foil—were the collected memories of its owner, presented in the form of numerous collages executed on gray shirtboard. Mr. McClusky, the swap-meet dealer recalled, enjoyed showing the collages to other people in the rooming house, and he would occasionally give one or two to the children.
30 SUMMER 2000 FOLK ART
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By John Turner
sKY summER 2000 FOLK ART
31
By the time I met the dealer, McClusky had died and his possessions, after laying in storage at the rooming house for some time, were passed from mother to daughter. Soon after, they made their short journey to the daughter's swap-meet table, where they took up residence between Mexican ceramics and used tools. That is where one story ends and another begins. I bought that suitcase and the 53 collages it contained. I was attracted to the collages by the naive nature of the presentation, coupled with the honesty of their emotion. If there was ever such a thing as "folk collage," this was it. Over the years, I've tried to get more information about C.T. McCluslcy; I've vis-
ited clown museums and perused circus records, even spoken with residents of "show folk" retirement homes. Every avenue was a dead end, leading me to wonder if the dealer's story had even a grain of truth to it. But my failed investigations also led me to the realization that the work was more important than its creator's past and should be judged and appreciated on its own merits. The word "collage" is derived from the French verb coller, meaning "to glue." In English, it is used as either a noun or a verb, and refers to both the act and the end product of
32 SUMMER 2000 FOLK ART
affixing papers or objects UNTITLED to a two-dimensional sur- United States Late 1940s-1950s face. In 1912, when he Paper, crayon, and foil glued a piece of printed on cardboard 1 4" oilcloth to his painted can- 13 x 15/ vas, Picasso produced the first art collage. There soon followed the psychologically intriguing collages of the Surrealists and the sometimes politicized pieces produced from street debris by the Dadaists. Robert Rauschenberg, Romare Bearden, and other contemporary artists have experimented with collage using materials that range from magazine ads and maps to trash and old clothes. The collages of C.T. McCluslcy range in size from 22 inches by 15
UNTTRED United States Late 1940s-1950s Paper, crayon, and foil on cardboard 13 x 15%"
inches to 3/ 3 4 inches by 91/2 inches, with the majority measuring around 13 inches by 153 / 4 inches. The materials used include foil (some from Rocky Road candy bar wrappers), glitter, and string, as well as cutouts from photographs, cartoons, comic strips, magazines, food containers (like animal cracker boxes), and newspapers. Many of the pieces are also colored with crayons (blue, purple, yellow, black, and green), and some have partial drawings done in ballpoint pen. Judging by the cars and planes and the clothing of the "circus
SUMMER 2000 FOLK ART 33
audience" in the collages and the unused source material that was in the suitcase—Oakland and San Francisco newspaper clippings dated 1953 and 1954—it appears that the collages were done sometime between the late 1940s and the mid-1950s. These works are rich in color, movement, and detail, and are made up of various elements put together in a narrative fashion, and this is what makes them interesting. Many of McClusky's collages center around the themes of isolation and the circus as an extended family. The vast majority of them use images of trains and trucks and even moving vans, all of which were used to transport the circus from town to town. In many cases, the vehicles are in motion, with the big top close by, ready to be broken down and loaded into the trucks at the end of the last show. In a few pieces, highway buses and trucks speed by suburban homes with neatly manicured lawns—part of a lifestyle not often compatible with or available to circus folk. The handdrawn railroad tracks and highways, which run from border to border in some of the collages, give the viewer a sense of the transience and rootlessness of circus life. The lack of belonging is further reinforced through the positioning of the big top in fields outside the cities. Commonly, these were the only available spaces to put on large shows, and this served to further segregate the performers from the community. Also, while many of the people shown attending the circus are wearing suits and fashionable dresses, most of the show folk are seen in work clothes or gaudy stage costumes. It is in this depiction of the show folk that one gets a true sense of family. Often shown grouped in parades leading from the town to the big top, this assortment of children's dreams—bareback horse riders, musicians, clowns, animal trainers—is seen as a unit, a talented group of performers able to bring smiles to many faces and excitement to working people beaten down by the routine of everyday life. The skills of the riders, the precision of the acrobats, the cautious actions of the lion tamer, and the humorous antics of clowns are all shown at center ring in the col-
34 SUMMER 2000 FOLK ART
UNTITLED United States Late 1940s-1950s Paper, crayon, and ballpoint pen on cardboard 13 153 / 4"
lages. The inclusion of the circus band adds the imaginary dimension of sound, which further helps the viewer to animate the art in his mind. McClusky also seems to take pride in showing the everyday life of the performers—hanging clothes out to dry, spending time around their trailers, eating franks and beans. A couple of the collages have color photos—probably cut from a Sunday newspaper feature section—of circus performers between shows, rehearsing, posing for pictures, and feeding animals.
What seems to separate the work of C.T. McClusky from scrapbook art and memory painting is the artist's ability to successfully manipulate scale within the compositions. While most of his works do have a foreground, a middle ground, and a background, McClusky indicates what he wants the viewer to focus on mainly by the size of the dominant image or images, not necessarily by where they are placed. If a piece features the circus band, the band is the largest single element in the work and can be found either in the foreground UNTITLED United States Late 1940s-1950s Paper, crayon, foil, glitter, and ballpoint pen on cardboard 13 16"
UNTITLED United States Late 1940s-1950s Paper, crayon, foil, and ballpoint pen on cardboard / 4" 13 153
or background. This technique is similar to hieratic organization, a preRenaissance system in which image size and placement within the composition determined the importance of an element. Examples of this can be seen in the religious paintings of the era. McClusky effortlessly broke the rules of scale and plane in his collages; these techniques are also found as "signatures" in the work of many folk and self-taught artists. The field of folk art encompasses many categories, from sculpture and painting to assemblage and drawing, created using a wide range of both traditional and nontraditional materials. Surprisingly, even folk photography has emerged as a lesser cate-
gory, with the portraits of Eugene Von Bruenchenhein and Morton Bartlett being recognized in numerous exhibits and articles. It is collage, however, that has remained an "outsider" to the field. If one were to research the roots of nonacademic collage, one could start with nineteenth-century decoupage screens, decorative work done mostly by women. A merging of "craft" and collage can also be seen in the papered bottles and cigar-band dishes of the thirties and forties. Although collage is not a common medium for twentieth-century selftaught (or fine) artists, elements of it do exist in various formsâ&#x20AC;&#x201D;the incorporation of photographic images into paintings and drawings by Nellie Mae
Rowe, William Hawkins, and Howard Finster, for instance. In Finster's case, a photograph or an advertisement clipped from a magazine is often the inspiration for and focal point of a piece. He likens collage to "bringing the photographer's and painter's worlds together." Many of Steve Ashby's three-dimensional sculptures were brought to life not only by the propellerlike blades activated by the wind, but by the addition of female faces cut from girlie and fashion magazines. However, it is in the work of Henry Darger that elements of collage technique are most often used. Darger created the world and personae of the Vivian sisters from images he cut from comic books and magazines.
SUMMER 2000 FOLK ART 35
MENAGERIE United States Late 1940s-1950s Paper and crayon on cardboard 13 153 / 4"
36 SUMMER 2000 FOLK ART
Although he almost always manipulated the cut images by copying them on to paper or enlarging them photographically, some of his cutouts remained intact. Photographic backgrounds—such as views seen through windows—also played an important role in the narrative elements of his illustrations for the stories. Some of the tenets of collage, including juxtaposition, skewing of scale, and a general disregard of art history, can be seen in the works of many folk artists. This particular mentality is apparent in several artistic "environments," from Grandma Prisbrey's Bottle Village in Simi Valley, California, to Tyree Guyton's partially destroyed Heidelberg Project in Detroit to Howard Finster's Paradise Garden in Summerville, Georgia. In Finster's Garden, there is a three-dimensional collage with elements of surreal juxtaposition in its walkways of tools, houses of glass and mirrors, and towers of bicycles. The walls by his bike-repair shop, for instance, are stunning examples of assemblage, containing pieces of religious iconography, family photos, a boy's tonsils in a bottle (donated to Finster by a local doctor), and machine parts, as well as pottery shards and mirrors that glisten in the sun. In addition to his series on the circus, McClusky did a few collages featuring other subject material, including the West, animals, the American flag, ballet, travel, and modes of transportation. However, the circus works that have survived present fragments of stories that reflect the artist's personal sentiments. One cannot look at these pieces without hearing the rhythm of the rails, the crack of the animal tamer's whip, and the sound of applause—a true testament to the strength of the art.*
UNTITLED United States Late 1940s-1950s Paper, crayon, foil, and ballpoint pen on cardboard 4" / 13 153
UNTITLED United States Late 1940s-1950s Paper and crayon on cardboard 4" / 13 x 153
John Turner is the author of Howard Finster: Man of Visions and Leeteg of Tahiti: Paintings from the Villa Velour. He works in the news department at KGO TV and is the curator ofAmericanfolk art at the Museum ofCraft and Folk Art in San Francisco.
SUMMER 2000 FOLK ART 37
New England Paint Decorated Chests
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Discoveries Attributions TWO-DRAWER LIDDED CHEST South Shaftsbury c. 1815 Painted wood 36/ 3 4 x 36/ 1 4 x 16/ 1 4" Shelburne Museum, Shelburne, Vermont
eautifully paint-decorated furniture from the first half of the nineteenth century bears striking witness to the wonderful talent that put color in many rural New England homes. Thankfully, dozens of examples still exist'. Practically all are unsigned by their creators and probably 95 percent or more are unattributed to any individual artisan. So, it is a sad thing when we must reconsider one well-known paint-decorated furniture attribution, that of Thomas Matteson; and it is a great thing when we can attach a fairly definite new attribution to Nehemiah Randall. New information,2 based largely on examination of approximately one dozen of the 17 known or suspected "Matteson" chests in existence, indicates that while these chests were probably produced in the Shaftsbury, Vermont, area, they were probably not made by an individual named Thomas Matteson. Simultaneously, but not connected with Matteson or Shaftsbury, the existence of two similarly made and decorated chests—one with documentation as to its originator and owned by The Metropolitan Museum of Art in New York City, the other up to now unattributed and in a private collection—can be linked together as the work of Nehemiah Randall of Belchertown, Massachusetts, a currently unrecognized talent of the early nineteenth century.
38 SUMMER 2000 FOLK ART
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By David Krashes TWO-DRAWER LIDDED CHEST Vicinity of South Shaftsbury, Vermont c. 1825 Painted wood 40 40 173 / 4" Museum of American Folk Art, gift of Howard and lean Lipman in honor of Robert Bishop, director (1977-1991) of the Museum of American Folk Art
SUMMER 2000 FOLK ART 39
011•111111 The Shaftsbury Group
So-called "Matteson" chests were first documented by Caroline Hebb,3 who noticed a striking similarity among six examples in various collections. The words "Thomas Matteson South Shaftsbury Vermont 1824" are written on the backs of two of these chests, owned by the Ford Museum in Dearborn, Michigan, although the name Matteson is spelled on one chest with an e and two ts and on the other with an i and one t; furthermore, the handwriting does not match. Ever since Hebb's article was published, attributions have been based on the assumption that the name on these chests is the name of their maker. The difference of spelling seems to have been largely ignored. Also ignored has been the curatorial comment in the Ford Museum's records that the medium of the writing is of a later date than the manufacture of the chests.4 Recent research has shown that similarly constructed chests of the "Matteson Group" have writing on them—"Back," "Bottom," "Back Side"—and that this handwriting could be presumed to be that of the chest maker. It is more flowery and smooth than the crabbed "signatures" on the back of the Ford Museum chests. One might safely deduce from this that the names on the Ford Museum chests are those of owners rather than a maker. Supporting this theory is the fact that no records show that any of the three Thomas Mattesons who lived in South Shaftsbury in the early nineteenth century was either a cabinetmaker or an artist.3 Furthermore, most Mattesons spelled their names with an e during this period; death records show that the letter "i" was used mainly between 1850 to 1908. There is also the question of one or two ts. Traditionally, most of the known "Matteson" chests have been found in southwestern Vermont or western Massachusetts. One chest, although of different construction from all the others (and probably made at an earlier
40 SUMMER 2000 FOLK ART
time), displays paint decoration similar to that of the others and has descended through the Matteson family; a living descendent still resides in South Shaftsbury. Accordingly, it seems reasonable to continue to attribute these chests to a maker(or makers)in the South Shaftsbury area. However,I would suggest that they henceforth be called the "Shaftsbury Group." There is no evidence yet to show whether one individual did both the cabinetry and painting or whether two individuals—a cabinetmaker and an artist—worked together.
Detail: Typical handwriting on a Shaftsbury Chest. Private collection
Inscription on the back of a blanket chest, The Magazine ANTIQUES, vol. 104 (Sept. 1973), courtesy of The Magazine ANTIQUES.
Inscription on the back of a blanket chest, The Magazine ANTIQUES, vol. 104 (Sept. 1973), courtesy of The Magazine ANTIQUES.
TWO-DRAWER LIDDED CHEST South Shaftsbury c. 1825 Painted wood 4 41 1834" / 403 Bennington Museum, Bennington, Vermont
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SUMMER 2000 FOLK ART 41
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LIFT-TOP BLANKET CHEST South Shaftsbury c. 1825 Painted poplar 24/ 1 2 46 18s,i," Old Sturbridge Village, Sturbridge, Massachusetts
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LIFT-TOP BLANKET CHEST South Shaftsbury c. 1825 Painted wood 227/e x 397/8 157/0 Private collection
Detail of Shaftsbury chest at Old Sturbridge Village
The best way to recognize a Shaftsbury chestâ&#x20AC;&#x201D; whether a low blanket chest, a one- or two-drawer chest with a blanket chest over it, or even a three-drawer chest (one was sold at an auction in early 1998)â&#x20AC;&#x201D;is to look at its construction. Virtually all of them are alike. At the bottoms of the rear, attached to the feet, are trapezoidal pieces of wood, some notched into lower backboards and some not. The back of each chest consists of two boards nailed to the side panels, with the upper board generally much wider than the lower one. Glue blocks, if present, are narrow, measuring perhaps 44" to 1" on a side; hinges are all of the butt type, not snipe; the hinges usually fasten to the lid with screws and to the case with nails; lids of tills are rounded (beaded) on their edges with a thin grooved line parallel to 4"in from it. 1 the rounded edge and about/ To grasp the wide variety of paint decoration, one needs only visit four museums: the Museum of American Folk Art in New York City; Old Sturbridge Village in SturWhile red, green, and brown curves and swoops of bridge, Massachusetts; and the Bennington and Shelburne paint decoration, along with short, vertical brush strokes on Museums in Vermont. lid edges, are generally considered typical of Shaftsbury decoration and usually constitute a valid basis for attribu- Nehemiah Randall tion, there is a wide variety of decoration on the Shaftsbury For a number of years, The Metropolitan Museum of Art chests. No two are exactly alike; in fact, some are so differ- in New York has been displaying a low paint-decorated ent from the usual type that if they were judged by decora- blanket chest which it has attributed to Nehemiah Randall based on a card found inside the piece of furniture. tion alone, they might not be considered part of the group.
SUMMER 2000 FOLK ART 43
The card reads "Holland farm, Belchertown, Mass. This ent characteristics "not indicative of Randall" was adverchest make [sic] by Nehemiah Randall. Born 1770 died tised as being by Randall. 1850. Married Sally Pratt in 1793. Built his house and lived in it on East Hill, Belchertown, Masstts. Bought in Many pieces of paint-decorated furniture from the early August 1925 from Harry H. Ward his great grandson nineteenth century have survived to this day. While some, (grandson of David Randall) by Elizabeth and Nelson C. particularly chairs, were produced in factories, many others Holland." The Massachusetts Vital Records show that were the work of individual artisans. The Shaftsbury Group Nehemiah was the first of nine children. Nothing has of furniture and the Randall chests are examples of talented been found out about his occupation. The Metropolitan and creative artisans. These chests are among the finest of Museum display card says "the skill he employed and the all the paint-decorated furniture that still exists.* decorative motifs he chose come from an architectural rather than a cabinetry background. The central fluted David Krashes is an entrepreneur and businessman. He is a oval was utilized frequently in Federal-period mantel- member ofthe American Folk Art Society and has written articles pieces, doorways, and cornices, as with dentils and onfolk paintingfor the Maine Antiques Digest(January, 1985) and this publication (The Clarion, Summer 1990 and Folk Art, painted medallions." Another chest,found in the early 1980s and now in a Spring 1996). He and his wife have been collectingfolk paintings and antiquefurniturefor more thanforty years. private collection, can also be attributed to Nehemiah Randall, based on its similarity to The Metropolitan Museum NOTES chest. Similarities can be found in the detailed carving, the 1 Dean A. Fales, Jr., American Painted Furniture 1660-1880 sawed triangular pediments at the tops of the front and side (New York: Dutton, 1972)and Cynthia V.A. Schaffner and panels, and the grooved dentils under those pediments. In Susan Klein, American Painted Furniture(New York: Clarkson each case, the grooved dentils have been produced by Potter, 1997). grooving a long board, sawing strips crosswise from the 2 Proceedings of the 1998 Dublin Seminar, Volume 23,to be board, then placing the strips lengthwise next to each other published in 2000 by the Dublin Seminar for New England Folkand nailing them to the panels of the chests. The triangular life, Boston University Scholarly Publications,985 Commonpediment is produced from two strips into which triangles wealth Avenue, Boston, MA 02215,telephone 978/369-7382, are notched; when the strips are placed next to each other, e-mail dub/sem@bu.edu. the triangles combine to make diamonds. The carving of 3 Caroline Hebb,"A distinctive group of early Vermont painted the fans, particularly in the yellow chest shown at right, is furniture," The Magazine ANTIQUES Vol. 104(Sept. 1973) 458-461. remarkable. Placing brass escutcheons at the centers of the 4 Curatorial Notes, Items ID: 72.160.1 and ID: 66.124.1, Henry fans on this chest was pure artistic genius. So far, these are Ford Museum,Dearborn, Mich., April 3, 1996. the only two known pieces of furniture of this construction 5 Town of Shaftsbury, Birth, Death, and Marriage Index, and design, although a few years ago a tall clock of differ- 1765-1900.
44 SUMMER 2000 FOLK ART
CARVED AND PAINTED BLANKET CHEST Nehemiah Randall Belchertown, Massachusetts c. 1820 Painted white pine 21½'37./4 x 14./4" The Metropolitan Museum of Art, New York City
Detail of Randall chest in private collection
CARVED AND PAINTED BLANKET CHEST Nehemiah Randall Belchertown, Massachusetts c. 1820 Painted white pine 3 4 x 19" 24/ 1 4 x 41/ Private collection
SUMMER 2000 FOLK ART 45
Felipe Archuleta (1910-1991) Tesuque, New Mexico, 1977, color print, 4 6"
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Archuleta, the renowned animal woodcarver and creator of works on paper, lived in Tesuque and was a neighbor of the Rosenaks. They visited him frequently over many years.
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mong the rich archival resources maintained by the Museum of American Folk Art are the photographs and tapes of twentieth-century American folk artists taken and donated by collectors and authors Chuck and Jan Rosenak. Since the 1970s, the Rosenaks visited hundreds of artists all over the United States, and they used many of the pictures they took on these trips in the preparation of their first book, Museum of American Folk Art Encyclopedia of Twentieth-Century American Folk Art and Artists (Abbeville Press, 1990). All of the photographs are important as historical records, but many also serve as sensitive and revealing portraits. These records now have added significance because many of the featured artistsâ&#x20AC;&#x201D;about 60 out of approximately 135 living at the timeâ&#x20AC;&#x201D;have died in the past decade. The Rosenaks have made a major
46 SUMMER 2000 FOLK ART
By Lee Kogan
SUMMER 2000 FOLK ART 47
Jimmie Lee -Sudduth (b. 1910) Fayette, Alabama, 1977, color print, 6 4" The Rosenaks were first introduced to Jimmie Lee Sudduth in 1976 at the Festival of American Folklife in Washington, D.C., sponsored by the Smithsonian Institution. They remembered him as a performing harmonica player. When they learned that he was also a painter, they sought him out and subsequently visited him several times at his home in Fayette, Alabama. They were particularly intrigued by his mud paintings.
Quillian L,anier Meaders (1917-1998) Mossy Creek, Georgia, 1979, black-and-white print, 8 10" Quillian Lanier Meaders, third. generation potter and resident of Mossy Creek, holds one of his sculpture heads (or "face jugs," as they are also known). When the Rosenaks visited him, he said, "Now don't this jug favor Bert Lance窶馬ow don't it, though?" Bert Lance, a known Democratic Party figure and television commentator, lived in Calhoun, a neighboring town.
contribution to the field through their research, publishing efforts, and especially through their recognition and advocacy of many contemporary Hispanic and Native American folk artists. The Rosenak Archives, a generous gift to the Museum from the Rosenaks in 1988, contains approximately 4,800 individual pieces covering approximately 135 American folk artists. The items are primarily photographs taken by Chuck Rosenak. Some of these images are in color; some are black-and-white. The Archives include portraits, enlargements, negatives, slides, and transparencies, as well as thirty audiocassettes of interviews with folk artists, letters, and miscellaneous documents. Eugene P. Sheehy, former head of the reference department of the Columbia University Libraries and general editor for many years of the American Library Association's Guide to Reference Books; and Rita G. Keckeissen, assistant head of the same reference department, cataloged the Rosenak Archives for the Museum. The Museum now seeks funds to evaluate the conser-
48 SUMMER 2000 FOLK ART
Steve Ashby (1904-1980) Delaplane, Virginia, 1979, black-and-white print, 8 10" Steve Ashby and Jan Rosenak during one of the Rosenaks' visits to Delaplane. The small sculpture shown is not one of Ashby's more sexually provocative works.
Alexander Maldonado (1901-1989) San Francisco, 1980, black-and-white print, 8
10"
The Rosenaks learned of Alexander Maldonado from the collections of Herbert W. Hemphill Jr. and David Davies. A generally quiet man, Maldonado enjoyed talking to them about his years as a featherweight prizefighter in San Francisco. The painting in his arms, which depicts his version of a futuristic ad gallery, is an early imaginary cityscape; along with extraterrestrial landscapes, this style became his trademark.
SUMMER 2000 FOLK ART 48
Sam Doyle (1906-1985) St. Helena, South Carolina, 1981, color print, 4 6" This photograph taken outside Sam Doyle's house on St. Helena, an island off the coast of South Carolina, shows how he displayed his colorful artworks for sale. Most often the works were paintings on tin, but he also worked in other media.
Howard Finster (b. 1916) Summerville, Georgia, 1979, black-and-white print, 8 10"
vation needs of the collection. The Museum of American Folk Art was not the only institution to benefit from the Rosenaks' generosity. In 1998, they gave another group of photographs and other archival materials to the Archives of American Art. Chuck Rosenak's interest in photography began when he was in the fourth grade at Milwaukee Country Day School and a teacher—whom he remembers only as Basil—taught him the rudiments of photography. Rosenak maintained a darkroom as a teenager and worked summers taking publicity pictures for the Schlitz Brewing Company of a local singing group—the Fraunfelders. In 1952 he worked in the Milwaukee office of the Adlai Stevenson presidential campaign; when the campaign ended, Stevenson personally sent Rosenak a Leica camera as a token of his appreciation for the photographer's loyal service. Photography remains an avocation of Rosenak's to this day. During the 1970s, both the Rosenaks sensed the importance of
BO SUMMER 2000 FOLK ART
Howard Finster baptized Chuck Rosenak in 1977 during the Rosenaks' first visit to Summerville. Finster hoped that the painting shown in the photograph, which Rosenak was about to purchase, would help with the collector's religious education. The Rosenaks were among the very first to seek out Finster and acquire his works for their collection. This painting, titled 100-45, was executed on very coarse commercial carpet backing.
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Nellie Mae Rowe (1900-1982)
Elijah Pierce (1892-1984) Columbus, Ohio, 1983, 2 5" 1 color print, 3/ In 1983 Jan Rosenak was serving as an administrative law judge. While hearing a case in Columbus, Ohio, she and her husband paid a visit to Elijah and Estelle Pierce at their home. The Pierces were gracious hosts, remembering Chuck's courtesy in driving them from their hotel to The Corcoran Gallery of Art during a terrible blizzard on the opening night of the "Black Folk Art in America 1930-1980" exhibition in 1982.
Vinings, Georgia, c. 1978, black-and-white print, 8 10" Shortly after Nellie Mae Rowe's first exhibition, "Missing Pieces: Folk Art from Georgia 1770-1976," Chuck Rosenak photographed the artist with one of her companion dolls in front of her house on Paces Ferry Road in Vinings. The garden and house that she called her "Playhouse" have since been replaced by the Wyndham Garden Hotel.
SUMMER 2000 FOLK ART 51
Gregorio Marzan (1906-1997) New York City, 1989, black-and-white print, 8
10"
Gregorio Marian holds one of his inventive sculptures outside his apartment house in Spanish Harlem, New York. Marzan was not well-known when the Rosenaks first visited him in 1989.
contemporary American folk art. Both worked as lawyers, so they did not have a great deal of free time. They made time to visit folk artists, however, when work took them near to an artist they were intrigued by. They also made a point of using vacations to pursue this interest. Although they had often traveled to Europe in search of exciting contemporary artworks, in time they devoted themselves to the adventure of the discovery of America and American folk art. The Museum continues to be deeply grateful to the Rosenaks for their significant gift, which will benefit researchers for years to come.*
Lee Kogan is director ofthe Museum's Folk Art Institute and curator ofspecial projectsfor The Contemporary Center. She is also an adjunct assistant professor ofart and art education at New York University. She writes and lectures widely on thefield ofcontemporaryfolk art, and is a regular contributor to this publication. Kogan is the curator ofthe traveling exhibition "The Art ofNellie Mae Rowe: NinetyNine and a Half Won't Do," and author ofthe accompanying catalog.
52 SUMMER 2000 FOLK ART
Lee Godie (d. 1994) Chicago, Illinois, 1983, black-and-white print, 8
10"
Lee Godie using the reflection from a glass life-preserver cover installed on the bridge to primp for the camera on the southwestern corner of the Michigan Avenue Bridge over the Chicago River. Chuck Rosenak took this picture from the other side of the street using a 200-millimeter lens.
Louise Goodman (b. 1937) Shanto, Arizona, 1989, black-and-white print, 7 x 5" Louise Goodman, a Navajo potter from Shanto known for her coiled pots and ceramic brown bears, in a formal pose wearing her turquoise and silver jewelry.
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-5676, Fax (203)266-4766 8 M133) 346 Main Strek South Woodbur"IrtT 0 28 Main Street Nantucket, Masac tott442554•(508)228-8788, Fax (508)228-8137 VW WW. teprattaniees.corn R t
* America's Boardwalk of Self-taught Art *
Folk Fest 2000 August 18, 19, 20• Atlanta, GA North Atlanta Trade Center • 1-86 & Indian Tr. (Exit 101)
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80 Exhibitors Show Times: Friday • 5-10pm $15 Meet-the-Artist Party & Opening Weekend Admission (St Catalog
Saturday • 10-7 • $6 Sunday • 10-5 • $6
Masterpiece Auction
Weekend Symposiums
Friday Night - 8:30pm
Sat. & Sun. - 1:30pm (free)
50 Masterpiece Lots from the Collection of Chuck & Jan Rosenak
Chuck & Jan Rosenak - On Collecting berrel DePasse - Joseph Yoakum -Andrew Van Sickle - J. Lemming -Dr. Mary Padgelek - J.B. Murry * and others
Information: Steve Slotin 770 932-1000 • slotin®netdepot.com
Slotin Folk Art Masterpiece Auction 50 Lots • Friday, August 18 • 8:30 pm During Folk Fest 2000 • Atlanta, GA • N. Atlanta Trade Center
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It's more than just another credit card it's a contribution. outsiderartauctions.com
MUSEUM OF AMERICAN FOLKART
ABM
EVA AND MORRIS FE' I) GALLERY AT LINCOLN SQUARE
532'9 1234 5678 5329
EXPIRES
DO/00/00 C BARD COLE
Now you can help raise money for the Museum of American Folk Art simply by making a purchase with your No-Annual-Fee Museum of American Folk Art Gold MasterCard? Every time you make a purchase with your No-AnnualFee Museum of American Folk Art Gold MasterCard, MBNA America® Bank, the card's issuer, makes a contribution to support the Museum of American Folk Art. Your No-Annual-Fee Museum of American Folk Art card also benefits you in a big way with credit lines up to $50,000 and up to $500,000 Common Carrier Travel Accident Insurance on charged fares.* The Museum of American Folk Art card features... • No Annual Fee! • Additional cards at no cost for family members or associates. • Worldwide acceptance at millions of locations. • A bank that is always available, 24 hours a day,365 days a year. Best of all, it's backed by a 24-hour commitment to Customer Satisfaction that has made MBNA one of the leading issuers of bank credit cards. Request your NO-ANNUAL-FEE Museum of American Folk Art Gold MasterCard today!
Call 1-800-847-7378 TTY users, call: 1-800-833-6262 Please mention priority code FDNI when you call.
ANTON HAARDT GALLERY MONTGOMERY, AL (334) 263.5494
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56 SUMMER 2000 FOLK ART
There are costs associated with the use of this card. You may contact the issuer and administrator of this program, MBNA America* Bank, to request specific information about the costs by calling 1-800-847-7378 or writing to P.O. Box 15020, Wilmington, DE 19850. 'Certain restrictions apply to this benefit and others described in the benefits brochures sent soon after your account is opened. MBNA and MBNA America are federally registered service marks of MBNA America Bank, N.A. MasterCard is a federally registered service mark of MasterCard International Inc., used pursuant to license. © 1997 MBNA America Bank, N.A. ADG-H-5 ADG-8-4-97 ADG-QAAB-8/97
Self Taught, Visionary, Folk Art Fair Labor Day Weekend September 1-3, 2000 $5.00 Admission
Opening Night Preview Friday, September 1 6- 10 pm Live Music Saturday 10-6 and Sunday 10 - 5
JUDITH RACHT GALLERY 13707 Prairie Road Harbert, Michigan 49115 1 hour 10 minutes from Chicago
Portion of admission donated to Berrien County Cancer Foundation and the Stenn Fund for Ovarian Cancer
FOR INFORMATION CALL (616) 469-1080
"JESUS APPEARS IN WASHINGTON"
Dixie Folk Art We have moved to Hobe Sound, Florida (Across from Jupiter Island)
MYRTICE WEST 24" X 36" PAINT ON BOARD
Phone: 561-546-2238 Fax: 561-545-3031 Website: www.dixiefolkart.com Email: daveandsuefolds@webtv.net
an art gallery & studio space creating opportunities for adults with disabilities through art
Greeting Cards Prints Original Art Brochure Available www.stmsc.org
58 SUMMER 2000 FOLK ART
New full-color catalog featuring over 200 fine quality reproductions of quilts, samplers, portraits,landscapes and still lies. Decorative works from prestigious museums and galleries. Send $8.00 for 32-page catalog and free 5" x 7" mini print. Aaron Ashley Inc., 230 Fifth Avenue, Suite 400, New York, New York, 10001, or call 212-532-9227.
Over 350 lovotao Out$14e( Art Ma$terViesce$ hon the Intonationall4 Known
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Auction Saturday July 29th 10:30 AM Johnson City, Tennessee
Free Catalog Available 423-928-1471 Free Catalog Also At www.outsiderartauctions.com
Preview July 24-29 10 AM to 4 PM Terms: phone, live Internet, and absentee bidding 15% buyers premium
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125 West Market Street Johnson City,Tennessee 37601 phone:423-928-1471 e-mail: kimsold@tricon.com Auction will be carried live at www.outsiderartauctions.com
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MUSEUM
REPRODUCTIONS
PROGRAM Star Log Cabin Bedcover from American Pacific
ALICE J. HOFFMAN
MUSEUM OF AMERICAN FOLK ART COLLECTION
Representing more than 300 years ofAmerican design,from the late 1600s to the present, the Museum ofAmerican Folk Art CollectionTM brings within reach ofthe public the very best ofthe past to be enjoyedfor generations to come. New Directions The Museum welcomes its newest licensees: * Manticore Inc. New organization, new location, new products! Manticore, a dynamic new company that specializes in the creation and marketing of innovative, three-dimensional art-based products for the computer desktop environment, is "bringing art to the mouses." Screen savers (slide show display of 25 images), mouse pads, coasters (packed as a set of 4), and note cubes featuring folk art from the Museum's permanent collection will soon be available. *On The Wall Productions, Inc.Inside Out—Outside In! On the Wall Productions, designers, manufacturers, and distributors of art-related gift items to museums worldwide, is now the official distributor to museums throughout North America for the Magic Cube, an interactive product. No matter which way you unfold the Magic Cube—inside out or outside in—a surprise awaits you. Quilts from the Museum's "Glorious American Quilt" collection provided the inspiration for the first in a series of four cubes to be created for the Museum. Additional cubes will soon be available. 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.
GO SUMMER 2000 FOLK ART
* American Pacific Enterprises Heirlooms of the Future! In honor of The Contemporary Center, a new Museum department, American Pacific is creating a collection of bedcovers inspired by contemporary quilts. This collection will be available later this year. Mark your calendar; Elizabeth Warren, the Museum's quilt expert, consulting curator, and featured QVC guest host, is returning to QVC for another hourlong Museum of American Folk Art quilt show this summer. We thank all of you who tuned in to our April show and helped to make it a "sold out" success. * Mary Myers Studio Stepping Out of the Framem! Mary Myers has created the ultimate peaceable kingdom inspired by Edward Hicks' famous The Peaceable Kingdom painting in the Museum's collection. Nutcrackers and nodders are all part of the carved menagerie of animals that have "Stepped Out of the Frame." This limited edition is now available. *Takashimaya Enduring Partnership! In celebration and in honor of the 18 years that the Museum and Takashimaya have enjoyed a business relationship, a special exhibition organized by Elizabeth V. Warren, the Museum's consulting curator, was presented in Takashimaya stores in Tokyo, Kyoto, Osaka, and Yokohama from March 9 through April 11, 2000. Both
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Elizabeth Warren and Stacy Hollander, the Museum's senior curator, provided lectures and walking tours of the exhibition. The exhibition featured a selection of the finest quilts from the Museum's collection and two objects that have become symbolic of the Museum: the Flag Gate and the Fame Weathervane. During these years of creative partnership, Takashimaya has drawn designs and inspiration from the Museum's world-renowned collections to produce a wide variety of wonderful products for the Japanese home. All of us at the Museum express our deep and abiding gratitude for the generous support provided by Takashimaya to the Museum for this celebration and for the many years in which Takashimaya has brought the spirit of American folk art to Japan. We look forward to many more years of this partnership. Dear Customer Your purchase of Museumlicensed products directly benefits the exhibition and educational
activities of the Museum. Thank you for participating in the Museum's continuing efforts to celebrate the style, craft, and tradition of American folk art. If you have any questions or comments regarding the Museum of American Folk Art Collection,TM please contact us at 212/977-7170. Family of Licensees AMCAL,Inc.(800/824-5879) year 2000 calendar.* American Pacific Enterprises (415/782-1250)quilts, shams, and pillows. Carvin Folk Art Designs,Inc.(212/7556474)gold-plated and enameled jewelry.* Fotofolio (212/226-0923) art postcard books, wooden postcards, boxed note cards, and magnets.* Galison (212/354-8840) boxed note cards.* Gallery Partners(718/797-2547) scarves and ties.* Hermitage Artists (518/966-8733)tramp art objects.* Limited Addition(800/268-9724) decorative accessories.* LiquidArt, Ltd.(312/644-0251) digital art reproduction screensavers. Manticore Inc.(800/782-2645) mouse pads, screen savers, coasters, note cubes. Mary Myers Studio (800/829-9603) wooden nutcrackers, nodders, and tree ornaments.* Museum Masterpieces,Ltd.(617/923-1111) note cards,"notelets,"jigsaw puzzles,journals, and gift bags.* On The Wall Productions,Inc. (8001788-4044) Magic Cube.* Salamander Graphix,Inc.(800/451-5311) umbrellas, gifts, and accessories.* Takashimaya Company, Ltd.(212/350-0550) home furnishings and decorative accessories (available only in Japan). Tyndale,Inc.(773/384-0800)lighting and lamp shades. Wild Apple Graphics,Ltd. (800/756-8359)fine art reproduction prints and posters.* *Available in the Museum of American Folk Art Book and Gift Shop. Visit our web site and Online Shop at www.folkartmuseum.org.
MUSEUM OF AMERICAN FOLK ART COLLECTION
Inspired by nineteenth century designsfrom the Museum ofAmerican Folk Art's collection ofover 400 quilts. 222 COLUMBUS AVE, SAN FRANCISCO CA 94133
AMERICAN PACIFIC
PHONE 415.782.1250
FAX 415.782.1260
www. IN
$50 • 144 pages • full-color throughout • ISBN 0-914457-99-3
Wonders to Behold: The Visionary Art of Myrtice West
The Museum of American Folk Art
Edited by Carol Crown Working in obscurity in rural Alabama for seven years, Myrtice West painted the Book of Revelation in 13 large, vivid paintings. Exhibited in public only twice, West's Revelation Series is the subject of a new book featuring essays by 17 renowned writers and artists, including Roger Manley, Tom Patterson, Lee Kogan, Charles Rosenak, Ann Oppenhimer, Rebecca Hoffberger, and Howard Finster. The definitive work on Myrtice West and apocalypticism among self-taught artists, Wonders to Behold will appeal to anyone fascinated by visionary art and millennial furor. "Myrtice West's remarkable painting satisfies intellectually as well as spiritually and aesthetically." — Roger Manley "This book is a wonder to be held." — Independent Publisher LIMITED OFFER: Myrtice West has signed and numbered a collector's edition of 500 copies, now selling on a first-come basis. TO: Mustang Publishing, PO Box 770426, Memphis, TN, 38177• USA 0 Send copy(ies) of the signed and numbered edition of Wonders to Behold at $100 each, postpaid. 0Send copyfies) of Wonders to Behold at $55 each, postpaid. 0 Check or money order enclosed. Charge my credit card: 1 VISA 1 MasterCard a AMEX o Discover Card # Exp. Name Address City State Zip/Post Code Country
presents its Web site with an Online Shop stocked with carefully selected merchandise from our popular Book and Gift Shop. In addition to regularly updated exhibition and program information and a photo gallery featuring highlights of the permanent collection, you can become a Museum member, register for Folk Art Institute courses, and purchase unusual gifts from our extensive catalog of books, accessories, toys, and specialty items for holidays and home decor. Credit-card transactions are encrypted for security and privacy, and Museum members receive a 10% discount on all shop items.
Credit card orders in the U.S. and Canada can call toll-free: 800-250-8713. Outside the U.S. and Canada, call 901-684-1200 or fax 901-684-1256.• Orders outside the U.S. and Canada, please add $10 for shipping, and pay in U.S. funds.• If your order arrives after the 500 signed, numbered copies have been sold, we will automatically ship a regular book at the lower price.
Discounts available for retailers and libraries; please call for details.
82 SUMMER 2000 FOLK ART
Visit us today!
3 .org
'trite Beaver" 41fie Beaver's'MEMORIAL FUND FOR THE CONTINUING OF THE ARTS FOR KIDS "The Beaver's"world still lives...As long as one of his little works ofart makessome one smile,"ROBYN" will always be with us...His precious memory lives on with deep love... The CITY OF OLDSMAR, FLORIDA which is "The Beaver's" home town is in the process of developing an arts complex...This will include the performing arts and the visual arts...Over half of the project is dedicated to kids of all ages...The BEAVER'S mom and dad have played a large part in this project. They are on the board of the CULTURAL ARTS CENTER...So far a $400,000 piece of land has been donated to the city for the arts complex...The City of Oldsmar has invested over $100,000 in renovating an existing building that was on the donated land...ALL OF THIS IS FOR KIDS AND THE ARTS. "The Beaver's"parents along with the City ofOLDSMAR have started"THE BEAVER'S MEMORIAL FUND FOR THE CONTINUING OF THE ARTS FOR KIDS"...Robyn's mom and dad have donated the first $5000 to the FOUNDATION...Our dream is to build an arts complex that will service all of the TAMPA BAY area...A complex that WILL HELP ALL PEOPLE WITH DISABILITIES TO EXPRESS THEMSELVES THROUGH THE GRAND EXPERIENCE OF ART...The first FOUNDATION'S FUND RAISER WAS A TREMENDOUS SUCCESS. Each $5 donation will put this dream just a little closer to reality..."THE BEAVER" WOULD HAVE BEEN VERY PROUD TO BE PART OF THIS GRAND DREAM. IF YOU WISH YOU COULD HELP MAKE THIS DREAM COME TRUE...EVERY DONATION WILL HELP!! If you just want to find out more about this project call the City Clerk of the City of Oldsmar, Lisa Lene at (813) 855-4693...Lisa will put you in touch with the City of Oldsmars CULTURAL AFFAIRS DIRECTOR,LURIE DAY... THIS DREAM WILL HAPPEN!!!! THANKS,"The Beaver's" mom and dad
WANDA'S QUILTS P.O. Box 2012•Oldsmar, Florida 34677•(813) 855-1521 •email: robyn-folkartist@mindspring:com
BOOKS
AMERICA'S OLDEST MAKERS OF COLONIAL AND EARLY AMERICAN LIGHTING FIXTURES
OF
INTEREST
he following recent titles are available at the Museum of American Folk Art Book and Gift Shop, 2 Lincoln Square, Columbus Avenue between 65th and 66th Streets, New York City. To order, please call 212/4962966. Museum members receive a 10 percent discount.
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The Art of William Edmondson, Cheekwood Museum of Art/University Press of Mississippi, 2000, 256 pages, paperback,$30
AUTHENTIC DESIGNS 17 The Mill Road West Rupert, Vermont 05776 (802) 394-7713 Catalogue $3.00
ships of
john taylor
The Cast-OffRecast: Recycling and the Creative Transformation ofMass-Produced Objects, Timothy Corrigan Correll and Patrick Arthur Polk, eds., UCLA Fowler Museum of Cultural History, 1999, 148 pages, paperback,$29 Graven Images: New England Stonecarving and Its Symbols, 1650-1815, Allan L. Ludwig, Wesleyan, 2000 (reprint from 1966), 514 pages, paperback, $29.95 Illinois Jacquard Coverlets and Weavers: End ofa Legacy, Nancy Iona Glick and Katherine H. Molumby,Lakeview Museum of Arts and Sciences, 1999,74 pages, paperback, $25
German Ocean Liner (before WWI) - 39" long x 14" high. found ofnects
online exhibit at
www.garde-ra i I.corn
garde rail gallery contemporary folk, self-taught and outsider art from the northwest and beyond
new address 4750 35th avenue south - seattle, wa 98118 tel: 206.623.3004 email: gallery@garde-rail.com
64 SUMMER 2000 FOLK AR I
The Intuitive Eye: The Mendelsohn Collection, Ricco/Maresca Gallery and Fotofolio, 2000,94 pages, paperback,$30 James Castle & the Book, Tom Trusky,Idaho Center for the Book, 1999, 18 pages, paperback, with a set of six hand-sewn facsimiles of Castle books, $19.95
The Kingdoms ofEdward Hicks, Carolyn J. Weekley, Abrams, 1999, 312 pages, hardcover, $39.95 Millennial Dreams: Vision and Prophecy in American Folk Art, Gerard C. Wertkin, Museum of American Folk Art, 1999,40 pages, paperback,$10 Self Taught, Outsider, and Folk Art: A Guide to American Artists, Locations and Resources, Betty-Carol Sellen with Cynthia J. Johanson, McFarland, 1999, 368 pages, paperback,$39.95 Signs ofInspiration: The Art of Prophet William J. Blackmon, Jeffrey R. Hayes, Marquette University, 1999, 84 pages, paperback,$30 Souls Grown Deep: African American Vernacular Art ofthe South, Paul Arnett and William Arnett, eds., Tinwood Books, 2000,568 pages, hardcover, $95 They Taught Themselves, Sidney Janis, Sanford L. Smith & Associates, 1999(reprint from 1942), 260 pages, paperback, $29.95 Window into Collecting American Folk Art: Edward DuffBalken Collection at Princeton, Charlotte Emans Moore and Colleen Cowles Heslip, Art Museum Princeton University, 1999, 162 pages, paperback,$18 Wonders to Behold: The Visionary Art ofMyrtice West, Carol Crown, ed., Mustang Publishing, 1999, 144 pages, hardcover,$50
Always a source for significant buying
HANCOCK
SHAKER VILLAGE A village like no other and two great shows...
AMERICANA ARTISANS THE
WILTON ANTIQUES MARKETPLACE SHOWS September 17 Sunday, 10-5 To benefit Drum Hill DAR
Admission $7.00 - $6.00 with card or ad
CRAFTS SHOW July 8 and 9
December 3 Sunday, 10-5
Saturday & Sunday
A benefit for the John G. Corr Memorial Award Fund
Admission $7.00 - $6.00 with card or ad
AMERICAN CRAFTSMANSHIP at its best...
Wilton High School Field House
Traditional crafts,folk art and fine furniture This is the premier summer showcase for 95 nationally acclaimed artists and artisans working in the traditional manner today to create the heirlooms of tomorrow.
EARLY BUYING 8:30-10:00 am
ANTIQUES SHOW August 19 & 20 THE PRE-EMINENT BERKSHIRE SHOW This expanded show features fine antiques,including Shaker furniture and artifacts, country and period furniture and appropriate decorative accessories,textiles, ceramics,garden objects,folk art, prints, books and English and continental objects, all exhibited in the magnificent ROUND STONE BARN and under tents.
$5 admission; $16 to Show and Village Show managed by Marilyn Gould,(203)762-3525 Hancock Shaker Village Junction of Routes 20 & 41,Pittsfield, MA For information: (413)443-0188
Route 7, Wilton, Connecticut The best buy . . . The best pickings. . . $20.00 per person Art& Antiques ofthe 18th, 19th and 20th Centuries The most exciting one-day shows in the country with 125 of America's finest dealers showing American, English and European country and formal period furniture and decorative arts, folk art and the accessories of early homes, in room settings. These comprehensive shows are planned to appeal to serious collectors, dealers, designers and those looking for authentic antiques and interesting objects to furnish homes.
Produced by Marilyn Gould Merritt Parkway: Exit 39B from the west Exit 41 from the east •
1-95: Exit 15, north 8 miles
•
1-84: At. 7, south 12 miles
•
Metro North railroad to Cannondale Station
VIM
Only 50 miles from New York City
MCG Antiques Promotions (203)762-3525 10 Chicken St., Wilton, Conn.06897
MUSEUM
NEWS
COMPILED BY SARAH J. MUNT
2000 Outsider Art Fair his year's Outsider Art Fair started the new century with a new tradition. For the first time, The Contemporary Center of the Museum of American Folk Art proudly hosted the Opening Night Preview of the Outsider Art Fair as a benefit for the Museum,instead of hosting a dinner following the Preview. More than 600 Museum members and friends joined Benefit Preview Chairs Richard and Amy Rubenstein and Selig and Angela Sacks on Thursday, Jan. 27, at the Puck Building in SoHo. This important annual fundraiser was made possible with the generous support of corporate sponsors Burnett Group, Global Financial Press, Goldman Sachs & Co.,Icon 20, and Pryor Cashman Sherman & Flynn LLP.Proceeds from benefit events help to support the Museum's ongoing exhibitions, educational programming, and publications. While strolling through the aisles, guests enjoyed delicious down-home fare created by Great Performances Catered Events. Throughout the evening the mellow sounds of the Carolina Slim Blues Duo,Zane Massey's jazz saxophone,Sean Grissom's homemade Cajun cello, and the happy tunes of fabulous Mr. Spoons—all performers with the MTA Music Under New York program—kept fingers snapping and toes tapping. A new addition to the Museum's Outsider Art Fair benefit was an online auction. Sponsored and hosted by Icon 20, the auction featured items donated by Fair dealers; 100 percent of the proceeds were donated to the Museum. In conjunction with the Outsider Art Fair, the Museum's Atnericus Group hosted a recep-
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66 SUMMER 2000 FOLK ART
tion at Ricco/Maresca Gallery— an event for Museum friends in their 20s and 30s—on Friday, Jan. 28. More than 70 guests attended this special viewing of "The Intuitive Eye: Selections from the Mendelsohn Collection." Gad and Michael Mendelsohn graciously spoke to the group about their love of collecting. The Museum wishes to thank all those who helped make the 2000 Outsider Art Fair Benefit Preview a wonderful event: Linda Abbey, American Primitive Gallery, Angela Usrey Gallery, Aron Packer Gallery, Bloomingdale's, Burnett Group, Deborah Bush, Carl Hammer Gallery, Laurie Churchman, Andrew Edlin, Frank J. Miele Gallery, Galerie Bonheur, Galerie Bourbon-Lally, Galerie St. Etienne, Gilley's Gallery, Global Financial Press, Goldman Sachs & Co., Marion Harris, Icon 20, J. Crist Gallery, Keny Galleries, Caroline Kerrigan, K.S. Art, Jessica Long, Margaret Bode11 Gallery, Gael & Michael Mendelsohn, Modern Primitive Gallery, MTA Arts for Transit Music Under New York, Michel Nedjar, Philip Morris Companies Inc., Phyllis Kind Gallery, Pryor Cashman Sherman & Flynn LLP,Ricco/Maresca Gallery, Richard & Amy Rubenstein, Selig & Angela Sacks, Sailor's Valentine Gallery, Colin Smith, Mike Van Allen, Wasserwerk Galerie Lange, the staff of Great Performances Catered Events, and everyone at Sanford L. Smith & Associates.
Carolina Slim Blues Duo
Photography by Matt Flynn
Benefit Chairs Richard and Amy Rubenstein and Angela and Selig Sacks
Deputy Director Riccardo Salmona, Dr. Mathilda Krimm, and Director Gerard C. Wertkin
Gael and Michael Mendelsohn with their daughter, Marni Giannotti
Online auction: Janey Fire, Robert Sbicicsteln, and Icon 20 assistant Stacy Singennan
Aron Packer (left) of Aron Packer Gallery
John M. Owen and Shelby Gilley of Gilley's Gallery
The collector's source for American folk art. Johnny Ace Minnie Adkins Leroy Almon Butch Anthony Baltimore Glassman Jack Beverland Kata Billups Minnie Black Georgia Blizzard Rudy Bostic Deborah Brezina Berkeley Brown Ree Brown Tubby Brown Virginia But.[man Richard Burnside Pris Buttler Larry Calkins Kacey Carneal Benny Carter Catfish Man Tommy Cheng Raymond Coins Scott Collins CW Connor Ronald Cooper Teresa B. Davis Mamie Deschilles Ran Dorn Brian Dowdall Sam Doyle Fatisha Roy Ferdinand Marvin Finn Howard Finster Michael Finster Roy Finster Connie Firestone Paul Flack Tim Fowler Evelyn Gibson
Sybil Gibson Lee Godie Elayne Goodman Dorethey Gorham Abe Graber Michael Harms Bessie Harvey Mike Nanning Gerald Hawkes Albert Hefner Kristen Helberg Jesse Hickman Blair Hobbs Lonnie Holley Leland Holliday Don Holloway Elwyn Hudson Sylvanus Hudson
Amos Rummell Clementine Hunter James Harold Jennings Jas Johns Rev. Anderson Johnson Sharon Johnson Five Cents Jones Krista M. Jones Leonard Jones S.L. Jones Allan Keller Charlie Kinney Hazel Kinney CM Laster Kelly Laster Ernest Lee Chris Lewallan Eric Longo
Charlie Lucas Will Luck Anna Lynch Jake McCord Frank McGuigan Sam McMillan Tres Linn-Gregory Stanley Mason Willie Massey Mark Casey Milestone RA Miller Roger Miller Sue Million Roy Minshew Myrtle Panos Matilda Pennic Rev. Ben Perkins
AMERWA*01I,YES!
Frank Pickle Mary Pittman Mary Proctor Sarah Rakes Molly B. Right Sutton Rogers St. EOM Jack Savitsky Lorenzo Scott Robert Frito Seven Steve Shepard Jim Shores Mary T. Smith Norma Smith Robert Smith Bernice Sims Buddy Snipes Lamar Sorrento QJ Stephenson Wesley Stewart Vicki Stone Vannoy Streeter Jimmy Lee Sudduth Carolyn Swain Willie Tarver Nancy Thomas Son Thomas William Thompson John Tooney Annie Tolliver Mose Tolliver LC Van Savage Nancy Valelly Paul Walker Inez Walker Hubert Walters Sabra Wolfe Fred Webster Mytrice West Sharon Yavis Purvis Young And Many More.
If you've got a computer, you've got our gallery.
www.amencaohyes.com For more information, e-mail folkart@hargray.com or write: America Oh, Yes!, P.O. Box 3075, Hilton Head Island, S.C. 29928 Locations: 17 Pope Avenue Executive Park, #4 Hilton Head Island, SC * 2020 R Street, NW, Washington, DC
MUSEUM
NEWS
100 Black Men and Women Event n Tuesday evening, Jan. 18, the Museum's Board of Trustees hosted the New York Coalition of 100 Black Women and 100 Black Men,Inc. for cocktails and a private Left to right: Jim Harding, director of legislative affairs for New viewing of"Millennial York City for Governor Pataki; the Reverend Doctor Suzan D. Dreams: Vision and Johnson Cook; Luther Gatling Prophecy in American Folk Art," curated by Museum director Gerard C. Wertkin. Close to 200 individuals turned out for what was the second successful Museum event for these two organizations, headed by the Reverend Director Gerard C. Wertkin with WCBS anchor Dana Tyler Doctor Suzan D. Johnson Cook four times a year at the Eva and and Luther Gaffing, respectively. Morris Feld Galleryâ&#x20AC;&#x201D;another In addition, the Arts Committee step toward establishing a long of the New York Coalition of 100 and richly rewarding collaboraBlack Women is now meeting tion between our organizations.
0
AMERICAN STONEWARE COLLECTORS "AUCTION AND APPRAISAL SERVICES"
Millennial Programming s part of the programming for the Museum's exhibition "Millennial Dreams: Vision and Prophecy in American Folk Art," the Museum hosted a remarkable Roundtable Discussion on March 2. The participants were renowned folk artist Howard Finster; Norman J. Girardot, professor of comparative religion at Lehigh University; Professor Richard Landes, cofounder and director of the Center of Millennial Studies at Boston University; and Gerard C. Wertkin, exhibition curator and director of the Museum. The audience was treated to a slide show of Finster's work and listened to the artist's comments. The evening ended with questions from the audience. Other stimulating lectures were also held in conjunction
A
Richard C. Hume P.O. Box 281 Bay Head, N.J. 08742 732-899-8707
68 SUMMER 2000 FOLK ART
Carl Wissler 2015 Lilitz Pike Lancaster, PA. 17601 717-569-2309
with "Millennial Dreams." Speakers included Carolyn J. Weekley, director of museums at Colonial Williamsburg; members of the Sabbathday Lake Shaker Community and Daniel W.Patterson; Rebecca Hoffberger, director and founder of the American Visionary Art Museum; and Stephen A. Marini, professor of religion at Wellesley College.
Reversed Howard Fluster and Director Gerard C. Malkin
Inspiration
Prophet
itliam J. Blackmon
iOR D E R0 U R-owN
Folk Art Explorers hirty-nine Museum members enjoyed a Folk Art Explorers tour to Santa Fe, N.M.,from April 4 to 9. The trip included visits to the private collections of John and Margaret Robson,Leslie and Henri Muth, Larry and Alyce Frank, Orren Jordan and Rob Parker, Lynn Steuer, and Cliff and Joan Vemick. The group also visited santero Nicholas Herrera and Cordova carvers Sabinita Lopez Ortiz and Gloria Lopez Cordova. A visit to The Wheelwright Museum of the American Indian included a tour of an exhibition of work by noted Navajo artist Charlie Willeto led by curator Sherry Doyle. Joyce Ice, director of The International Folk Art Museum welcomed the group for a visit that included tours of the storage areas that were conducted by
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curators Annie Carlano and Barbara Mauldin. Bud Redding, director of the Spanish Colonial Arts Society welcomed the Explorers for a tour of their newly acquired museum building, a house designed by architect John Gaw Meems in 1930; it will not be open to the public until 2002. Visits to the San Francisco de Asis Church in Rancho de Taos and the San Ildefonso Pueblo were part of the tour. Beth Bergin of the Museum's membership office would like to thank everyone who graciously welcomed and entertained the Folk Art Explorers in New Mexico. A tour to Toronto is planned for Oct. 17 to 22. For information, please call the Membership Office at 212/977-7170.
MAGA ZIN Q,QPTES1I o NIES-FOR
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sponsored ENVISION Folk
ganized by the Haggerty Museum o arquette University. Milwaukee.WI Curated by Jeffrey R. Hayes
JOHN C. HILLâ&#x20AC;˘ ANTIQUE INDIAN ART 6962 E. 1st Ave. email: antqinclart@aoLcom
Scottsdale, Arizona 85251 (480)-946-2910
Left to right: Betty Fleischman, Anne Jermusyk, Jeanne Riger, Joan Meador, Edwina Arnold
Nicholas Herrera, "El Rito Santero," holding his daughter Elena Backus y Herrera
Rare Pima Basketry Figures, Billow and Devils Claw, Circa 1925. 12 VP high
SUMMER 2000 FOLK ART 69
ALEX GERRARD
MUSEUM
NEWS
FINE ART
Quilt Workshop n Feb. 25, the Museum conducted an in-house workshop for the employees of the American Bible Society, a nonprofit publishing organization. Gallery manager Dale Gregory conducted the workshop and was assisted by volunteers Stephen Leonard and Judy Ullrich. During the workshop, which focused on teamwork, the presenters displayed a Museum reproduction quilt and quilted
O PERIFIMOU untitled - gouache on paper - 10 x 14"
WE SPECIALISE IN FINDING IMPORTANT EXAMPLES OF EUROPEAN SELF TAUGHT - NAIVE - PRIMITIVE AND OUTSIDER ART FOR SERIOUS COLLECTORS www.alexgerrard.com
vests, as well as unfinished quilt squares created by docent Marie Annoual. Participants had the chance to view the quilts and see how they were made. The workshop culminated in the making of a paper friendship quilt; the quilters had to design a paper square that reflected themselves. Comparisons were drawn between the stitches that hold quilts together and the acts of consideration that hold an organization together.
art@alexgerrard.com
VIEWING BY APPOINTMENT BELL LODGE - VINEHALL - ROBERTSBRIDGE - E.SUSSEX ENGLAND TN32 5JN TEL: 01580 - 880229
FAX: 01580 880559
Art America
Adam and Eve Barbara Moment 1985
Tom D. Sullivan
We provide a showcase for contemporary American Folk Art. The range of offerings includes painting and sculpture.
603 643-8880 www.art-america.com Employees of the American Bible Society build a friendship quilt together.
10 SUMMER 2000 FOLK ART
MIDWEST'S LARGEST DEALER OF
HOWARD FINSTER Outsider Art Fair Programming he Museum sponsored numerous events in conjunction with this year's Outsider Art Fair. On Jan. 27, the Museum's Folk Art Explorers participated in the annual day trip, "Inside Outsider Art in New York." The Explorers visited the Creedmore Psychiatric Center Art Gallery and had the opportunity to meet many of the artists and watch them work. In the afternoon they saw Selig and Angela Sacks' folk art collection. The popular Uncommon Artists symposium, presented every year by the Museum of American Folk Art and New York University, was held on Saturday, Jan. 29. Dr. Judith Weissman, director of folk art studies for NYU,and Gerard C. WertIcin, director of the Museum, greeted the packed auditorium. Lee Kogan, director of the Museum's Folk Art Institute, served as moderator.
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The first speaker was Dr. Johann Feilacher, director of the House of Artists, Maria Gugging, Austria. Feilacher discussed the life and work of August Wallaâ&#x20AC;&#x201D; from his childhood during World War II to his current residency at the House of Artists. Following Feilacher was Michael Hall, who lectured on sculptor Felipe Archuleta and his relationship to the art market. The next speaker was Paul Arnett, cocurator of the Arnett Collection, who spoke of the late Ronald Lockett and how his artwork was influenced by television, African American folklore, and current events. The fmal lecture, presented by Brooke Davis Anderson, director and curator of the Museum's Contemporary Center, was on the influence of the arts of Africa and the Diaspora on the work of Kevin Blythe Sampson.
David Leonardis Gallery 1352 N. Paulina Chicago, IL 60622 773-278-3058 www.dIg-gallery.com david@dIg-gallery.com BUY ART NOW! WE DELIVER
& Turner * Forbes Antiques Shows Saturday, July 15 Manchester Village, VT The Hildene Antiques Show Wed. & Thurs., Aug.9 & 10 Manchester, NH
The 7th Annual Riverside Antiques Show Tues. & Wed., Aug 15 & 16 Top row, left to right: Michael Hall, Brooke Davis Anderson, Paul Arnett, Gerard C. Wertkin. Bottom row, left to right: Judith Weissman, Johann Feilacher, Lee Hogan
Museum's Architects Honored he Museum is proud to announce that the architects of the Museum's new building on West 53rd Street, Tod Williams and Billie Tsien, were chosen to be in the first National Design Triennial at the Smithsonian Institution's CooperHewitt, National Design Museum in New York City. The Triennial, on view through Aug.6, presents
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a critical overview of design and architecture between 1997 and 2000. Tod Williams Billie Tsien and Associates were among a small group of architects selected. Williams and Tsien's contribution to this exhibition of objects and images includes a model of the Museum's new building and a large panel of the tombasil façade.
Bath, ME
The 39th Bath Area Antiques Show
Sat., September 23 Manchester Village, VT
The Fall Hildene Antiques Show
Sat. & Sun., Sept. 30 & Oct. 1 Hartford, CT The Fall Hartford Antiques Show For further information, contact Linda Turner 207-767-3967
SUMMER 2000 FOLK ART 71
MUSEUM
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Docent News n Jan. 24 the Museum welcomed Rika Bernum to the Eva and Morris Feld Gallery. Bernum, docent trainer and educator for The Metropolitan Museum of Art, conducted the first in a series of training sessions for the Museum's docents. Playing the role of visitors, docents were shown the multiple meanings of Edward Hicks' painting The Peaceable Kingdom through analytic reconstruction. Bernum then
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compared and contrasted Hicks' work with Horace Pippin's Holy Mountain III. The session ended with the docents creating a dialogue between the characters in the paintings, then using parts of the conversation to create poetry. The docents were excited by the techniques used, and they plan on incorporating them into future tours. The next session will take place at The Metropolitan Museum of Art, and the subject will be the painter Thomas Cole.
LYNN MELTON
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P.O Box 10152 (336) 632-1413
Greensboro NC 27404-0152 e-mail: LMelton222@aol.com
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TRAVELING
Mark your calendars for the following Museum of American Folk Art exhibition when it travels to your area during the coming months:
BER NICE Si MS PICKING Pori' TOES Mose Tolliver Clyde Jones S.L. Jones Minnie Evans Gerald DePrie Vollis Simpson James Harold Jennings Mr. Eddy
Mary T. Smith Jimmie Lee Sudduth Ted Gordon Sarah Rakes
Aug. 10—Oct. 8, 2000 The Art of Nellie Mae Rowe: Ninety-Nine and a Half Won't Do The Mennello Museum of American Folk Art Orlando, Florida 407/246-4278
CONIEMPOIARY AMON FOLK ART li SE11-11116H1 ART
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HOAt,, -.‘,. •• ••
( GALLERY
Mike Smith A At Home Gallery 3916 Pondfield Court Greensboro, North Carolina 27410 AtHome98@aol..com 336 664-0022
www.athomegalleN.corn , Is*
72 SUMMER 2000 FOLK ART
EXHIBITIONS
For further information, please contact Judith Gluck Steinberg, coordinator of traveling exhibitions, Museum of American Folk Art, 555 West 57th Street, New York, NY 10019-2925,212/977-7170.
OBITUAR
Y
Proudly Representing
MARY WHITFIELD Henry "Jay" Tobler 1966-2000 New York collector, author, and gallery director Henry "Jay" Tobler, who had a great interest in both contemporary art and American folk art, died of leukemia on Feb. 25, 2000, at Anderson Cancer Center in Houston. Tobler first became interested in folk art when he was in high school, and began collecting during his frequent forays to flea markets and antique shops. This interest continued through his college years. Tobler graduated from Yale University and was awarded the A. Conger Goodyear Prize for Art History for his senior thesis on African American folk art. Tobler was director of New York's Barbara Gladstone Gallery from 1995 to 1997; he previously
served as the gallery's archivist and assistant director. Most recently, he was curator of an exhibition of the works of selftaught artist James Castle, which opened one week after Tobler's death and was on view from March 4 through April 29 at the Drawing Center in New York City. He wrote for Art Issues, Flash Art, and Frieze, and he contributed to the Museum's SelfTaught Artists ofthe 20th Century: An American Anthology. He was also the primary editor of The American Art Book. A memorial service for Henry Tobler took place at the Drawing Center on March 12. Tobler is survived by his wife, Julia Joern. —Lee Kogan
"Feeding Chickens" #2, 1997. Watercolor, 8X10
aPeve Tot/thew( Attonationd
Mary Michael Shelley Painted low relief woodcarvings since 1973 • _o a.) so_
'oQ,
fought, and AticantAniettiecul uititt (nee 1980
auttle Camodg 10046 Conway Toad St. Uouis, (Atissowti 62124 Ty appointment: (214) 992-9851 Ty gax: (214) 992-9260 Ty ematV: gbonhewt@aoteom www.gaVehiebonheaeom Ralph Auf der Heide, Milton Bond,Ree Brown,Cuban Art, Rita H. Davis, Minnie Evans, Bruno del Favero, Amos Ferguson, Reginald K. Gee, Sybil Gibson, Regine Gilbert, Haitian Art, Charles Hutson, Janice Kennedy, Justin McCarthy, Polish Folk Art, Nellie Mae Rowe, Jack Savitsky, Anne Strasberg, Venezualan Folk Art, Voodoo flags, Mary Whitfield, Harriet Wiseman, Malcah Zeldis, & others.
607-272-5700 109 Park Place, Ithaca, N.Y.14850 (please call first).
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SUMMER 2000 FOLK ART 73
TRUSTEES/ DONORS
MUSEUM
OF
AMERICAN
FOLK
ART
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 Bonnie Strauss Vice President Barry D. Briskin Treasurer Jacqueline Fowler Secretary Anne Hill Blanchard Joyce B. Cowin Samuel Farber Julie K. Palley
Members Barbara Cate Joseph F. Cullman 3rd David L. Davies Jonathan Green Susan Gutfreund Kristina Johnson Esq. Nancy Mead George H. Meyer Esq.
Trustees Emeriti Cordelia Hamilton George F. Shaskan Jr.
Bliss & Brigitte Carnochan Edward Lee Cave Christie's Richard & Teresa Ciccotelli Mrs. Daniel Cowin Mr.& Mrs. Edgar M. Cullman Elissa F. & Edgar M. Cullman Jr. Joe & Joan Cullman Susan R. Cullman Kendra & Allan Daniel David & Sheena Danziger Lucy & Mike Danziger Peggy & Richard M. Danziger David L. Davies Deborah & Arnold Dunn Ray & Susan Egan Joyce Eppler Ralph 0. Esmerian Sam & Betsey Farber Bequest of Eva & Morris Feld Jacqueline Fowler Rebecca & Michael Gamzon Mr. & Mrs. Merle H. Glick Cordelia Hamilton
Audrey Heckler Mr.& Mrs. George Henry In Memory of Laura N. Israel Johnson & Johnson Joan & Victor Johnson Kristina Johnson Esq. Susan & Robert Klein Joel & Kate Kopp Wendy & Mel Lavitt The Edith and Herbert Lehman Foundation, Inc. Lipman Family Foundation Paul Martinson, Frances Martinson, and Howard Graff in memory of Burt Martinson Mr.& Mrs. Christopher Mayer Mr.& Mrs. Dana G. Mead Robert & Meryl Meltzer George H. Meyer Keith & Lauren Morgan Cyril Irwin Nelson New York City Department of Cultural Affairs New York State
Bequest of Mattie Lou O'Kelley The Overbrook Foundation Julie & Sandy Palley and Samuel & Rebecca Kardon Foundation Jeffrey Pressman & Nancy Kollisch John & Margaret Robson Foundation Ricco/Maresca Gallery Shirley Schlaferp The Peter Jay Sharp Foundation The George & Myra Shaskan Foundation, Inc. Arthur & Suzanne Shawe Rachel & Donald Strauber Bonnie & Tom Strauss The R. David Sudarsky Charitable Foundation Takashimaya Co., Ltd. Richard & Maureen Taylor David & Jane Walentas Weil, Gotshal & Manges LLP John & Barbara Wilkerson Robert & Anne Wilson Susan Yecies Six anonymous donors
Lauren S. Morgan Cyril I. Nelson Laura Parsons Margaret Z. Robson Thaddeus S. Woods
CAPITAL CAMPAIGN DONORS The Museum of American Folk Art has announced a $34.5 million campaign to construct and endow a new home on West 53rd Street. As of March 6, 2000, nearly $24 million has been raised by the following donors: Alconda-Owsley Foundation R.R. Atkins Foundation Marcia Bain Judy & Barry Beil in honor of Alice & Ron Hoffman Mrs. Arthur M. Berger Big Apple Wrecking and Construction Corporation Edward V. Blanchard & M. Anne Hill Blanchette Hooker Rockefeller Fund Mr.& Mrs. James A. Block Edith S. & Barry D. Briskin Florence Brody Lewis P. Cabot
RECENT DONORS FOR EXHIBMONS AND OPERATIONS—as of March 1,2000 The Museum of American Folk Art greatly appreciates the generous support of the following friends: $100,000 and above Fireman's Fund Insurance Company Two anonymous donors $99,999—$50,000 Edward V. Blanchard & M. Anne Hill Edith S. & Barry D. Briskin Ralph 0.Esmerian Samuel & Betsey Farber One anonymous donor $49,999—$20,000 The Andy Warhol Foundation for the Visual Arts Burnett Group Country Living magazine Joseph F. Cullman 3rd David L. Davies & Jack Weeden Mr.& Mrs. John H. Gutfreund Barbara & Dave Krashes Vincent & Anne Mai Joseph Martinson Memorial Fund
74 SUMMER 2000 FOLK ART
Mr.& Mrs. Dana G. Mead Julie K.& Samuel Palley Pfizer Inc Philip Morris Companies Inc. Restaurant Associates Industries, Inc. The Shirley Schlafer Foundation The Smart Family Foundation Inc. Geoffrey & Elizabeth Stem Time Warner Two anonymous donors
The Judith Rothschild Foundation Schlumberger Foundation, Inc. Jean S. & Frederic A. Sharf Fund Barbara & Thomas W.Strauss Fund Tenneco John & Barbara Wilkerson The Norman & Rosita Winston Foundation, Inc. William Doyle Galleries One anonymous donor
519,999—S10,000 Bear, Steams & Co. Inc. Bristol-Myers Squibb Company Christie's Mrs. Daniel Cowin Lucy C.& Frederick M.Danziger The Dietrich American Foundation & H. Richard Dietrich Jr. William B. Dietrich & William B. Dietrich Foundation Jacqueline Fowler Joan M.& Victor L. Johnson Lipman Family Foundation, Inc. George H. Meyer Esq. Mr.& Mrs. Keith Morgan New York State Council on the Arts The Pinkerton Foundation John & Margaret Robson
0,999—$4,000 ABC,Inc. Judith Alexander ARTCORP Beard's Fund Mr.& Mrs. Steve Burnett The John R. and Dorothy D. Caples Fund Barbara & Tracy Cate Con Edison Galerie St. Etienne The Goodnow Fund Johnson & Johnson Family of Companies Kristina Johnson Esq. Joseph E. Seagrams & Sons,Inc. Jerry & Susan Lauren The Joe & Emily Lowe Foundation
The Magazine Group Marstrand Foundation The Mattie Lou O'Kelley Memorial Trust MBNA America, N.A. Morgan Stanley Foundation New York City Department of Cultural Affairs Dorothea & Leo Rabkin Ricco/Maresca Gallery Marguerite Riordan The William P.& Gertrude Schweitzer Foundation, Inc. George F. & Myra Shaskan Jr. Mr.& Mrs. Joseph D. Shein Myron B.& Cecille B. Shure Peter J. Solomon Don Walters & Mary Benisek Two anonymous donors 53,999-82,000 Dr. Charles L. Abney Jr. Bell Atlantic Bergen Line, Inc. Ellen Blissman Mr.& Mrs. Sheldon Bonovitz Robert & Katharine Booth (continued on page 76)
SUMMER
PROGRAMS
Unless otherwise specified, all programs are held at the Museum of American Folk Art/Eva and Morris Feld Gallery, 2 Lincoln Square, Columbus Avenue between 65th and 66th Streets, New York City. Programs are open to the public, and admission is free. For more information, please call 212/595-9533. EVENING PROGRAMS 6:00 P.M. Thursday,June 8 The New Jersey Edmondsons: Lecture and Tour at The Newark Museum Joseph Jacobs, curator ofAmerican art, The Newark Museum This lecture will be held at The Newark Museum in New Jersey. For directions, call 973/596-6550. Thursday,June 29 Edmondson's Mermaid: Afro-Atlantic Dialogues on Art, Archetype, Memory,Myth, and Ritual Dr. Henry John Drewal, Evjue Bascom Professor ofArt History, University of Wisconsin—Madison Eve Sandler, artist, New York SATURDAY DEMONSTRATIONS 1:00-5:00 P.M. June 24,July 29,and August 26 Stone-Carving Demonstrations Featuring New York sculptor Chris Pellettieri SATURDAY AFTERNOON STORYTELLING 40)P.M. June 10 African and African American Folk Tales Performed by Griots in Concert, featuring storyteller Linda Humes and percussion accompaniment
SUNDAY AFTERNOON CHILDREN'S WORKSHOPS 2:00-4:00 P.M. For children ages 5 to 12 Materials fee: $1 July 9 and 23 Soap Sculpture Use Edmondson's sculpture as inspiration, and carve your own artwork in soap. June 18 and July 16 Mermaids,Angels,and Critters Explore some of Edmondson's favorite subjects in this crayonresist drawing workshop. To confirm specific dates or reserve a space, please call Dale Gregory at 212/595-9533. SUMMER SCHOOL & CAMP GROUPS The Museum offers docent-led tours of its changing exhibitions and permanent collection gallery. Tours for children's groups are scheduled at 11:30 A.M. and 1:00 P.M., Tuesday through Sunday. A small non-refundable fee is required. Reservations must be made in advance; please call 212/595-9533. Once a tour has been booked, an introductory teachers' packet will be sent. The packet includes background information on American folk art and suggested classroom activities to enhance the Museum visit. One month's advance notice is suggested.
Major funding for the New York presentation of"The Art of William Edmondson" is provided by
TIME WARNER with additional support from The Shirley Schlafer Foundation and Marion E. Greene—The LEF Foundation. The Museum's public programs are funded in part by the New York City Department of Cultural Affairs and Edkai
Self-Taught Folk and Outsider Art Art Curating and Installation Design Consultant
JOY MOOS GALLERY 2423 Langdale Ave, Los Angeles, CA 90041 tel: 323 257 0505, fax: 323 257 6009 joymoos@hotmail.com
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SUMMER 2000 FOLK ART 75
DONORS
flypcgisq AMERICAN ANTIQUES & FOLK •
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78 SUMMER 2000 FOLK ART
Vermont Antiques Festival
Mr.& Mrs. Richard H. Bott Richard Braemer & Amy Finkel Marvin & Lois P. Broder Edward J. & Margaret Brown Chris Butler Joseph & Barbara Cohen Columbia University Community Concerts Mr. & Mrs. George Contos Mr.& Mrs. Edgar M.Cullman Richard M.& Peggy Danziger Mr.& Mrs. Alvin Deutsch Michael & Janice Doniger Nancy Druckman Duane, Morris & Heckscher T.J. Dermot Dunphy John Farber & Wendy11 Brown Burton & Helaine Fendelman in memory of Ellin Ente Scott & Lauren Fine Fortress Corporation Fred Leighton, Ltd. Jay & Gail Furman Eric J. & Anne Gleacher Vira Hladun Goldmann Mr.& Mrs. Ronald Goldstein Peter & Barbara Goodman Warren & Sue Ellen Haber Mr.& Mrs. James Harithas Jimmy Hedges Pepi & Vera Jelinek The Johnson & Johnson Family of Companies Employee Matching Gifts Program Harry Kahn Allan & Penny Katz Diane D. Kern Lawrence J. Lasser Mr. and Mrs. Ronald S. Lauder Mr. & Mrs. Mark Leavitt Dan W.Lufkin & Silvia Kramer Maine Community Foundation Millbrook Vineyards Gladys Nilsson & Jim Nutt The Overbrook Foundation Daniel & Susan Pollack Drs. Jeffrey Pressman & Nancy Kollisch The Ridgefield Foundation Selig D. Sacks Peter L. Schaffer Raymond & Linda Simon Mr. & Mrs. Elliot K. Slade R. Scudder & Helen Smith Richard & Stephanie Solar Jeff Soref Mr.& Mrs. David Stein Donald & Rachel Strauber Jim & Judy Taylor David Teiger Mr.& Mrs. George P. Viener Irwin H.& Elizabeth V. Warren Peter & Leslie Warwick Olive F. Watson One anonymous donor
S1,99941,000 Amicus Foundation, Inc. Deborah & James Ash
Jeremy L. Banta Didi & David Barrett Robert B. Bennett Patricia H. Berkowitz Daniel Berman Mrs. Peter Bing Thomas Block & Marilyn Friedman Marc Brown Trudy & Julius Brown Gale Meltzer Brudner Edward Lee Cave Cavin-Morris Gallery Cirker's Moving & Storage Co., Inc. Citicorp Foundation Matching Gifts Program The Coach Dairy Goat Farm Cullman & Kravis, Inc. Allan & Kendra Daniel Aaron & Judy Daniels Michael Del Castello Derrel B. De Passe Mr.& Mrs. Gerald T. DiManno Kathleen M. Doyle The Echo Foundation. Mr.& Mrs. Alfred C. Eckert III Andrew Edlin The Charles Edlin Family Charitable Foundation Trust Gloria G. Einbender Gail M. Engelberg Douglas G. Ente in memory of Ellin Ente Epstein Philanthropies Richard C. & Susan B. Ernst Foundation Janey Fire & John Kalymnios Erin Flanagan Frank J. Miele Gallery Jill Gallagher David A. Gardner Roger L. Garrett Dr. Kurt A. Gitter & Ms. Alice Yelen Barbara L. Gordon Grand Manlier Foundation Robert M. Greenberg Mr.& Mrs. Robert F. Greenhill Bonnie Grossman Guinness Import Company Cordelia Hamilton Carl Hammer Marian & Andrew Heiskell Terry B. Heled Mr. & Mrs. Richard Herbst Stephen Hessler & Mary Ellen Vehlow Stephen M.Hill Thomas Isenberg Jane Marcher Charitable Foundation Harvey & Isobel Kahn Louise & George Kaminow Mr. & Mrs. Gerald P. Kaminsky Mr.& Mrs. Robert E. Klein Barbara S. Klinger Robert A. Landau Mr. & Mrs. Stephen Lash Mr. & Mrs. John Levin Barbara S. Levinson Peter & Nadine Levy
DONORS
Mr. and Mrs. Carl M.Lindberg Liz Claiborne Foundation Eric Maffei The Helen R.& Harold C. Mayer Foundation Mrs. Myron L. Mayer Michael & Gael Mendelsohn J. Randall Plummer Morris & Anna Propp Sons Fund,Inc. Ann & Walter Nathan Judith & Bernard Newman David O'Connor Philip V. Oppenheimer & Mary Close Karen R. Osar Mr. & Mrs. Richard D. Parsons Dr. Burton W.Pearl Anthony J. Petullo Mr.& Mrs. Daniel Pollack Polo Ralph Lauren Mr. &Mrs. Mortimer Propp Jack & Roberta E. Rabin Irene Reichert Mr.& Mrs. Keith Reinhard Paige Rense Betty Ring William D. Rondina Mr.& Mrs. Daniel Rose Mr.& Mrs. Jeff T. Rose The San Diego Foundation Charmaine & Maurice Kaplan Fund Merilyn Sandin-Zarlengo Mr.& Mrs. Henry B. Schacht Carol P. Schatt Kerry Schuss Mr.& Mrs. Marvin Schwartz Semlitz Glaser Foundation Mr. Harvey Shipley Miller Hardwicke Simmons Nell Singer Mr.& Mrs. Elliott Slade Patricia & Robert Stempel Doris & Stanley Tananbaum Mr.& Mrs. Jeff Tarr Tiffany & Co. Mr.& Mrs. James S. Tisch Mr.& Mrs. Laurence Tisch Peter & Lynn Tishman Mr. & Mrs. Barry Tucker Ms. Karel F. Wahrsager Mr.& Mrs. David C. Walentas Clinton Walker Foundation Mr. & Mrs. Charles G. Ward III Gerard C. Werticin Mr.& Mrs. William M. Wetsman G. Marc Whitehead Robert N. Wilson Dr. & Mrs. Joseph M.Winston John & Phyllis Wishnick Laurie Wolfe & Ann C.S. Benton Two anonymous donors $999â&#x20AC;&#x201D;$500 The Acorn Foundation Joan H. Adler Ms. Mary Lou Alpert Richard C.& Ingrid Anderson
Anton Haardt Foundation Mr.& Mrs. Al Bachman Joel & Lucy Banker Barbara & Donald Tober Foundation Frank & June Barsalona Charles Benenson The Bibelot Shops Leonard Block Jeffrey & Tina Bolton Marilyn & Orren Bradley Deborah Bush Paul & Dana Caan Laurie Carmody Mr.& Mrs. Dick Cashin The Chase Manhattan Foundation Matching Gift Program Mr.& Mrs. Robert Cochran Mrs. Phyllis Collins Stephen H. Cooper & Prof. Karen Gross Judy Cowen Michael F. Coyne & Monica Longworth Karen L. Cramer Simon Critchell Mr.& Mrs. Lewis Cullman Kathryn M. Curran Gary Davenport Debevoise & Plimpton Don & Marion DeWitt Maureen D. Donovan Cynthia Drasner Arnold & Debbie Dunn Edward Clifford Durrell III Shirley Durst Raymond C. Egan Mr.& Mrs. Alvin Einbender Ross & Gladys Faires Burton & Helaine Fendelman Mr. & Mrs. Scott Fine Pamela J. Hoiles Firszt Annie Fisher Evelyn Frank Ken & Brenda Fritz Denise Froelich Dale G. Frost Daniel M. Gantt Mr.& Mrs. Bruce Geismar Margaret A. Gilliam Elizabeth Gilmore William L.& Mildred Gladstone Baron J. & Ellin Gordon Mrs. Terry S. Gottlieb Howard M. Graff Stanley & Marcia Greenberg Ronald & Susan L. Grudziecki Susan Rosenberg Gunnan Audrey B. Heckler Mr. and Mrs. Tom Hess Leonard & Arlene Hochman Mr.& Mrs. Robert Hodes John & Laima Hood Ellen E. Howe Mr.& Mrs. Ken Iscol Mr.& Mrs. Thomas C. Israel Ann Jocelyn/Bank of New York Betty Wold Johnson & Douglas F. Bushnell Guy Johnson
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SUMMER 2000 FOLK ART 77
DONORS
INDfq0 ART5
/07,0) Popular and Folk Art from Asia, Africa and the Americas Haitian Paintings • Metal Sculpture • Vodou Flags West African Barber Shop Signs • Huichol Paintings Mexican &Latin American Folk Carvings 6- Paintings Ethnographic Sculpture, Furniture &Textiles 151 N. 3rd Street, Philadelphia, PA 19106 215-922-4041 www.indigoarts.com fax: 215-922-0895
Maurice & Channaine Kaplan Nancy Karlins-Thoman Sherry Kass & Scott Tracy Steven & Helen Kellogg Ms. Joan E. Kend Arthur & Sybil Kern Mary Kettaneh Robert Kleinberg Sherry ICronenfeld Mr. & Mrs. Theodore A. Kurz Elizabeth Larson Mr.& Mrs. Leonard A. Lauder Wendy & Mel Lavitt Mr.& Mrs. Gerry Lodge Gloria & Patrick Lonergan Monica Longworth & Michael F. Coyne Nancy B. Maddrey Michael T. Martin Mr.& Mrs. Jonathan Marvel Al Marzorini Kelley McDowell The McGraw-Hill Companies Employee Volunteer Support Program M.P. McNellis Grete Meilman Mr.& Mrs. Robert Meltzer Robert & Joyce Menschel Evelyn S. Meyer Frank J. Miele Timothy & Virginia Millhiser Joy Moos Kathy S. Moses Museums New York Cyril I. Nelson Mr. & Mrs. Bruce Newman Rachel B. Newman New York Beverage Company Nancy Ann Oettinger Mr. & Mrs. John E. Oilman
Paul L.& Nancy Oppenheimer David Passennan Burton W.Pearl, M.D. The Perrier Group of America Mr.& Mrs. Laurence B. Pike Dr. & Mrs. Roger Rose Robert A. Roth Joluies Ruta Riccardo Sahnona Mr.& Mrs. Robert T. Schaffner Margaret Schmidt Minda Shein Mr.& Mrs. Ronald Shelp Bruce B. Shelton Joel & Susan Simon Philanthropic Fund Steven Simons & Cheryl Rivers Rita A. Sklar John & Stephanie Stnither Theresa Snyder Kathryn Staley Mr.& Mrs. Victor Studer Mr. Frank Tosto Dorothy Treisman Mr. & Mrs. Raymond S. Troubh United Way of Dutchess County Angela Usrey Mr.& Mrs. Hugh Vanderbilt Mr. & Mrs. Joseph Viener Robert & Ruth Vogele Jennifer Walker Herbert Well In honor of Bennett Weinstock from his friends Margaret Wenstrup Susi Wuennenberg Diana Zanganas Jon & Rebecca Zoler Anonymous in honor of Gerard C. Werticin One anonymous donor
THE JEAN LIPMAN FELLOWS 1999 Co-ChaIrs Jerry & Susan Lauren Roger Ricco and Frank Maresca
AQTI6AN6 FOLK AT GALLERY OF NOVA SCOTIA TO view the impressive variety of quilts, folk art pieces, furniture and much more, check out our website!
folkartnovascotacom F.O. BOX 153, AMHERST, NOVA SCOTIA
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7S SUMMER 2000 FOLK ART
1999 Fellows Patrick Bell & Edwin Hild Mary Benisek & Don Walters Edith Briskin Edward J. & Margaret Brown Nancy Druckman Peter & Barbara Goodman Tracy Goodnow Barbara L. Gordon Howard M.Graff Ann Harithas Pepi & Vera Jelinek Harvey Kahn Allan Katz
Susan Kleckner Barbara & David 'Crashes Eric Maffei Jeff & Anne Miller Keith Morgan John 011man J. Randall Plummer Paige Rense Selig Sacks Jean S. & Frederic A. Sharf Raymond & Linda Simon Richard & Stephanie Solar Arthur Spector Donald & Rachel Strauber Sin von Reis Irwin H.& Elizabeth V. Warren One anonymous donor
DONORS
April 7-August 26, 2000 RECENT DONORS TO THE COLLECTIONS Glfts Judith Alexander Jill & Sheldon Bonovitz Briskin Family Fund William C. Engvick Ralph 0. Esmerian Samuel & Betsey Farber Jacqueline L. Fowler Millie & Bill Gladstone Ellin & Baron Gordon Lewis B. Greenblatt Sally & Paul Hawkins Vera & Pepi Jelinek Joan & Victor Johnson N.F. Karlins David and Barbara'Crashes Jane, Steven 8z Eric Lang
The Lipman Family Foundation in honor of Jean & Howard Lipman Ezra Mack Robert L. Marcus Family Edward A. McCabe Cyril Irwin Nelson J. Randall Plummer & Harvey S. Shipley Miller Jan Raber Dorothea & Leo Rabkin John & Margaret Robson Linda & Ray Simon Maurice C.& Patricia L. Thompson Janice Turecki Ruth & Robert Vogele Martha Detert Walbolt Dr. 8z Mrs. Stuart Zweibel
FIVAMS
Intuit INTUIT: THE CENTER FOR INTUITIVE AND OUTSIDER ART 756 North Milwaukee Avenue, Chicago, IL 60622 http://outsider.art.org WEDNESDAY-SATURDAY NOON-5 PM
312.243.9088 Running concurrently with the American Masters exhibition
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William Edmondson IC. 1936 / photograph by Louise Dahl-Wolfe / Photography / Arizona Board of Regents
1981 Center for Creative
ay 20—August 27, 2000 Major funding for the New York presentation is provided by TIME WARNER with additional support from The Shirley Schlafer Foundation and Marion E. Greene—The LEF Foundation. The Museum's public programs are funded in part by the New York City Department of Cultural Affairs and Rail "The Art of William Edmondson" is organized by Cheekwood Museum of Art, Nashville, Tennessee. The traveling exhibition and catalog are supported by The Henry Luce Foundation, Inc. and the National Endowment for the Arts.
Museum of American Folk Art
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v.-Reginald Mitchell 4( Herbert Singleton Johnnie Swearingen * Mose Tolliver M.C.5t Jones * Jimmy Lee Sudduth —Rio-Featured Artists Include
www•YARDDOGcom 1510 S. Congress Austin, TX 78704 512.912.1613
SUMMER 2000 FOLK ART 79
EPSTE1N/POWELL 66 Grand St., New York, N.Y. 10013 By Appointment(212)226-7316 e-mail: artfolks@mindspring.com
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
TO
ADVERTISERS
Aaron Ashley,Inc. 58 Alex Gerrard 70 America Oh, Yes! 67 American Folk 13 American Pacific 61 American Primitive 2 American Stoneware Collectors 68 The Ames Gallery 19 Anton Haardt Gallery 56 Art America 70 Artisans & Folk Art 78 At Home Gallery 72 Authentic Designs 64 Barbara Archer Gallery 10 Cavin-Morris Gallery 21 Christie's 8 David Leonardis Gallery 71 David Wheatcroft 12 Dean Jensen Gallery 9 Dixie Folk Art 58 Envision 69 Epstein/Powell 80 Fassbender 18 Fleisher/Oilman Gallery Back Cover Folk Fest, Inc. 54,55
80 SUMMER 2000 FOLK ART
Forbes & Turner Galerie Bonheur Garde Rail Gallery Gilley's Gallery Ginger Young Gallery Hill Gallery Hypoint Indigo Arts Intuit J. Crist J.E. Forcelli Jackie Radwin John C. Hill Joy Moos Gallery Judith Racht Gallery Judy A. Saslow Gallery K.S. Art Ken & Susan Scott Antiques Kimball Sterling Auctions Lindsay Gallery Luise Ross Gallery MBNA America MCG Antiques Promotions Mary Michael Shelley McFarland
71 73 64 28 24 7 76 78 79 3 19 23 69 75 57 9 21 26 56,59 27 9 56 65 73 75
Mustang Publishing 62 Nancy Weaver 77 New England Antique Show Mgmt. 76 Northeast Auctions 14 Outsidesign 26 Patricia Carlisle Fine Art, Inc. 25 Ricco/Maresca Gallery Inside Front Cover Rosehips Gallery 28 Santefeart.net 68 Select Southern Pottery 72 Sidney Gecker 13 Sotheby's Inside Back Cover St. Madeleine Sophie's Center 58 Steve Miller 1 Tops Gallery 77 Tracy Goodnow 11 Tyson Trading Co. 29 Urban Artware 22 Walters-Benisek 4 Wanda's Quilts 63 Wayne Pratt, Inc. 53 Webb Gallery 24 Yard Dog 79
Fine Arts
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• Extraordinary items like these from around the world •Property from thousands of dealers • Authenticity guaranteed • 256 years of experience • Now online
Chippendale Figured Walnut Slant-Front Desk, Pennsylvania Circa 1800 Height: 44 in. (1.2 m.) Width: 42 in. (1.7 m.) Opening bid: $3,500
Leslie Payne Wooden Fish Painted wood and sheet metal 451/2 by 13 in. (115.5 by 33 cm.) Opening bid: $1,000.
Americana Online starting June 7
SOTHEBYS.COM Browse, bid or buy
Books
The Fleisher/011man Gallery Honors the Memory of
Henry Jernigan (Jay) Tobler
James Castle Untitled, n.d., spit and soot on found papec 12 5/8 x 10 /8 inches
Jay's commitment and love of self-taught art, and his presence in the arena of mainstream contemporary art, helped make a bridge between these two worlds. Jay's passion for art and life was an inspiration to all of us who knew him. His dedication to curating the lames Castle: House Drawings exhibition at The Drawing Center, under such adverse conditions, is as much a tribute to him as it is to the brilliance of James Castle's drawings. His ability to identify important art and to bring it to the attention of the world, will be sadly missed. His voice will surely help to define self-taught art in the twenty-first century. We mourn the loss of Jay.
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