THE CLARION AMERICA'S FOLK ART MAGAZINE The Museum of American Folk Art New York City
Woman with cat. (shown actual size) Maine,circa 1800.
ci-LLAN L. DANIEL American Folk Art and Country Furniture In New York City By appointment Telephone (212)799-0825 (if no answer leave message at(212)787-6000)
Decorated Pennsylvania dower or bridal chest. Dated 1803. Lebanon County, Pennsylvania. Height 28" Width 411/ 4"Depth 23"
Our latest brochure #30, is now available at $4.00 per copy.
Co-publishers THE AMERICAN ART JOURNAL
15 EAST 57TH STREET, NEW YORK, N.Y. 10022
Q AMERICAN c_ANTIQUES6&QUILTS 1022 LEXINGTON
AVENUE, NEW YORK, N.Y.10021 PH0NE:(212)YU PROPRIETORS: BLANCHE GREENSTEIN, TOM WOODARD
•Z. • ••:" S°Z . ( t • S% • •
Silk Pictorial Quilt. Circa 1875.
We.are especially interested in purchasing exceptional folk art quilts and crib quilts. Photographs returned promptly. We are located on the corner of 73rd Street and are open Monday through Saturday 11:00 a.m.-6:00 p.m.
THE CLARION E -n q
MID-SUMMER 1978 / IN THIS ISSUE Cover THEOREM. Artist unknown. Mid-19th century. Watercolor on velvet. 16" x 19".(Promised gift). P.78.407.1.
A PICTORIAL 27 GUIDE TO THE PERMANENT COLLECTION
AND... LETTER FROM THE DIRECTOR BOARD OF TRUSTEES
The Clarion, America's Folk Art Magazine, Mid-Summer 1978. Published quarterly and copyright 1978 by The Museum of American Folk Art, 49 West 53rd Street, New York, New York 10019. The cover and contents of The Clarion are fully protected by copyright and may not be reproduced in any manner without written consent. Unsolicited manuscripts or photographs should be accompanied by return postage. The Clarion assumes no responsibility for the loss or damage of such material.
Advertising The Clarion accepts 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. Change of Address Please send both old and new addresses and allow five weeks for change.
NEWS FROM THE FRIENDS COMMITTEE FOLK ART CALENDAR THE MUSEUM SHOP-TALK 36
THE DOCENT PROGRAM
THE MERCHANT AND THE MUSEUM: Reproducing American Folk Art
29 30 32
INDEX TO ADVERTISERS
EXCLUSIVELY FROM THE AMERICAN HERITAGE MUSEUM COLLECTION:
Reproductions from The Museum ofAmerican Folk ArtOffered for the first time. A RUDDY TURNSTONE is the colorful bird that provided the model for this waterfowl decoy. The hand-carved, hand-painted reproduction shown is a faithful copy of the late-19th-century original made on Cape Cod and used by local sportsmen on the famous salt marshes. 11" high x 10V2" long; natural-finish wood base. Price: $75, plus $1.50 shipping and handling. THESHAKER CANDLE STAND is a copy ofan original probably made at the Mt Lebanon Shaker Community between 1840 and 1850. Shakercandle stands were noted for their superb craftsmanship and beauty of design, and were highly prized pieces throughout the 19th century; today, remaining examples command prices of$3,000. Our reproduction is hand-crafted of poplar with a cherry finish and precisely follows the clean lines ofthe original. The Shaker candle stand is easily the most adaptable article of furniture one can possess and will serve a multitude ofpurposes, from gracing any room as an occasional table to displaying antiques and objects of art to their best advantage. Price: $149.95, plus $6.50 shipping and handling.
TO ORDER: Fill in and clip out this coupon, and mail to address Indicated with your check or charge information. â€˘
AMERICAN HERITAGE MUSEUM COLLECTION Dept. 32, Box 1776, Marion, Ohio 43302 Please send me the items indicated below: Quantity #P9023.1 $ Needlepoint Kit(s) #P9024.X $ Frame(s)
Cat Bootscraper(s) Candle Stand(s) Decoy(s)
#P9025.8 $ #P9021.5 $ Total Cost: $
0 Check enclosed.0 Please charge to my creditcard account. 0 Master Charge 0 American Express Card Number
Expire Date Signature Name Street City (Offer not valid outside the U.S.)
Zip B 262200.3
SHAKER CORN is the subject of this needlepoint design adapted from a late-19th-century Shaker preserve label. The kit includes a painted 14-gauge interlocking mono canvas(work area 10/ 1 2 "x 12Âź"), one needle, all the Persian wool necessary to complete the design, and comes in an attractive Shaker-style box with full instructions. It may be made into a pillow, or framed as shown. THE SHAKER-STYLE FRAME shown is completely assembled and has a fully finished wood backing. 10%" x 127/8". Needlepoint kit: $35, plus $1.00 shipping and handling. Frame: $27.50, plus $1.65 shipping and handling. "SHADOW"TElE CATis a copy ofa castiron bootscraper made around 1890 and discovered in New York. This reproduction is sand-castlike the original. Its heavy base has screw holes for solid mounting. 6" x 18". Price:$29, plus $1.65 shipping and handling.
I wish to purchasefine examples of Americanfolk art,andfurniture single pieces or entire collectionc
GEORGE E.SCHOELLKOPF 1065 Madison Avenue, New York, N.Y. 10028
Tuesday through Saturday, 10- 5
* AMERICANA * at
SothebyParke Bernet Founded 1744
The leading firm of art auctioneers & appraisers in the world
01•011 iNal "MUM is WI 'Sao 1011/
Pictorial hooked rug, 19th century. Sold for $1,300.
A rare glazed pottery figure of a lion by John Bell, Waynesboro, Pennsylvania, mid-19th century. Sold for $18,000.
Blue and white jacquard woven coverlet by B. Talcott, 1835. Sold for $1,500.
A rare Chinese Export porcelain figure of a Dutch lady, 1730-50. .cold for $15,500.
"r • Ns An important silver teapot by Peter van Dyck, New York, circa 1720-40. Sold for $47,000.
A rare set of six turned and painted ladder-back side chairs, Delaware River Valley, 1750-1800. Said for $18,000.
Two Boys with the American Flay, American School, 19th century. Sold for $17,000.
An important Chippendale carved mahogany blockfront chest of drawers, Massachusetts, 1760-80. Sold for $57,500.
A selection from the auction of Americana held at Sotheby Parke Bernet in February, 1978
Our auctions of Americana attract collectors from across the nation. If you would like to have information about buying or selling at Sotheby Parke Bernet, please contact us at 980 Madison Avenue, New York 10021: Paintings 212/472-3551 Furniture 212/472-3511 Folk Art 212/472-3512 Porcelain 212/472-3517 Silver 212/472-3531 and at our other gallery PB Eighty-Four, 171 East 84th St., New York 10028 212/472-3577 • in California at 7660 Beverly Blvd, Los Angeles, Ca. 90036 213/937-5130
Our illustrated catalogues are the collector's best guides to what is currently available in the auction market. An annual subscription costs only $70 (U.S.A., Canada & Mexico). It includes pre-sale estimates, post-sale prices and our bi-monthly Newsletter. For a complimentary copy of the Newsletter, please write to Dept. CF • No commissions are charged to buyers at Sotheby Parke Bernet sales held in America
SOTHEBY PARKE BERNET 980 MADISON AVENUE NEW YORK 10021
Weather Vane Painted sheet iron .26 inches high See: David C. Driskell, 71vo Centuries ofBlack American Art, page 115.
H.& G.Diamant 115 West 73 Streetâ€˘ New York, N.Y.10023 By Appointment (212)362-2552
FINE AMERICAN ANTIQUES 18T1-t AND 19TH CENTURY
FURNITURE • PAINTINGS • FOLK ART
VILLAGE SQUARE • 115 MASON STREET • GREENWICH • CONNECTICUT06830 • (203)869-9650
Unusual child's "jumping chair" retaining the original grained and stenciled decoration, impressed in two places with the mark "SAWIN'S PATENT, Dec.15, 1857."
19 Purchase Street, Rye, New York 10580
Telephone (914)967-4990 Closed Wednesdays
ANNE N. FISHER 160 McKinley Avenue New Haven, Connecticut (203) 397-2902
JOHN &JACQUELINESIDELI AMERICAN DECORATIVE ARTS
Rare decorated N. Y. state chest—salmon & black on blue background
ROUTE 66 MALDEN BRIDGE, N.Y. 11215 PHONE 518-766-3547
Kathy Jakobsen acrylic on canvas 1977
JAY JOHNSON AMERICA'S FOLK HERITAGE GALLERY 37 West 20th Street, Room 706 New York, N.Y. 10011 (212) 243-4336 By Appointment Only
째ANIL L BOONE. WITH AtilLi AND NE16411301, Fctdit Cif gOONE:t t frojV61.0iN CENTNAL r 14t. 14 TUC i4,Y,Ftiori
COVE h 1-1%) 5iLv I b IIJ 1I1
"The Image of the Great Daniel Boone" by Rev. Howard Finster Phyllis Kind Gallery 139 Spring St., NYC (212)925-1200
Jeffrey & Jane Camp Virginia (804) 443-2655
rs502 Park Avenue, New York, N.Y. 10022
Jr's:re /76 Telephone(212)826-2888
LONDON • NEW YORK • PARIS • GENEVA • ROME• AMSTERDAM • BRUSSELS• DUSSELDORF • MADRID STOCKHOLM • BUENOS AIRES • MEXICOCITY •SYDNEY • MELBOURNE
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AMERICAN Folk Art Painted Furniture Graphic Quilts Contemporary Paintings
During March we are proud to exhibit works on paper by Catherine Sharp
NELL GIFFORD STERN GALLERY
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New York, N.Y. 10021
River Oaks Center• at 2002 Peden Street• Houston, Texas 77019 Monday-Saturday, 10-5 Telephone (713) 526-0095
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ADVERTIQUES & AMERICAN FOLK ART OLD TOYS & PHOTOGRAPHICA
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THE INTRODUCTION OF A NEW MAGAZINE ON AMERICAN ANTIQUE COLLECTING
In a few short months we created a very different kind of antiques publication. At ANTIQUE COLLECTING we believe our primary purpose is to offer a new perspective on antique collecting in America. We use the best writers and illustrations available in a colorful, exciting format that truly reflects the current American antiques experience. The stunning beauty of each issue is only a prelude to the most original, informative magazine ever offered to collectors of American antiques. The emphasis is on your collecting,from prices ofantiques and art to articles on furniture,glass, pottery, metals, textiles, paintings, architecture, museum news, and home restoration. There are probing, practical features on what to look for where, trends in collecting, fakes, great collector interviews, the business of antiques....and much more. And frequent special issues report on the current scene of specific areas of collecting, with authoritative, in-depth features. Get into ANTIQUE COLLECTING each month and see why this magazine is no look-alike antiques publication.
Please enter my subscription for: 0 ONE YEAR $12.00(12 issues) 0 TWO YEARS $22.00(24 issues)
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It is not necessary to cut this page; simply send your name and choice, quoting, "Clarion".
mail to ANTIQUE COLLECTING, Box 327, Ephrata, Pennsylvania 17522
As antiquarians, pre-eminent in the field of American ceramics, we are proud to present this unique example of folk art, made by and marked: JOHN BELL/WAYNESBORO. We are always interested in acquiring American pottery and porcelain of this quality and importance.
This remarkable anima/ is offeredâ€žsubject to prior sale, with a letterfmm a grandchild ofthe pogo; written in 1934, documenting this cobalt-decorated saltglazed stoneware lion as "...made especially for My Mother Mary Elizabeth Bell Newman to be used as a door stop, and to the best of my knowledge & belief is the only one produced by John Bell ofthe special mixture ofthe certain clays &glaze...''
THE STRADLINGS 1225 PARK AVENUE, N.Y., N.Y.10028 - BY APPOINTMENT ONLY-(212)534-8135
New York City's Full-Service Auction Gallery Auctions on Alternate Wednesdays,at 10 a.m. American, English & Continental Antiques, Works of Art
Please refer to our ads on Sunday in The New York Times Auction section, for exact dates and comprehensive listing.
The first book for penny bank collectors
PENNY BANKS g i ikolc oo.NND A iiii4h434 by Carole G.Rogers â€˘cr0p ep, Photographs by Terry Clough
Penny banks are in much demand as collectors' items today, and at last there is a beautifully illustrated, lively book on the subject. More than 100 halftones and over 30 color subjects concentrate on the famous cast-iron mechanical banks that were developed in the United States in the nineteenth century. Carole Rogers also gives a general history of penny banks, discusses the many varieties of cast-iron still banks, and talks about the several famous collectors in this field and how some of their banks were acquired. Bibliography. Index. 102 pages. 8/ 1 2"x 8 7/8". $8.95, paperbound At booksellers or use coupon to order:
Dept. C, E.P. Dutton 2 Park Avenue osso"."1"1111111111.511Â°*"1"111 New York, New York 10016 Please send me copy(ies) PENNY BANKS (#474684) at $8.95 per copy. Payment is enclosed plus appropriate sales tax and 50c postage and handling per copy. Name Address City State ZIP
GUIDE PICTORIAL PRICE ANTIQUES AMERICAN Markel TO Objects Mode fee the American CATE00R/ES owl
OBJECTS IN 300 Woo 00 50 ILLUSTRATED AND
folk painting, sculpture, quilts, pottery, furniture, early New England gravestones, wildfowl decoys, and much more will be easier with this beautifully illustrated basic guide. 37 color plates. 121 halftones. 224 pp. index. $6.95, paperbound
expertise in over 300 categories of American antiques is yours—with more than 5000 objects illustrated and keyed to dealer price, year sold, and location. "Very simply the best guide yet." —Maine Antique Digest 224 pp. index. 8'4" x 11". $8.95, paperbound
• 'EW ENGLAND
IfILQI II I EV,1(.1 \IFNI 111\1)1R ( 1078
Keeping Enduring... track... since 1891, when it was first published, this is still the bible for all serious students and collectors in the field of New England Colonial furniture. Newly reprinted in a handsome paperbound edition and with an introduction by Dean A. Fales, Jr., it remains the best general book written on the subject. 113 photographs. 285 pp. appendix. index. $6.95, paperbound
of weekly appointments is all the more pleasurable for those who love and appreciate American quilts with this stunning engagement calendar that features a diverse and magnificent selection of 58 American quilts dating from 1740 to 1976. 114 pp. Boxed. 5.95, spiral-bound
(DUTTON) 125 YEARS
BOARD OF TRUSTEES
Mr. Ralph Esmerian, Chairman Barbara Johnson,President Mrs. Ronald Lauder, Vice-President Mrs. Richard Taylor, Vice-President Mr. William Leffler, Treasurer Kenneth Page, Esquire, Secretary Miss Mary Allis Mrs. James Burke Mrs. Phyllis D. Collins Mrs. Frederick M. Danziger Mrs. Adele Earnest Mrs. Jacob M.Kaplan Mr. Ira Levy Frances S. Martinson, Esquire Mr. Basil Mavroleon Mr. Cyril I. Nelson Mrs. Derek Schuster Mr. Andy Warhol Mr. William Wiltshire III Mrs. Dan R. Johnson, Trustee Emeritus Dr. Louis Jones, Trustee Emeritus Mrs. Howard Lipman, Trustee Emeritus The Honorable Helen S. Meyner,Trustee Emeritus Museum Staff: Dr. Robert Bishop,Director Patricia L. Coblentz, Assistant Director Kathleen Ouwel, Exhibition Coordinator Dia Stolnitz, Secretary Lillian Grossman,Secretary Lucy Danziger and Susan Klein, Co-chairmen, Docent Committee Cynthia Schaffner, Weekend Coordinator, Docent Committee Karen Schuster, Chairman, Friends Committee Roberta Gaal, Chairman, Education Committee Phillida Mirk, Craft Class Coordinator Deborah Yellin, Membership Secretary Robin Harvey,Museum Intern The Museum Shop Staff: Elizabeth Tobin,Manager Sylvia Bloch Kevin Bueche Joan Falkins Sally Gerbrick Phillida Mirk Hazel Osburne Meryl Weiss The Clarion Staff: Patricia Coblentz, Editor Jack Ericson,Book Review Editor Helaine Fendelman,Advertising Manager Neal Davis,Designer John Stadler,Designer Jennifer Dossin,Designer Carol Weitz, Typesetter Topp Litho,Printers 24
LETTER FROM THE DIRECTOR
In many respects, my letter in this issue can be looked upon as an abbreviated annual report, for it has been one full year since I came to the Museum of American Folk Art. During that period of time, several new programs have been initiated and many existing projects strengthened and further developed. Revitalization of The Clarion under the editorship of Patricia Coblentz, Assistant Director, has resulted in a publication which is fast becoming known as "America's Folk Art Magazine." An exhibition schedule now extended into 1980 will bring to the Museum new members and friends. Many of the planned exhibitions are to be accompanied by book-catalogues made possible through several publishing firms, including Avon Books, E. P. Dutton & Co., Inc., and Morgan & Morgan,Inc. Growth of the permanent collection has been phenomenal. Generous private collectors from across the country have taken major works of art from their personal holdings and given them to the Museum for its permanent collection and exhibition. Recent donors include: George Arden, Herbert Bayer, Robert Bishop, Eva Boicourt, Ralph Bower, Mr. and Mrs. Edwin Braman, Mr. and Mrs. Daniel Cowin, Mr. and Mrs. Frederick M. Danziger, Mr. and Mrs. Joseph Dumas, Antonio Estaves, William Fagaly, Burton and Helaine Fendelman, Dr. Alvin E. Friedman-Kien, Stephen Gemberling, Merle H. Glick, Martha Blackwood Groetzinger, Phyllis Haders, Michael and Julie Hall, Laura Harding, Janet Howell, Kathy Jakobsen, Barbara Johnson, Jay Johnson, Patricia Johnson, Mrs. Jacob M. Kaplan, Mr. and Mrs. Day Krolik, Mr. and Mrs. Howard Lipman, Emily Lunde, Eunice McCloskey, Lillian Malcove, Cyril Nelson, Mattie Lou O'Kelley, Louis J. Picek, Mr. and Mrs. Charles Rosenak, George Schoellkopf,
Rita Schroeder, Mrs. William P. Schweitzer, Antoinette Schwob, Mr. and Mrs. Thomas G. Shumate, Mr. and Mrs. William Wiltshire HI, Mr. and Mrs. Paul Wayne Wright, and Malcah Zeldis. One of the most significant new developments at the Museum has been the creation of a docent program under the direction of trustee, Mrs. Frederick M. Danziger. Her group of devoted volunteers staff the Museum at all times and make available to the visiting public information about our exciting exhibitions. The Friends Committee, now in its third year of existence, continues to be a vital force for the development of the Museum. Mrs. Karen Schuster, former acting director of the Museum and now a trustee, continues to demonstrate her capacity as a coordinator for the Friends activities. Museum membership continues growing at an astounding rate and interested persons from 42 states and 6 foreign countries have become part of our Museum family. We are proud to announce that membership has increased by one-third since March 1, 1977. Expectations are high. A hardworking Board of Trustees has established a building fund which will provide the base for the acquisition of a new permanent home for the Museum of American Folk Art. Since its founding, the Museum has strived to be the foremost cultural institution in the United States devoted to the collection, exhibition, and study of the folk arts in America. I am pleased to report that through the combined efforts of the Board of Trustees, Friends Committee, Docent Program, and Museum staff these goals are being achieved each and every day. Dr. Robert Bishop Director
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i'm GUIDETO THE PERMANENT COLLECTION The Museum of American Folk Art New York City
GABRIEL WEATHERVANE. Artist unknown. Possibly New England. Circa 1840. Sheet iron, polychromed. H. 293". (Gift ofMrs. Adele Earnest). 63.202.1.
The importance of a museum inevitably lies in the strength of its permanent collection for it is, in effect, the heart of the institution. As Director of the Museum of American Folk Art, it gives me great pleasure to record in this pictorial survey some of the truly remarkable examples of folk art in our permanent collection and to include promised gifts and promised bequests to the institution as well. In the years to come when the Museum of American Folk Art has established itself in its own home, the permanent collections will be a focal point of the exhibitions. In addition, rotating loan shows will bring to the American public an ever-changing understanding of folk art. It is also planned that the new permanent home will include display space enough to present one, and oftentimes two, small in-depth study exhibitions. This pictorial guide to the permanent collections contains a brief history of the Museum of American Folk Art prepared by Adele Earnest. Mrs. Earnest's lively account of the Museum's history could not have been prepared by anyone else for she is the only trustee who has been with the Museum since its inception. In recent years folk art has been constantly reevaluated. Appreciation for folk art is no longer the exclusive prerogative of the antiques collector, for the American art and academic worlds are becoming increasingly aware of the central role of folk art in the history of American art. By recording the artistic, social, and historical values of the paintings, sculpture, textiles, weathervanes, decoys, and other works of art in this pictorial survey, the Museum of American Folk Art has for the first time indicated the incredible range and quality of its permanent collections. As these collections grow and additional information about the individual objects is discovered, it is projected that more detailed publications will be forthcoming. â€”Dr. Robert Bishop, Director
HISTORY OF THE MUSEUM: 1961-1978
The Museum of Early American Folk Arts was born on June 23, 1961, when the New York State Board of Regents granted its provisional charter. The founding trustees named in the charter included Joseph B. Martinson, President; Marian Willard Johnson, Vice-President; Arthur M. Bullowa, Legal Counsel and Treasurer; Herbert W. Hemphill; Cordelia Hamilton; and Adele Earnest. The Museum's introduction to the public was an outstanding exhibition of American folk art carvings and paintings staged at the Time-Life Building in New York City. On the opening night, October 5, 1962, Mr. and Mrs. Henry Luce entertained a gala dinner party that included the lenders to the exhibit, all the museum directors from the Greater New York area, officials from TimeLife, Inc., and representatives from the press. Guests of honor at the speaker's table were Roger Stevens, Laurance Rockefeller, Mrs. Jacob Javits, and Carl Carmer. Fifty thousand people attended the exhibit during its six weeks run. The Museum was launched. Shortly after the close of the exhibition the Board of Trustees met to celebrate. As we walked down 53rd Street Mr. Martinson paused in front of number 49, a brownstone. He asked what we thought of the location for a museum. The street was centrally located and museumoriented since the Museum of Modern Art and the Museum of Contemporary Crafts were practically next door. We climbed a flight of steps to the second floor where a real estate representative handed over a tentative lease. Our museum has been located there ever since. Friends gave us funds to remodel the entire second floor into two galleries joined by a reception and sales area at the entrance. New flooring was stained a driftwood gray; the walls were covered with burlap; two ceiling tracks accommodated spot- and floodlights. That first season we enlarged our Board, started a membership drive, and planned
three exhibitions under the directorship of George Montgomery who came to us from the Museum of Modern Art. The overall plan was to mount a series of "loan" exhibits which featured various aspects of folk art, to assemble a permanent collection through gifts and bequests, and to create a reference library of films, books, and catalogues. Walter Lewisohn initiated the film library by recording two of our shows on film. Millia Davenport Harkavy started and catalogued our library. In 1964, more sure of our ground, we asked Mary Childs Black, the administrator of the Abby Aldrich Rockefeller Collection in Williamsburg, Virginia, to become our Director. Under Mrs. Black's leadership the Museum established its reputation for exciting and authentic exhibitions. "A Study in Shaker Design" was the first major show of Shaker furniture and furnishings to be held in the city. The work of little-known painters was researched and exhibited: John and James Bard and Erastus Salisbury Field. "Santos" came to us from New Mexico. The popular show, "Rubbings From New England Gravestones," toured through New York State. "The Art of the Carousel" and "The Art of the Decoy" brought a parade of wooden horses, camels, frogs, and bison up our narrow flight of steps, as well as sandpiper, duck, swan, and geese decoys. At a later date, the nucleus of a major decoy collection was given to the Museum by Alastair Martin. The permanent collection gained further prestige when the Museum purchased the handsome 10-foot-tall Indian weathervane, Saint Tammany, an accession made possible through a dinner-dance benefit sponsored by Lord & Taylor. Saint Tammany made many heroic appearances in behalf of the Museumâ€” at the World's Fairs in Montreal, Canada, and Osaka, Japan, and recently at the Mall in Albany, New York, in honor of New York State's Bicentennial. The
weathervane's most spectacular trips occur on 53rd Street when the Indian has to be loaded in and out of our front window. Because the vane is too large for our narrow hallway, a huge pane of glass must be removed from the street window. While a breathless crowd watches, Saint Tammany is hoisted through the air and lowered to a waiting truck. In 1966, in recognition of the Museum's "usefulness and character," we were presented with our permanent charter. In the same year the name was changed to Museum of American Folk Art. During the 1969-1970 season Mr. Martinson became Chairman of the Board and Charles Grace, long a supporter, became President. It was decided to attempt to obtain a larger building with more gallery space, an adequate office, a library and work area, and a wide, hospitable hallway. The Community Counselling Service was hired to conduct a survey and organize a fund-raising drive. Under these auspices a benefit was undertaken, the first public New York showing of Kenneth Clark's film, Civilization. The recession came. Our plans fell apart. We dropped the Counselling Service. Mrs. Black resigned to accept a more stable position with The New-York Historical Society and Michael Gladstone, who had worked with us in conjunction with the New York State Council on the Arts, was appointed acting director. Real tragedy struck with the sudden death of Mr. Martinson on October 30, 1970. The loss of a personal friend as well as our major benefactor left us stricken. In March of 1971 we held a memorial exhibition at the Knoedler Gallery to honor Burt Martinson and the Museum of American Folk Art he had founded and fathered. Later that spring Mr. Grace moved to California and resigned as President. The Museum had suffered so many blows its very life was at stake when Barbara Johnson, a Board member well-known as a collector of scrimshaw and whaling
arts, agreed to assume the presidency. Her optimism and determination saved us. Good friends stood by. In the summer we chose as Director Wallace Whipple who had been recommended by the United States Information Agency and the National Foundation of the Arts. Herbert Hemphill, who had served as curator for many of our outstanding shows through the years, continued to keep our standards high. In the spring of 1972 the benefit of the year was a public auction. In our early years we had made the error of accepting all and any gifts regardless of quality. Warehouse storage bills had mounted. The auction consisted of 75 pieces from the collection plus additional examples of folk art given by friends expressly for the fund-raising event. The proceeds cleared our debts and we looked forward to a fresh start. Through all the years, we had the continual financial support of Board members and special contributions from the Norman Fund, Old Dominion Fund, Rockefeller Fund, Kaplan Fund, and other philanthropies. Edith Barenholtz, a beloved Board member who died in 1974, helped us generously. Stewart E. Gregory, possessor of one of America's most important folk art collections, served as Vice-President and was a major benefactor until his death in 1976. At the close of 1972, Mr. Whipple returned to a government post and Joseph O'Doherty assumed the directorship until December 1973. The major accomplishment of 1973 was a series of exhibitions at Rockefeller Center where folk art, impressively installed on the ground floor and open plaza adjacent to the McGraw-Hill Building, attracted office workers, tourists, workmen in crash helmets, and strollers from the great Rockefeller complex. This reflected the earlier efforts at the Time-Life Building to take the people's art to the people. Craftsmen from our Museum demonstrated work in macrame, weaving, leather and metal. They talked freely with a public fascinated at the sight of anyone doing anything by hand. In 1974 Bruce Johnson became acting director, then Director. Under Mr. Johnson's guidance the Museum grew in liveliness, attendance, and scope. Courses in rug-making, quilting, and basketry were offered. The Museum Shop enlarged its space and grew dramatically thanks to the devoted work of Elizabeth Tobin, its manager. A lecture course on folk art was initiated at New York University and at Hofstra Univer-
sity. Mr. Johnson served not only as administrator,but also as curator of two exhibitions—"Calligraphy—Why Not Learn to Write" and "American Cat-alogue." The latter show, attended by 19,000 visitors, exceeded all previous records for its 3-month run. Mr. Johnson also prepared the two catalogues. He created the Friends Committee which expanded our membership activities and aided in fund-raising. Bruce Johnson, aged 27, was killed in a motorcycle accident in June 1976. The shock seemed impossible to sustain; but, again, President of the Board of Trustees, Barbara Johnson, held us together in her resolve to continue Bruce's work and vision. Ralph Esmerian, our Treasurer, agreed to act as executive administrator. Dr. Louis C. Jones continued to offer wise counsel. Karen Schuster became Acting Director. The fall season opened with "Baby and Doll Quilts" which Mr. Johnson had planned. The winter exhibition,"Selected Masterpieces of New York State Folk Painting," received high praise. John Russell of the New York Times wrote on February 17, 1977, "One of the unsung pleasures of living on this Manhattan Island is a visit to the Museum of American Folk Art." The summer show was a memorial exhibit titled "Best of Friends— To Bruce Johnson," organized by the Friends Committee under the guidance of Burton and Helaine Fendelman. This exhibition displayed folk art that had been collected by members of the Museum and had never previously been shown publicly. Through the years our exhibitions of American folk art—over 60 in all— have held a proud high in quality and authenticity. The subject matter has ranged from weathervanes, trade signs, whirligigs, and toys to tramp art, contemporary paintings from Louisiana, and ephemeral images (scarecrows and snowmen). The National Endowment for the Arts has supported us by funding many exhibits, including three shows on a Grass Roots theme: "Tattoo," "Macrame," and "The Occult." A succession of grants for five years from the New York State Council on the Arts allowed us to build a series of programs for the Bicentennial. Each show reflected the history of New York State as revealed in the use and development of one of the basic craft media: wood, clay, metal, paper, and fabric. The book-catalogues prepared in association with our exhibits provide a valuable reference library for folk art collectors.
On March 1, 1977, Dr. Robert Bishop, Museum Editor for the Henry Ford Museum in Dearborn, Michigan, accepted the directorship of the Museum. Wellknown as an authority on art and antiques, he has also proved to be a dynamic worker. In his first year the Museum membership has increased to 1800. Gifts have flowed to the Museum's permanent collection, over 70 since March 1977. The Docent Program, coordinated by Lucy Danziger, has trained 30 guide-consultants to assist Museum visitors. The fall show,"Andy Warhol's Folk and Funk," added a provocative chapter to the story of American art. In tune with the occasion, a glamorous black-tie dinner-dance benefit was held at The Four Seasons restaurant under the capable leadership of the chairwomen, Mrs. Ronald Lauder, Mrs. Richard Haders, and Mrs. Phyllis Collins. The winter exhibit, curated by Dr. Bishop, "The All-American Dog—Man's Best Friend in Folk Art," was a show-stopper. The multimedia event crowded nearly 200 dogs of all sizes, breeds, ages, and disciplines into our two galleries. Most were well trained, on leash. Dr. Bishop's most formidable task is that of finding larger quarters. Our Museum is bursting with vitality. Our present small gallery space cannot accommodate the growing membership or our exhibition program. There is no adequate work-space for assembling or disassembling our exhibits, or for classes, or library. An enlarged sales area could increase our income. The small office on the fourth floor must hold a secretarial pool, all telephones and files. Our Director works in a cubbyhole. Our Assistant Director, Patricia Coblentz, doesn't even have a cubbyhole. How all these "folk" get along is a miracle. As a museum, we have proved our value to the city and to the art world. The Museum of American Folk Art has been the major factor in stimulating the present surge of interest in folk art shown in other museums, in galleries, shops, collections, and publishing houses. Our Director has just returned from Tokyo where he mounted an exhibition of folk art on a good will mission. A new commodious home for our Museum must and will emerge soon through the help of old friends and a big boost from any new friend who would like to contribute talent, time, knowledge, folk art, dollars—or even a building! —by Adele Earnest
PAINTING American folk painting, in its earliest stages, centered around portraiture and it was not until the emergence of a regional school of religious pictures in the Hudson Valley during the late 17th and early 18th centuries that the naive artist focused upon anything but "taking likenesses." Throughout the 18th century, in the urban settlements which dotted the eastern seaboard, artists with European backgrounds and training dominated the scene. In small towns and rural settlements the folk artist found his clients just as appreciative of their portraits as the cosmopolitan sitters were of theirs. The execution of landscapes and seascapes from the last half of the 18th
century onward continued to increase as the folk artist expanded his visual horizons. At the same time young women in finishing schools or seminaries were taught to use watercolors in the execution of theorems, memorial pictures, and idealized fantasies made popular by the European Romantic Movement as it became familiar to the inhabitants in the newly founded republic. America's folk art in its truest sense embodies the spirit, the times, and the interests of its people. Today many highly gifted, self-taught artists mirror the efforts of their forefathers in which technique is developed by experimentation. The Museum of American Folk Art is
proud to have examples of the best 18th, 19th, and 20th century folk paintings in its permanent collection.
1. THE WHITE HOUSE. Artist unknown. Pennsylvania. Circa 1855. Oil on canvas. 12%"x 17%". (Promised gift). P.77.101.I. 2. PORTRAIT OF A WOMAN. Possibly by Henry Walton (working 1836 and 1850). New York State. Circa 1836. Pastel on cardboard. 25%" x 18-318". A similar portrait, in a private collection, showing the sitter in a nearly identical chair is signed by Walton. (Gift of Mrs. Jacob M. Kaplan). 77.102.4.
3. UNIDENTIFIED CHILD by William Matthew Prior (1806-1873). Boston, Massachusetts. 1830-1855. Oil on canvas. 27" x 22". This painting is one of Prior's more finished 'Rat" portraits and was executed on canvas, contrasting with his more usual small wash portraits on cardboard, such as figure 5. (Promised gift). P.78.101.1. 4. UNIDENTIFIED SEA CAPTAIN by Sturtevant J. Hamblen. Boston, Massachusetts. Circa 1830. Oil on canvas. 26" x 22". Sturtevant
Hamblen was the brother-in-law of William Matthew Prior and possibly studied under him. It seems probable that many of the portraits relating to the Fall River-Sturbridge school of painting associated with Prior were painted by Hamblen. This portrait dramatically relates to a similar likeness of Captain Farnham of Farnham Point, Maine, now in the collection of Colby College Museum of Art, Waterville, Maine.(Promised gift). P.78.101.2.
5. MRS. ELIZABETH THOMAS by William Matthew Prior. East Boston, Massachusetts. Circa 1850. Oil on cardboard. 17" x 13". During the last few years several artists working in a similar style have been identified. They frequently are referred to as the Fall RiverSturbridge school. (Gift of Herbert W. Hemphill, Jr.). 64.101.1. 6. PORTRAIT OF A WOMAN. Artist unknown. Probably Pennsylvania. 19th century. Reverse Reverse painting on glass. 13" x paintings on glass are recorded during the late 17th and early 18th centuries. Few, however, survive from those periods. (Anonymous gift). 72.107.1. 7. PORTRAIT OF A WOMAN by I. Gillbert. Massachusetts. Circa 1840. Oil on canvas. 30" x 24". This painting is stenciled on the reverse "I. Gillbert Pt." (Gift of Mr. and Mrs. William Wiltshire III) 77.101.14.
8. NANCY G. JACKSON by Sheldon Peck (1 79 7-1868). Vermont. Circa 1820. Oil on wood panel. 21"x 163". This and the accompanying portrait of Mr. Jackson are the earliest known pair of portraits by Peck. (Promised gift). P. 78.101.3. 9. JOHN JACKSON by Sheldon Peck. Vermont. Circa 1820. Oil on wood panel. 21Yz" x 16%". John Jackson (1 765-c.1830) was born at Tyringham, Massachusetts, and lived at Weybridge, Vermont, near Cornwall, until 1 794 when he moved to Milton, Vermont, where this picture was executed. P.78.101.4.
10. 10. LITTLE EVA AND UNCLE TOM. Artist unknown. Circa 1880. Oil on canvas. 17" x 15". The characters Little Eva and Uncle Tom were made famous by Harriet Beecher Stowe's social protest novel, UNCLE TOM'S CABIN, published in 1852. (Promised gift of Cyril I. Nelson in memory of his grandparents, Guerdon Stearns and Elinor Irwin Holden, and in honor of his parents, Cyril Arthur and Elise Macy Nelson. 77.101.5. 11. PORTRAIT OF A YOUNG GIRL. Artist unknown. Georgia. Mid-I9th century. Oil on canvas. 15" x 12-118". Although Victorian in concept, a clay pipe from an earlier period rests on the table in this charming picture.(Promised gift of Cyril I. Nelson). 77.101.4.
12. CHILD WITH A GUITAR. Artist unknown. Mid-I9th century. Oil on canvas mounted on panel. 363'4" x 283"2". Although many paintings from this period include musical instruments, few illustrate guitars. (Gift of Mr. and Mrs. William Wiltshire III). 77.101.12. 13. GIRL WITH A BOOK. Artist unknown. 19th century. Oil on canvas mounted on panel. 28" x 24". (Gift of Mr. and Mrs. William Wiltshire III). 77.101.13. 14. CHILD WITH A BASKET. Artist unknown. Maine. Circa 1815. Oil on panel. 34" x 18". This painting was found in the attic of the Robinson-Weber family homestead in Mt. Vernon, Maine. (Gift of Mrs. Jacob M. Kaplan). 77.101.9. 15. PORTRAIT OF A WOMAN WEARING A MULBERRY DRESS by Isaac Sheffield (1798-1845). Connecticut. Circa 1835. Oil on canvas. 33" x 26-718". The embroidered lace-like, double-tiered cape worn by the subject is called a pelerine. Isaac Sheffield, a well-known portraitist and miniaturist, was born in Guilford, Connecticut, and worked in the Guildford-New London area between 1833 and 1845. (Gift of Ann R. Coste). 70.101.1.
16. THE OLD HOMESTEAD by G.G. Martin. Circa 1845. Oil on canvas. 24"x 36". The design of many folk paintings was based upon published prints. It is believed that a Currier & Ives lithograph served as the source of inspiration for this picture. (Gift of George Arden). 77.101.6. 17. THE PINK HOUSE. Artist unknown. Found in Maine. Circa 1860. Oil on canvas. 16"x 24". The folk portraitist was also commissioned to paint the likenesses of ships, favorite pets, and houses. The meticulous detail lavished by the artist on this painting would seem to indicate a more than casual concern with accurate rendering. (Promised gift of Cyril I. Nelson). 77.101.2. 18. SPUYTENDUYVIL by P.A. Hunt. New York. 1912. Oil on canvas. 15-314" x 21-314". Spuytenduyvil is the northern section of Manhattan where the Harlem River connects the Hudson River with the East River. Of special interest is the inclusion ofa stagecoach and a high-wheel bicycle in the foreground. (Promised gift of Cyril I. Nelson). 77.101.3.
19. GRISAILLE THEOREM OF FLOWERS AND FRUIT. Artist unknown. Circa 1840. Watercolor on paper. 15" x 11". Countless watercolors of plaited baskets or bowls of fruit are known. When they were executed with stencils or "theorems," it was possible for less talented young ladies to achieve an instant success with their artistic efforts. The stencils were generally cut out of paper, thus making them inexpensive and easily accessible to nearly everyone. Theorems were especially popular during the 1830s and 1840s. (Promised gift of Cyril I. Nelson). 77.102.3. 20. ROMANTIC LANDSCAPE. Probably by a seminary student. Sturbridge, Massachusetts. 18301850. Watercolor on paper. 16" x 20". Several other paintings apparently executed by the same hand have been discovered in the Sturbridge area. Additional pictures similar in design and execution, but obviously painted by different artists, have also been discovered, substantiating the belief that they were created by young women attending a local finishing or seminary school. (Promised gift of Cyril I. Nelson). 77.102.2.
21. CALLIGRAPHIC DRAWING OF TWO BIRDS IN A TREE by Samuel Dickson. Second half of the 19th century. Ink on paper. 12" x 14". The term calligraphic is defined as "the art of fine handwriting." The word has been used to describe 18th, 19th, and 20th century quill and steel pen drawings made with repeated cursive flourishes and strokes resembling the strokes used to form letters. (Gift of Dr. Lillian Malcove in honor of Adele Earnest). 77.303.1. 22. CALLIGRAPHIC DRAWING OF A BALD EAGLE by S. Fagley. 1872. Ink on paper. 9k1" x 10-314". Though senior statesmen like Benjamin Franklin actively opposed the eagle as the symbol of the new nation, once it had become legally adopted, it was used extensively by folk artists throughout the 19th century. (Gift of Dr. Lillian Malcove in honor of Adele Earnest). 77.304.2. 23. SPENCERIAN BIRDS by students in a handwriting class instructed by Mrs. Lillian Hamm. Last half of the 19th century. Watercolor on paper. 193i" x 1834". Children in Mrs. Hamm 's class executed small cards which were pasted onto a major Spencerian drawing and presented to their teacher. (Promised gift of Cyril I. Nelson). 77.102.1.
24. STEAM ENGINE "COLUMBIA" by H. Pusry. Last half of the 19th century. Ink and watercolor on paper. 13" x 22". (Gift of Barbara Johnson). 00.303.1. 25. AGRICULTURAL THROTTLING TYPE ENGINE. Artist unknown. Circa 1910. Oil on board. 11-718" x 15-118". Giant traction engines provided a source of power for farm machinery during the last half of the 19th and first part of the 20th century. At first they were horse-drawn and later self-propelled. 00.101.2. 26. SAIL AND STEAM by Captain Cooke. Probably New England. Circa 1915. Oil on sailcloth. 19" x 36". Captain Cooke grew up in Nova Scotia where he worked as a seaman and finally became a ship's captain. In later years he retired to Miami, Florida, where he was harbormaster. (Promised gift). P.78.101.6. 27. THE TITANIC by James Crane. Ellsworth, Maine. Circa 1968. Oil on cloth with paper collage. 20" x 28". The artist was fascinated with the TITANIC tragedy, for in at least two other instances he painted pictures of the event. (Promised gift). P.78.101.7. 28. HARBOR SCENE ON CAPE COD. Artist unknown. Massachusetts. Late 19th century. Oil on canvas. 24" x 30". Nearly every new commercial vessel utilized steam power as that means of power became more efficient. In both this painting and figure 26, the folk artist has demonstrated his interest in steam vessels by including them in the picture. (Promised gift). P.78.101.5.
31. 32. 29. COTTAGE MEETING 1914 by Emily Lunde. North Dakota. 1976. Oil on board. 18" x 24". The artist spent most of her childhood with her grandparents in northern Minnesota. Her paintings reveal much about the Swedish immigrants of that area. (Gift of the artist). 78.101.1. 30. SQUIRE DONA by G.A. Hitchcock. 1894. Oil on canvas. 25" x 30". The artist has inscribed Squire Dona's American Kennel Club Registration number, SB 25664, on the left side of the canvas. (Anonymous gift). 77.101.11. 31. MAN'S BEST FRIEND. Artist unknown. Ohio. Late 19th or early 20th century. Oil on canvas. 25"x 32". (Gift of Mr. and Mrs. Paul Wayne Wright). 78.101.1. 32. BROWN DOG by Nellie Mae Rowe. Georgia. Circa 1970. Crayon and pencil on paper. 18" x 24". Even though Miss Rowe's sketches are crude, they possess a vital strength. (Gift of Mr. and Mrs. Charles Rosenak). 77.306.3.
33. FARM SCENE by Herbert Bayer (b. 1900). Ohio. Circa 1970. Acrylic. 15-314" x 193 ". Bayer's rural scenes might well be memory pictures for they depict the midwestern farmscape of his youth. (Gift of the artist). 77.105.2 34. FOURTH OF JULY AT SCHOENING'S GROVE by Eunice McCloskey. Ridgway, Pennsylvania. 1974. Acrylic on cardboard. 23%" x 293". (Gift of the artist). 77.105.1. 34.
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35. AFTERNOON OUTING by Antonio Estaves. Brooklyn, New York. 1973. Oil on board. 404" x 30". (Gift of the artist and Stephen Gemberling). 77.101.10. 36. RECESS by Antoinette Schwob. New York. Circa 1950. Oil on canvas. 24" x 30". (Gift of the artist). 77.101.8. 37. HORSE AND JOCKEY by Justin McCarthy (b. 1892). Pennsylvania. Third quarter ofthe 20th century. Oil on board. 16" x 23-314". (Promised gift of Mr. and Mrs. Charles Rosenak). P.77.101.2.
38. POSITIVE THINKING by Andy Kane. New York. 1977. Acrylic on canvas. 30" x 36". (Promised gift). P.78.105.1. 39. THE GAP by Jack Savitsky (b. 1910). Pennsylvania. 20th century. Marker and pastel on paper. 12" x 9". The artist, a Pennsylvania coalminer, began painting late in life and has concentrated on genre scenes depicting various aspects of the mining industry. (Promised gift of Mr. and Mrs. Charles Rosenak). P.77.307.1. 40. SNAKE IN THE GRASS by Louis J. Picek. Iowa. 1975. Oil on board. 40-118" x 18". Though the artist lives in the midwest, many of his pictures focus upon his impressions of urban scenes. (Gift of the artist). 77.101.15.
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41. PORTRAIT OF A WOMAN by Inez Nathaniel. New York. Circa 1970. Pencil on paper. 14-118" x 10-518". Mrs. Nathaniel began her creative career while incarcerated in the Bedford Hills Correctional Institution, New York's state prison for women. Many art historians and collectors consider her to be a modern-day William Matthew Prior. (Gift of Michael and Julie Hall). 77.301.1. 42. ZOOLOGICAL GARDEN by Kathy Jakobsen. Michigan. 1978. Acrylic on canvas. 24" x 36". Miss Jakobsen's incredible sense of design has brought national attention to her paintings. (Gift of the artist). 78.105.1.
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43. ROSELAND by Malcah Zeldis. New York. 1977. Acrylic on canvas. 30" x 40". Malcah Zeldis grew up in Detroit, Michigan. At age 18 she went to Israel, married there, had two children, and lived in different collectives with her young family. She returned to the United States in 1958 and settled in New York City. Her dramatic paintings focus upon urban life; each is in some way autobiographical. (Gift of the artist). 78.105.2. 44. THE BIG FARM IN THE SPRING by Mattie Lou O'Kelley. Georgia. 1976. Oil on canvas. 36" x 24". Mattie Lou O'Kelley has received numerous citations and awards for her depictions of rural life in Georgia, including the Governor's Award in 1977. Her works are featured in the highly successful exhibition, "Missing Pieces: Georgia Folk Art, 1770-1976," which served as the inspiration for an award-winning film of the same name. (Gift of the artist). 77.101.7.
SCULPTURE It has been said that need was the mother of invention. It might also be said that utility is the wellspring for much folk sculpture. In the Museum's permanent collection weathervanes, decoys, household utensils, cigar store Indians, and even carousel horses are all utilitarian objects which transcend their purpose and oftentimes, because of their design, can be called art as well. Since the creation of sculpture was in many ways easier because of the availability of materials, there is an incredibly broad range of works of art which are considered folk sculpture.
45. CAT. Artist unknown. Second half of the 19th century. Chalk, polychromed. H. 15%". Chalkware served as an inexpensive alternative for imported Staffordshire that was used to decorate American Victorian homes. Huck Finn, in Mark Twain 's popular novel, ADVENTURES OF HUCKLEBERRY FINN, observed: "Well, there was a big outlandish parrot on each side of the clock made out of something like chalk and painted up gaudy. By one of the parrots was a cat made of crockery, and a crockery dog by the other; and when you pressed down on them they squeaked, but didn't open their mouths nor look different nor interested. They squeaked through underneath." (Gift of Effie Thixton Arthur). 63.205.1. 46. BULTO. Attributed to Jose Ortega. New Mexico. 1870-1900. Wood and gesso, polychromed. H. 45Y,". Before Ortega's name was known, his style of santo was described as a "flat figure." In spite of his indifference to realism and his deliberate stylization of form and detail, many of Ortega's bultos resemble living people of Spanish descent in New Mexico, which suggests that he may have used a relative or neighbor for a model. (Anonymous gift). 76.201.1.
47. CIGAR STORE INDIAN BRAVE by Louis Jobin (1845-1928). Canada. 19th century. Wood, carved and painted. H. 60". Jobin was a prolific carver, producing show and tobacconists'figures, religious and secular carvings, and ice and snow sculpture. Many of his carvings are in the collections of the National Museum and National Gallery of Canada. (Promised gift). P.78.201.4. 48. CIGAR STORE INDIAN MAIDEN.Possibly Samuel Robb's Studio. New York. 1875-1900. Wood, carved and painted. H. 56". Robb 's carving shop on Canal Street in Manhattan produced ship and steamboat carvings, eagles, scroll heads, block letters, and trade signs. Cigar store figures were very often fitted with iron wheels so that they could be put out at the start of the business day and taken in at its close. (Promised gift). P.78.201.3.
49. CIGAR STORE INDIAN BRAVE. Attributed to Thomas V. Brooks's Studio. New York. Circa 1875. Wood, carved and painted. H. 74". Thomas Brooks (1828-1895), who maintained a carving shop on South Street, New York City, advertised as a "Show Figure and Ornamental Carver." Samuel A. Robb was one of his apprentices. (Promised gift). P.78.20I.2. 50. CIGAR STORE INDIAN MAIDEN by Samuel Robb (1851-1928). New York. 1875-1900. Wood, carved and painted. H. 56". Figures made and completed by Robb were often signed. (Promised gift). P.78.201.1.
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51. TURTLE. Artist unknown. 19th century. Wood, painted. L. 21". American folk art is often humorous. This woodcarving of a turtle appears to be smiling. (Gift of Herbert W. Hemphill, Jr., in the name of Neal Adair Prince). 64.201.2. 52. FLAG GATE. Artist unknown. From the Darling Farm, Jefferson County, New York. Circa 1876. Wood and metal, painted. L. 56". During the last quarter of the 19th century Americans were preoccupied with the Centennial Exhibition which occurred at Philadelphia in 1876. Nationalistic enthusiasm caused many folk artists to utilize themes which are immediately identifiable with American patriotism. (Gift of Herbert W. Hemphill, Jr.). 62.201.1. 53. TAVERN SIGN. Artist unknown. Marblehead, Massachusetts. Late 18th century. Wood, painted; and iron. H. 61". This sign was installed in front of a house owned by John Glover at Marblehead, Massachusetts, after his death when the building was converted to a tavern. John Glover had been a general in the Revolu.tionary War. (Gift of Dr. Alvin E. Friedman-Kien). 77.1004.1. 54. FATHER TIME. Artist unknown. Circa 1910. Wood and metal, painted. H. 48". This striking masterpiece of American folk sculpture was once articulated and the right arm moved so that the sickle struck the suspended bell. The original use of this figure is uncertain. (Gift of Mrs. John H. Heminway). 64.201.1.
55. BIRDBATH by John Scholl (18271916). Germania, Pennsylvania. Circa 1900. Wood, carved and painted. H. 1034". 67.201.1. 56. JOHN SCHOLL'S TOOL BOX. Germania, Pennsylvania. 1900. Iron and wood. H. 11-314". 67.1002.1. 57. PHOTOGRAPH OF JOHN SCHOLL. Artist unknown. Germania, Pennsylvania. Circa 1900. 1834"x 125/2". 67.305.1. John Scholl was born in Wurtemburg, Germany. In 1853, at the age of 26, he immigrated to the United States and entered the carpentry trade. He fashioned his ingenious, high-spirited carvings between 1907 and 1916. Traditional Pennsylvania German designsâ€”the tulip, the peacock, the dove, and the circle enclosing a starâ€”permeate the rich variety of his imagery. (Gifts of Cordelia Hamilton, Dr. and Mrs. Lester Blum, Murray Eig, and William Engvick).
58. TROUT WEATHERVANE. Artist unknown. Early 20th century. Copper and iron. L. of trout, 16". (Gift of Dr. Lillian Malcove in honor of Adele Earnest). 77.202.3. 59. WINDMILL WHIRLIGIG by David Butler (b. 1898). New Orleans, Louisiana. Circa 1950. Wood, tin, and plastic, painted. L. 57". Butler was forced to retire in his 60s after suffering a disabling accident. He now spends his time creating sculptures, including windmills, animals, and decorated benches. (Gift of William A. Fagaly in honor of Bruce Johnson). 77.202.2. 60. COW WEATHERVANE. Attributed to L.W. Cushing and Sons, Waltham, Massachusetts. Circa 1875. Cast and stamped copper, painted. L. of cow, 28". (Gift of Mrs. Jacob M. Kaplan). 77.202.1. 61. SAINT TAMMANY WEATHERVANE. Artist unknown. Found in East Branch, New York. Mid-19th century. Copper, molded and painted. H. 108". Saint Tammany is unique; no other American vane of such size and workmanship is known. It stood on a lodge building where it functioned as a symbol for an organization known as "The Improved Order of Redmen." Numerous fraternal societies adopted Indian customs and dress and pledged their moral and aesthetic allegiance to Tammany, chief of the Delaware Indians, a semimythical personage revered in Colonial America for his eloquence and courage. Such allegiance to patronsymbols was not uncommon in the early days of the republic. 63.202.2.
62, 63. CAROUSEL HORSES by D.C. Muller & Bro. Shop. Philadelphia, Pennsylvania. 1902-1909. Wood, carved and painted; glass jewels; and horsehair. H. of tallest horse, 62". These horses, which retain their original painted finish, are from the same carousel. The carving of the ears distinguishes them as the work of Daniel Muller. Both Daniel and his brother Albert were excellent carvers who learned their craft under Gustav DentzeL When they left Dentzel to form their own firm, they specialized in making fine horse-drawn carousel chariots. (Gift of Laura Harding). 78.201.2, 78.201.3. 64. TOY FERRIS WHEEL. Artist unknown. Early 20th century. Wood, polychromed. H. 45". The quality of the painted decoration on this piece is distinctive. 00.201.4.
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65. DOORSTOPS IN THE SHAPE OF AN AMISH COUPLE. Artist unknown. Pennsylvania. Circa 1870. Cast iron, These doorstops polychromed. H. were made in Lancaster County and were given to an Amish housewife as a wedding present by her husband in 1874. (Promised gift). P.78.1005.1, 1A. 66. ANDIRONS. Artist unknown. Circa 1800. Cast iron. H. 12". (Gift of Dr. Lillian Malcove in honor of Adele Earnest). 77.1002.1, 1A. Left to right. 67. WHALE OIL LAMP. Artist unknown. 19th century. Glass. H. 4". 00.502.1. BETTY LAMP. Artist unknown. 18th or 19th century. Cast iron. 4" x 3" x 00.202.4. BOTTLE IN THE SHAPE OF A VIOLIN. Artist unknown. 19th cen00.501.1. tury. Glass. H.
68. DIORAMA IN A TRAMP ART FRAME. Artist unknown. Late 19th century. Wood, polychromed; plants; glass; and paper. 36" x 36" x 9.". (Gift of Gary and Nancy Stass). 76.201.2. 69. SEEKING GOLD IN THE WEST by Elijah Pierce (b. 1892). Columbus, Ohio. Circa 1965. Wood, painted. H. 12". Elijah Pierce, a Mississippi farm boy, grew up in an intensely religious family. After becoming a barber, he settled at Columbus, Ohio, during the mid-1930s. His carved, freestanding figures and bas-reliefs in wood represent a highly personal interpretation of Biblical as well as contemporary themes. He frequently works on his pieces between haircuts. (Gift of the Eugenie Prendergast Foundation, Inc.). 72.201.1. 70. DINOSAUR by Fred Alten (b.1872). Wyandotte, Michigan. Early 20th century. Wood, carved and painted. L. 25". Fred Alten lived the first half of his life in Ohio. He moved to Michigan around 1912 and remained there until his death in 1945. An introverted man, he spent his leisure hours carving animals in a woodshed. Alten borrowed many of his ideas from a book entitled JOHNSON'S HOUSEHOLD BOOK OF NATURE, which contained descriptions and illustrations of modern and prehistoric animals based on the works of Audubon, Wallace, Wood,and other 19th-century naturalists.(Gift ofMr. and Mrs. Joseph Dumas). 77.201.1. 71. STANDING DOG. Artist unknown. New England. Late 19th century. Wood. H. 5M". (Gift of Barbara Johnson). 77.201.2.
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72. FIGURE OF A WOMAN by Steven Ashby. Virginia. Circa 1970. Wood, carved and painted. H. 66". (Gift of Mr. and Mrs. Charles Rosenak). 78.201.1. 73. TINKERBELLE by Ralph H. Bower. Goshen, Indiana. Circa 1970. Wood, polychromed. H. 25". (Gift of the artist). 77.201.3. 74. PRINTING BLOCK. Artist unknown. Probably Pennsylvania. 19th century. Wood, carved. 3" x 2"x 1-718". (Gift of Paul Joseph). 00.201.1. 75. FIRE MARK. Artist unknown. 19th century. Cast iron. 5" x 3-314" x s". 00.202.2. 76. TRAY. Possibly by Goodrich and Thompson. Berlin, Connecticut. Circa 1845. Metal, painted. L. 26". Shell designs are rare on painted trays, perhaps due to the extraordinary amount of work required in cutting the fine stencils. (Gift of Mrs. A.C. Howell). 77.1001.1.
77. SMALL CHEST. Artist unknown. New England. 1820-1840. Wood, painted and stenciled; metal hardware. 11" x 23-314" x 11-314". The vibrant red and yellow decoration on the black background makes this piece very distinctive. (Gift of Mr. and Mrs. Howard Lipman). 77.602.1. 78. BLANKET CHEST. Artist unknown. 18th century. Wood, polychromed. 28" x 50" x 23". This chest is inscribed "Christina Jagowisin" and dated 1794. (Gift of Mr. and Mrs. Henry Sherman). 67.602.1 79. FIREPLACE BACKPLATE AND SIDEPLATES. Artist unknown. 1810-1830. Cast iron. H. 34Y4". (Gift of Mr. and Mrs. Paul Smith). 72.1001.2,72.1001.2A, 72.1001.2B. 80. FIREBOARD REPRESENTING A FIREPLACE. Artist unknown. Amherst, Massachusetts. 19th century. Oil on wood. H. 31". (Gift of Mrs. Jacob M. Kaplan). 77.1003.1.
DECOYS Archaeologists, for the most part, agree that decoys were probably first developed in America by Indians living in the southwest. The name decoy is a contraction of the Dutch word ende-kooi, a duck cage or trap that antedated the general use of firearms. At first, wild ducks were merely driven into the traps by men in boats; later, semidomesticated birds were used to entice their wild cousins. At the opening of the 19th century decoys were not in sufficient demand to enable a woodcarver to earn his living by fashioning them. By the midcentury, however, carvers specialized in the production of these wooden lures and oftentimes made a career of providing decoys for sportsmen and markethunters. By the end of the 19th century, the seemingly inexhaustible supply of wild birds had dwindled dramatically and commercial hunting was no longer as profitable as it had been before. The
professional hunter began to disappear; however, the sport of waterfowl hunting has never diminished and in areas where the migratory pattern of waterfowl still exists, decoys continue to be made and used. The Museum's collection is significant and ranges from superb 19th century examples to the best waterfowl carvings being created today.
DRAKE by Lemuel Ward. Crisfield, Maryland. 1930. Wood, painted. L. 18". (Gift of Herbert W. Hemphill, Jr.). 00.206.1. 82. REDBREASTED MERGANSER HEN. Artist unknown. Cape Cod, Massachusetts. Wood, painted. L. 19". (Gift of Alastair B. Martin). 69.206.12. 83. BLACK DUCK by Charles E. "Shang" Wheeler. Stratford, Connecticut. Circa 1925. Wood, painted; and cork. L. 15-314". (Gift of Alastair B. Martin). -69.206.15. 84. CANADA GOOSE by Ira Hudson.
Chincoteague, Virginia. Circa 1910. Wood, painted. L. 25". (Gift of Alastair B. Martin). 69.206.13. 85. REDBREASTED MERGANSER DRAKE by Captain Osgood. Salem, Massachusetts. Circa 1880. Wood, painted. L. 18". (Gift of Cordelia Hamilton), 63.206.1. 86. EIDER by Captain Obed. Half Moon Bay, Nova Scotia, Canada. 1922. Wood, painted. L. 17". (Gift of Alastair B. Martin). 69.206.10. 87. BLUEBILL by Louis Hahn. Havana, Illinois. Circa 1900. Wood, painted. L. 11". (Gift of Merle H. Glick). 78.206.1. 88. CANADA GOOSE by Joe Lincoln. Accord, Massachusetts. Circa 1920. Wood, painted. L. 22%". (Gift of Alastair B. Martin). 69.206.11. 89. WHITE-WINGED SCOTER DRAKE by Charles E. "Shang" Wheeler. Stratford, Connecticut. Circa 1930. Wood, painted; and cork. L. 16%$". (Gift of Alastair B. Martin). 69.206.16. 90. SURF SCOTER by Clarence Bailey. Duxbury, Massachusetts. Circa 1950. Canvas, painted; and wood. L. 21". (Gift of Alastair B. Martin). 69.206.14.
91. PINTAIL DRAKE. Delaware River, New Jersey. Circa 1935. Wood, painted. L. 18". (Gift of Alastair B. Martin). 69.206.17. 92. CANADA GOOSE by Joe Lincoln. Accord, Massachusetts. Circa 1920. Wood, painted. L. 23". (Gift of Alastair B. Martin). 69.206.19. 93. MERGANSER HEN by Joe Lincoln. Accord, Massachusetts. Circa 1920. Wood, painted. L. 18". (Gift of Alastair B. Martin). 69.206.20. 94. OLD SQUAW by Joe Lincoln. Accord, Massachusetts. Circa 1920. Wood, painted. L. 14". (Gift of Alastair B. Martin). 69.206.21. 95. BLUEBILL DRAKE. Possibly Captain Charlie Parker, New Jersey. Circa 1925. Wood, painted. L. 14". 69.206.18.
96. RED-BREASTED MERGANSER by A. Elmer Crowell. Harwich port, Massachusetts. Circa 1930. Wood, painted. L. 14". (Gift of Alastair B. Martin). 69.206.1. 97. CANADA GOOSE by A. Elmer Crowell. Massachusetts. Circa 1930. Wood, painted; tack eyes. L. 41". (Gift of Alastair B. Martin). 69.206.2. 98. OLD SQUAW DRAKE by Lothrop Holmes. Kingsport, Massachusetts. Circa 1890. Canvas stretched over wood frame, painted. L. 13". (Gift of Alastair B. Martin). 69.206.3. 99. SWAN by Captain Harry Jobes. Havre de Gras, Maryland. Circa 1955. Wood, painted. L. 33". (Gift of Alastair B. Martin). 69.206.4.
100. BRANT by Harry V. Shourdes. Tuckerton, New Jersey. Circa 1900. Wood, wire, canvas. Wingspread, 23". (Gift of Alastair B. Martin). 69.206.5. 101. AMERICAN MERGANSER DRAKE. Maine. Circa 1910. Wood, painted. L. 17". (Gift of Alastair B. Martin). 69.206.6. 102. SWAN. North Carolina. Circa 1940. Painted canvas, wood. L. 30". (Gift of Alastair B. Martin). 69.206.7. 103. BLACK DUCK by Charles E. "Shang" Wheeler. Stratford, Connecticut. Circa 1935. Wood, painted. L. 18". (Gift of Alastair B. Martin). 69.206.8. 104. CANADA GOOSE by Harry V. Shourdes. Tuckerton, New Jersey. Circa 1900. Wood, painted. L. 23". (Gift of Alastair B. Martin). 69.206.9.
105. BLACK-BELLIED PLOVER by Elisha Burr. Hingham, Massachusetts. Circa 1890. Wood, painted. L. 11-314". (Gift of Alastair B. Martin). 69.207.11. 106. GREATER YELLOWLEGS by Russ Burr. Hingham, Massachusetts. Before 1900. Wood, painted. L. 12". (Gift of Alastair B. Martin). 69.207.1. 107. AVOCET by Thomas G. Shumate. Michigan. 1977. Wood, painted. L. 16". (Gift of Mr. and Mrs. Thomas G. Shumate). 78.207.1. 108. YELLOWLEGS. Wellfleet, Massachusetts. Circa 1910. (Gift of Alastair Wood, painted. L. B. Martin). 69.207.2. 109. YELLOWLEGS by Joe Lincoln. Accord, Massachusetts. Circa 1920. Wood, painted. L. 12-314". (Gift of Alastair B. Martin). 69.207.3.
110.-114.: clockwisefrom upper right.
110. SICKLE-BILLED CURLEW by the Mason Factory. Detroit, Michigan. Circa 1925. Wood, painted. L. 17". 69.207.6. 111. DOWITCHER by William Henry Weston. Duxbury, Massachusetts. Circa 1865. Wood, painted. L. 85". 69.207.7. 112. SANDPIPER by John Glover. Duxbury, Massachusetts. Circa 1890. Wood, painted. L. 6-314". 69.207.8. 113. RUDDY TURNSTONE. Artist unknown. Cape Cod, Massachusetts area. Circa 1900. Wood, painted. L. 8-314". 69.207.9. 114. DOWITCHER by A. Elmer Crowell. Harwich, Massachusetts. Circa 1920. Wood, painted. L. 12%". 69.207.10. (All gifts of Alastair B. Martin). 115. GREATER YELLOWLEGS.Attributed to A. Elmer Crowell. Harwichport, Massachusetts. 1918. Wood, painted. L. 12". (Gift of Alastair B. Martin). 69.207.4. 116. LONG-BILLED CURLEW by Nathan Cobb. Cobb's Island, Virginia. 1860-1880. Wood, painted. L. 16-314". (Gift ofAlastair B. Martin). 69.207.5.
117.-120.: clockwise from upper right
121.-124.: clockwisefrom upper right
117. CATFISH. Artist unknown. Midwestern. Early 20th century. Wood, painted; metal. L. 35". P.78.211.8. 118. STURGEON. Artist unknown. Midwestern. Early 20th century. Wood, painted; metal. L. 19". P.78.211.6. 119. CATFISH. Artist unknown. Midwestern. Early 20th century. Wood, painted; metal. L. 26". P.78.211.7. 120. WISCONSIN STURGEON. Artist unknown. Midwestern. Early 20th century. Wood, painted; metal. L. 32". P.78.211.5. 121. FISH. Artist unknown. Midwestern. Early 20th century. Wood, painted; metal; buttons. L. 48". P.78.211.3. 122. FISH. Artist unknown. Midwestern. Early 20th century. Wood, painted;metal; glass. L. 18-314". P.78.211.2. 123. FISH. Artist unknown. Midwestern. Early 20th century. Wood, painted; metal. L. 29". P.78.211.1. 124. FISH. Artist unknown. Midwestern. Early 20th century. Wood, painted; metal. L. 40". P. 78.211.4. (All promised gifts).
TEXTILES Textiles are one of the strongest areas in the Museum's permanent collection. Quilts, counterpanes, coverlets, needlework pictures, samplers, and rugs attest to the dazzling creativity of the needlewomen working in the home during the entire American experience from its beginnings to today. Though few women, during the creative process, would have believed that their efforts would be treasured by institutions such as the Museum of American Folk Art, their skillfully wrought efforts are among the masterpieces of American folk expression. Textiles, and most specifically American quilts, have brought more attention to the field of American folk art than any other single group of works.
125. MOURNING PICTURE FOR JOHN NOYES LITTLE. Artist unknown. Circa 1810. Embroidery on silk. 12" x 10-314". Classical urns were a favorite motif in memorial pictures. (Gift of Elizabeth Litchfield Lambie). 73.401.1.
126. MEMORIAL PICTURE FOR MEMBERS OF THE CHILD FAMILY. Artist unknown. Circa 1810. Embroidery on silk. 20"x 22". As Romantic attitudes popular in England and France during the late 18th century reached America, they gave rise to an outpouring of family memorials similar to this example. Inevitably weeping willow trees were included in such pictures. (Gift of Mrs. Martin Grossman). 66.401.1.
127. 127. SAMPLER by Rozillah Lunt. Canterbury, New Hampshire. 1830. Embroidery on linen. 16" x 20". Rozillah Lunt was born in Portsmouth, New Hampshire, and probably was orphaned, for when she executed this sampler she was residing at the Canterbury Shaker village at Canterbury, New Hampshire. In addition to the usual alphabet in upper and lower case and the date 1830, her sampler bears the following verse: "Lord, what is life, Tis like a flower/That blooms & fades in one short hour,! But Oh eternity will last/When life & even death are Past/My mortal race will soon be run/My work on earth will soon be done/Oh may I well prepared be/To enter an eternity/And when on earth Jam no more/When I have quit this mortal shore/Perhaps this sampler you will see/And when you see it think of me.(Promised gift). P.78.406.1.
128. PIECED AND APPLIQUE CRIB QUILT. Artist unknown. Kansas. Circa 1861. Homespun. 36"x 36-314". Patriotic quilts occasionally can be accurately dated by the number of stars evident in the overall pattern. The stars on this quilt might indicate that it was created in 1861, the year in which Kansas became a state. (Gift ofPhyllis Haders). 77.402.5.
129. PIECED QUILT IN A VARIATION OF THE STAR OF BETHLEHEM PATTERN. Artist unknown. Circa 1860. Cotton. 86." . x 86". The central pieced star motif is surrounded by four miniature stars in the corners and four half stars at the midpoints. (Gift ofPatricia Johnson in memory of Mrs. Genevieve Watson Johnson). 77.402.6.
130. PATCHWORK QUILT TOP IN A GEOMETRIC PATTERN. Artist unknown. Massachusetts. Circa 1875. Cotton, chintz, and wool. 86"x 84-". (Promised gift of Cyril I. Nelson). 77.402.2. 131. PIECED QUILT IN THE MARINER'S COMPASS PATTERN. Artist unknown. Maine. Circa 1885. Cotton. 8732" x 82-314". (Promised gift of Cyril I. Nelson). 77.402.1. 132. PIECED QUILT TOP IN A VARIATION OF THE GRANDMOTHER'S GARDEN PATTERN. Artist unknown. New England. Second half of the 19th century. Printed and glazed cotton. 75" x 98-314". (Gift ofMr. and Mrs. Edwin Braman). 78.402.1.
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133. PIECED QUILT IN THE DOUBLE WEDDING RING PATTERN. Artist unknown. Atlantic, Pennsylvania. Circa 1920. Cotton. 85" x 66". The handsome mosaic of colors against the black background creates a stained-glass effect. (Promised gift of Cyril I. Nelson). 77.402.3.
134. APPLIQUE QUILT TOP. Artist unknown. Pennsylvania. Circa 1850. Cotton. 89" x 68". This was probably a bride's quilt since hearts are used in such profusion. Pineapples symbolizing hospitality are also incorporated in the six central blocks. (Promised gift of Cyril I. Nelson). 77.402.4.
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135. PIECED QUILT IN THE LOG CABIN PATTERN. Artist unknown. Probably Alabama or Florida. Circa 1860. Silk, corduroy, cotton, and other fabrics. 70" x 81". Few distinctive quilts from the south survive, but the workmanship on those still in existence is superb. (Gift ofPatricia Johnson in memory of Mrs. Genevieve Watson Johnson). 77.402.7.
136. PIECED QUILT IN THE LOG CABIN PATTERN. Artist unknown. Last quarter of the 19th century. Cotton. 795i"x 7934". This quilt is made from salvaged scraps of printed shirt material. Log Cabin quilts were especially popular during the 1880-1900 period. (Gift ofMrs. Jacob M. Kaplan). 77.402.8.
137. 137. HOOKED RUG IN A CENTENNIAL DESIGN. Artist unknown. Circa 1876. Wool with burlap backing. 28" x 38". The design of this rug is based upon a rug pattern created by Edward Sands Frost of Biddeford, Maine. Several of Frost's original salesman's samples are also in the permanent collection. (Gift of George S. Stephenson). 76.403.1. 138. PATTERN FOR A HOOKED RUG by E.S. Frost & Co. Biddeford, Maine. Circa 1879. Paper. 5"x 3M". Edward Sands Frost, a Yankee peddler working out of Biddeford, Maine, was one of the first persons to produce hooked rug patterns on a multiple, if not a mass, basis. In the last half of the 19th century he created stencils out of copper and zinc wash boilers and transferred highly imaginative designs to burlap. Among Frost's competitors was the firm of E. Ross & Co. of Ohio. Many of the Ross firm's patterns are identical to those created by Frost; others are a combination of Frost's design elements. Unless a rug is signed, it is impossible to be certain if the stencil was produced by E.S. Frost of Maine or E. Ross of Ohio. (Gift of Jay Johnson). 77.1006.1. 139. HOOKED RUG IN A FLORAL PATTERN. Artist unknown. New England. Late 19th century. Wool and cotton on burlap. 108" x 113M". Floral hooked rugs were especially popular during the second half of the 19th century in rural America. This outstanding example is notable for its size and beautiful overall design. (Anonymous gift). 78.403.1.
140. COBBLER'S SHOP. Shaker. 19th century. Pencil on paper. 4" x 4%4". (Promised gift). P.78.301.1. 141. GENEALOGICAL,CHRONOLOGICAL, AND GEOGRAPHICAL CHART by Jacob Skeen. Louisville, Kentucky. 1887. Ink and watercolor on paper. 34" x 47". This chart was published at the request of several leaders of the Shaker Society, including Jacob Skeen of Louisville, Kentucky; M.B. Carter of Union Village, Ohio; Benjamin Gates of Mt. Lebanon, New York; and F.M. and W.F. Pennebaker ofPleasant Hill, Kentucky. It traces the early history of the Shaker church as well as giving "NAMES AND REFERENCES TO CHARACTER,POWER AND INFLUENCE UPON MANKIND OF THE DEVIL AS RECORDED IN THE BOOKS OF THE OLD AND NEW TESTAMENTS." (Promised gift). P.78.303.2. 142. SHAKERS AT MEETING: THE RELIGIOUS DANCE by A. Boyd Hoophton. 1870. Ink on paper. 11-314" x 16%4". This piece was published in THE GRAPHIC, May 14, 1870. (Promised gift). P.78.303.1. 143. SHAKER MEETING HOUSE, CANTERBURY, NEW HAMPSHIRE by Sister Cora Helene Sarle (1867-1956). 20th century. Oil on canvas. 4" x 6". (Promised gift). P.78.101.9.
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FURNITURE American folk furniture often reveals its European inheritance through design. The Germans in Pennsylvania, the Swedes in the Delaware River Valley, and the Dutch in the Hudson River Valley continued to use well-established design conventions which were transplanted from their various homelands. Country craftsmen working away from the main centers of American furniture design frequently turned to paint to make their rural products more like sophisticated pieces emanating from America's urban centers. A rural decorator might sometimes grain a piece of native wood in an effort to simulate a more expensive city counterpart crafted from imported woods. Others further embellished their efforts with fanciful stenciled and freehand painted decoration and in so doing found an artistic expression which was uniquely their own. The Museum's furniture collection is especially strong in the area of Shaker furniture. These pieces were created by members of the religious, communal, celibate society established by Mother Ann Lee in the late 18th century. As converts swelled the ranks, the demand for additional furnishings in the community continued to grow. The Shaker craftsmen, ever mindful of the tenets of the Shaker doctrine, created pieces which were simple in design and that would "last into eternity."
144. "TOWEL-BAR" ROCKER. Shaker. Mt. Lebanon, New York. Late 19th century. Maple; woven tape seat. H. 41". (Promised gift). P.78.601.4. 145. DROPLEAF TABLE. Shaker. Mt. Lebanon, New York. Mid-19th century. Cherry and maple. H. 283 ". (Promised gift). P.78.604.2. 146. FOUR DRAWER CHEST. One of a pair. Shaker. Sabbathday Lake or Alfred, Maine. Mid-19th century. Maple and pine, painted. H. 35M". (Promised gift). P.78.603.1. 147. GROUP OF SEVEN OVAL BOXES. Shaker. 19th century. Wood, maple, and pine with brass tacks. L. 133" (largest box). (Promised gift). P.78.602.2, 2A, 2B,2C, 2D,2E,2F.
148. TRIPOD-BASE TABLE. Shaker. Mt. Lebanon, New York. Mid-19th century. Cherry. H. 26". (Promised gift). P.78.604.3. 149. HOOKED RUG. Shaker. New York. Mid-19th century. Wool on burlap backing. 18"x 25-314". (Promised gift). P.78.403.1. 150. TILTING CHAIR. Shaker. Watervliet, New York. Mid-19th century. Wood; woven tape seat. H. 40". (Promised gift). P.78.601.3. 151. LADDER-BACK ARMCHAIR. Shaker. Kentucky. Late 19th century. Wood, stained red;splint seat. H. 45".(Promised gift). P.78.601.1. 152. ROCKER. Shaker. Mt. Lebanon, New York. Last half of the 19th century. Maple; woven tape seat. H. 44".(Promised gift). P.78.601.2.
COMING EVENTS The Museum of American Folk Art and Gallery Passport Limited, the first art tour service in America, are offering two one-day, out-of-town, art tours. On Saturday, September 9, 1978, a trip is planned to Russell Carrell's one-day antiques flea market at Salisbury, Connecticut. This is the oldest major flea market in the United States and is known for the quality and variety displayed by the participating antiques dealers. After visiting the flea market, the tour group will travel to the John Tarrant Kenny Hitchcock Museum in Riverton, Connecticut. The museum, once the old Union Church and now a landmark building, was established in 1972 as a tribute to Lambert Hitchcock, America's most prolific chairmaker who, during the 1800s, revolutionized chairmaking in this country. The museum houses an assemblage of paint-decorated furniture by Hitchcock and other 18th- and 19th-century craftsmen. Luncheon will be in a charming country inn.
TIME: 9 A.M. to 6 P.M. DEPARTURE: The Museum of American Folk Art, 49 W. 53rd Street FEE: $45 per person—$10 is tax deductible for the Museum of American Folk Art; make checks payable to the Museum of American Folk Art All reservations are on a first-come basis and fees for both tours include deluxe motor coach transportation, admissions, luncheon, lecturing fees, and gratuities.
Gallery Passport Limited, in cooperation with the Museum of American Folk Art, announces a series of Antiques and Art Tours. A Collectors Cache of American Antiques will be presented by Helaine Fendelman, antiques lecturer and free-lance writer on antiques. She will aid participants in distinguishing DATE: Saturday, September 9, quality Americana by teaching them how to look, what to look for, and where to 1978 TIME: 815 A.M. to 615 P.M. look. The class will visit the Upper DEPARTURE: Sutton Theatre at 57th East Side, Greenwich Village, Chelsea, Street and Third Avenue Soho, and the West Side. The schedule FEE: $50 per person—$10 is will be announced each week to class tax deductible for the members. Location of the first meeting Museum of American Folk Art; make checks will be mailed upon receipt of registration payable to the Museum fee. Class size is limited to 15 adults. Admission fees, where applicable, are of American Folk Art not included. Guests will be admitted On Saturday, December 9, 1978, tour on a reservation basis at $15 per person; participants will have the opportunity $5 is tax deductible for the Museum of visiting the world-famous Barnes of American Folk Art. Foundation in Merion, Pennsylvania, DATE: Tuesdays, September 26, known for its outstanding collection October 17, November 14, December 5, Janof Pennsylvania-German furniture and uary 9 hardware and its breathtaking collection 11 A.M. to 12:45 P.M. of more than 1000 oil paintings, includ- TIME: $65 for 5 sessions—$10 is ing over 200 Renoirs, 150 Cezannes, and FEE: tax deductible for the 65 Matisses. Luncheon will be in WynneMuseum of American wood on the Main Line. Folk Art DATE: Saturday, December 9, 1978
THE DOCENT PROGRAM
The Museum of American Folk Art's Docent Program has completed its first season of furnishing to Museum visitors interpreters of the unique expression of social history embodied in American Folk Art. The Docents have discovered some unusual benefits to working in the gallery. One Docent took a woman through the gallery only to discover later that she was Trix Rumford, director of the Abby Aldrich Rockefeller Folk Art Center. Another feature is meeting people from different states and foreign countries. In just a one-month period, 56 foreign visitors from 19 different countries and 732 people from 47 separate states outside of New York attended the Museum. In addition to staffing the Museum six days a week, Docents present to schools in the area a program designed by Marie
DiManno and Susan Klein to involve students in the process by which folk art was created. The 35 Docents now working in the program have continued their education through classes and workshops given by Dr. Bishop. They have initiated and participated in special events for the Museum. A cocktail party at Sotheby Parke Bernet, with folk art lectures by Nancy Drucicman, excellent food and table settings by Primarily Pasta and Thomas Woodard, allowed Docents to view the Americana exhibition in an uncrowded setting. The Docents also organized and staffed the special preview benefit of the exhibition and sale of important redware at the galleries of Bernard and S. Dean Levy. These two events served to educate the Docents and to publicize the Museum. The Girl Scouts and Junior League have
NEWS FROM THE FRIENDS' COMMITTEE
The Friends Committee has initiated several new projects for 1978-1979 and we would like to enlist those who have not committed themselves to a special committee to join one now by contacting the committee chairman of their choice.
MANHATTAN HOUSE TOUR NOVEMBER 4, 1978 Chairman: Jana Klauer(628-5223) We will be continuing the House Tour as a direct Museum -coordinated program under the guidance of Jana Klauer who is working toward doubling last year's attendance. If you have suggestions for houses or would like to volunteer your time to help coordinate please contact Jana immediately.
expressed the desire to participate in the Museum's new projects. A small fourweek spring program in the art of the fraktur, tailored for Girl Scouts ages 12 to 15, was held in the Museum. The Junior League has expressed interest in sponsoring a program to keep the Museum open one night a week as well as in supplying docents for the weekday program. To conclude the first year of the Docent Program, the Museum of American Folk Art has invited the Docents to a seminar weekend at the New York State Historical Association in Cooperstown, New York, hosted by the renowned Dr. Louis C. Jones. Both children and adults, the folk art neophyte, and the collector have enthusiastically responded to the excellent, attentive, and personal approach of the Museum's Docents. â€”Lucy Danziger
CHRISTMASPROGRAM 1978 Chairman: Karen Schuster(861-9589) A special annual Christmas benefit will be held for the members of the Museum this year. Tickets for the New York City Ballet's NUTCRACKER will be sold with a special party held afterwards for the children and parents attending. Ticket information will be available in the early fall. LECTURE SERIES Chairmen: Nancy Druckman (472-3511) Joan Johnson (215-TU 6-3727) The 1979-1980 season will incorporate films with the lecture series. If you know of any lecturers who may be of interest please contact either of the chairmen.
FOLK ART CALENDAR
New Permanent Installation
April 2-September 3
THE THRONE OF THE THIRD HEAV- AN EXHIBITION OF FOLK ART feaEN OF THE NATION'S MILLENIUM turing selections from the collection of ASSEMBLY by James Hampton. This Herbert W. Hemphill, Jr. Museum of impressive work, its 180 glittering ob- International Folk Art, Santa Fe, New jects sheathed in aluminum and gold Mexico. foil, "may well be the finest work in visionary religious art produced by an April 6-October 31 American" in the words of one critic. FIRST IN THE HEARTS OF HIS COUNNational Collection of Fine Arts, SmithTRYMEN: FOLK ART IMAGES OF sonian Institution, Washington, D.C. GEORGE WASHINGTON. Nineteenth and twentieth-century pieces including Current to June 11 oil paintings, works on paper, quilts, THE FOLK ARTS AND CRAFTS OF embroideries, chalk and cast-iron figures, THE SUSQUEHANNA AND CHENAN- woodcarvings, and furniture. Fraunces GO RIVER VALLEYS. Roberson Center Tavern Museum, New York, New York. for the Arts and Sciences, Binghamton, New York. April 14-October 29 Current through August 20 FRED SMITH AND HIS CEMENT FRIENDS. Robert Amft's photographs documenting Fred Smith's life-size outdoor cement sculptures of people and animals, now being preserved as the Wisconsin Park Project in Philips, Wisconsin. Museum of Our National Heritage, Lexington, Massachusetts.
IN WINTER'S SOLITUDE: THE FOLK SCULPTURE OF GUSTAV NYMAN. Woodcarvings and violins made by a Swedish immigrant who combined in his sculpture both the craft traditions of Sweden and the experiences of his life in America. Museum of Our National Heritage, Lexington, Massachusetts. May 5-December 3
FORGED IN IRON: THE AMERICAN BLACKSMITH. An explanation of the CHESTER COUNTY FURNITURE: THE blacksmith's important role in America, FIRST CENTURY. Both fashionably including information about forging techstyled and country-made chairs, tables, niques, the various smithing trades, and and chests, many of which descended examples of wrought iron tools, utensils, through the families of early Quaker and architectural hardware. Museum of settlers, ranging in date from the early Our National Heritage, Lexington, Massa18th to the early 19th centuries. William chusetts. Penn Memorial Museum, Harrisburg, Pennsylvania. May 7-June 15 Current through September
PENNSYLVANIA BASKETS AND BASKETMAKERS OF THE 19th-20th CENFANTASY AND ENCHANTMENT: SE- TURIES. Loan exhibition of several LECTIONS FROM THE GIRARD FOUN- hundred baskets reflecting the basket DATION COLLECTION. The 100,000 - traditions of rye straw, flat and round piece Girard Foundation Collection is oak splints, and willow. Bertrand Library, the largest private collection of folk art Bucknell University, Lewisburg, Pennin the world and includes needlework, sylvania. a French puppet theatre, a miniature Mexican village, nativity scenes from May 13-September 17 Poland, and space toys from Japan, England, and Hong Kong. Museum of WHILE AWAY THE HOURS. NineteenInternational Folk Art, Santa Fe, New th-century sailor's art including scrimshaw, baskets, and sailor's valentines Mexico. Current to end of year
made from seashells. Museum of Our National Heritage, Lexington, Massachusetts. May 27-January 7 ANTIQUE TOY TRAINS. Leading American and European examples made between 1880 and 1940. Museum of Our National Heritage, Lexington, Massachusetts. June 1 LIVING WITH OUR AMERICAN INHERITANCE. A lecture day featuring talks on American folk art, textiles, and ceramics, and the social character of early New England and the preservation of its past. New Canaan Historical Society, St. Mark's Church Parish Hall, New Canaan, Connecticut. Reservations required. June 3 COLONIAL FESTIVAL. Featuring the museums of the New Canaan Historical Society; spinning, weaving, quilting, and caning demonstrations with sale of products; antiques appraisals; colonial games and stories for children; special exhibits; raffle of a quilt; fife and drum corps; fiddler; architectural tours; colonial bake sale. New Canaan Historical Society, 13 Oenoke Ridge, New Canaan, Connecticut. June 5-July 16 FAITH ANDREWS RETROSPECTIVE. Photographic exhibition featuring views of Shaker life and times collected by Faith Andrews and the late Edward D. Andrews during half a century of observing the Shaker experience. Greenwillow Farm Shaker Gallery, Chatham, New York. June 16-25 QUILTING ASSOCIANATIONAL TIONS NINTH ANNUAL QUILTING SHOW. Georgetown, Washington, D.C. Contact NQA, Box 62, Greenbelt, Maryland 20770.
Shaker Sunday meeting in the 1794 meetinghouse. New Friends and visitors welcome. Contact Mrs. Donald Prentice, Box 36, Canton Center, Connecticut 06020.
A CONTINUING PERSPECTIVE UPON EARLY AMERICAN DAILY LIFE. Twenty-second Annual Institute of Pennsylvania Rural Life and Culture held at Pennsylvania Farm Museum of Landis Valley, Pennsylvania. Contact Historical August 9-12 and Museum Commission Institute, Lan- WEST COAST QUILTERS CONFERcaster, Pennsylvania. ENCE. Contact DeLoris Stude, 3335 N.E. 53rd Street, Portland, Oregon June 24-25 97213. PURITAN GRAVESTONE ARTIL Third Dublin Seminar on New England Folklife, Dublin, New Hampshire. Field studies as well as reports on current research on religious and secular symbols;studies and discussions of individual stonecutters, their tools and quarrying techniques;and progress in stone conservation. Contact American and New England Studies Program, Boston University, 725 Commonwealth Ave., Boston, Massachusetts 02215. June 29-July 4 ANTIQUES BONA VENTURE. Antiques show and sale. Montreal, Canada.
NATIVE AMERICAN ART:PASTINTO PRESENT. An invitational exhibition of contemporary American Indian Folk Arts representing the work of some of the nation's finest American Indian craftspeople. Denver Art Museum, Denver, Colorado.
TOUR TO BARNES FOUNDATION, Merion, Pennsylvania. Outstanding collections of Pennsylvania German furniture and hardware and oil paintings, including over 200 Renoirs, 150 Cezannes, and 65 Matisses. Sponsored by the Museum of American Folk Art and Gallery Passport Limited. Contact Museum of American Folk Art, 49 West 53rd Street, New York, New York 10019.
September 3-October 15 AMERICAN FOLK PAINTING. Fifty paintings from the William E. Wiltshire III collection of 18th and 19th century American folk paintings. Denver Art Museum, Denver, Colorado. September 9
August 4-27 1978 NORWEGIAN HERITAGE TOUR IV sponsored by the Norwegian-American Museum, Decorah, Iowa. Contact Norwegian Heritage Tour IV, c/o Mr. Dean E. Madden, P.O. Box 191, Decatur, Illinois 62525. August 5-6 ANNUAL MEETING FOURTH FRIENDS OF THE SHAKERS at the Shaker Community at Sabbathday Lake, Maine. Special program on Shaker music, folk singing, picnic, reception, traditional
COLLECTORS CACHE OF AMERICAN ANTIQUES. Monthly visits to private collections, museums, auction houses, antiques dealers, restorations, and corporate collections for the purpose of learning about American antiques. Tours guided by Helaine Fendelman. Tour size limited. Contact Gallery Passport Limited, 1170 Broadway, New York, New York 10021.
August 26-October 8
July 13, 14, 15 FIRST CONTINENTAL QUILTING CONGRESS sponsored by Quilters Unlimited of Virginia. Three days of exhibitions, lectures, workshops, demonstrations, fashion shows, luncheons, and boutiques. Contact Sue Mitchell, 3043 S. Buchanan Street, Arlington, Virginia 22206.
September 26-January 9, 1978
Fall 1980 THREE CENTURIES OF AMERICAN FOLK ART. Forty painters will be included with 316 examples of their major work. Whitney Museum of American Art, New York, New York.
TOUR TO RUSSELL CARRELL 'S ONEDAY FLEA MARKET, Salisbury, Connecticut. Tour includes a visit to the John Tarrant Kenny Hitchcock Museum at Riverton, Connecticut. Sponsored by the Museum of American Folk Art and Gallery Passport Limited. Contact Museum of American Folk Art, 49 West 53rd Street, New York, New York 10019. September 19, 1978 Opening THE IMAGES OF FOLK ART. The approximately fifty objects from The Cleveland Museum of Art and regional collections that comprise the exhibition will be studied as they correlate to three basic areas of the artists' lives: the beautification of home and necessities; the approach of spiritual belief and national consciousness; and image makingâ€”the portrayal of family, community, and nature. The Cleveland Museum of Art, Cleveland, Ohio. 31
MUSEUM SHOP TALK In celebration of our exhibition, "Masterpieces from the Permanent Collection and Recent Accessions and Promised Gifts", (April 17-June 11, 1978), the Museum of American Folk Art has chosen twelve subjects from its permanent collection and past exhibitions for its third and most recent postcard series printed for us by Morgan and Morgan, Inc. These handsome,full-color reproductions, meas12", are as ideal for framing uring 6" x 7/ or informal arrangements on favorite bulletin boards as for writing notes to friends and family. Packaged as a complete set ($4.50 by mail), the twelve postcards included in this series are as follows: CHILD WITH A BASKET CHILD WITH A GUITAR THE PINK HOUSE THE WHITE HOUSE THE BIG FARM IN THE SPRING ROSES AND COLUMBINES IN A BLUE VASE THE PEACEABLE KINGDOM BULLDOG SMU7T CHALK WARE CAT GABRIEL WEATHERVANE FLAG GATE Last spring some of our duck, geese, and shore bird decoys were taken to the country to be photographed in natural surroundings. The results of this photographic expedition are to be seen in the second of the Museum's postcard series, The Decoy Series. There are eight color "x 8"($3.50 by 2 / postcards, measuring 51 mail). A question visitors to the Museum repeatedly ask is, "Where are the quilts?" Much to everyone's satisfaction, this permanent collection and promised gift exhibition includes several quilts. In fact, five of those exhibited are among the twelve full-color postcards measuring "which make up the Museum's 2 1 6" by 7/ first postcard assortment, the Quilt Series ($4.50 by mail). Illustrated are quilts featuring either traditional or original patterns with intricate piecework, applique, or combinations of these quilt-making techniques. All three postcard series described are available at The Museum Shop or as noted by mail. If interested in whole32
sale prices please write for further information. Because this issue of The Clarion includes so much material concerning the Museum of American Folk Art, we are repeating the book-catalogue list relating to exhibitions held at the Museum. Please note the new addition Pictorial Guide to The Permanent Collection. This catalogue is available at The Museum Shop or by mail for $5.00 plus $1.00 postage and handling. Prices subject to change without notice. When ordering from The Museum Shop, please note the following: 1. List individual items and add total. 2. Members of the Museum of American Folk Art may subtract 10% from the total. 3. Add 8% tax if order is mailed to New York City. Add 7% if order is mailed elsewhere in New York State. 4. Add postage and handling charges as follows: 1.00 for a single item .50 for each additional item Elizabeth Tobin, Manager
Museum of American Folk Art, 1977. 2.00 (Exhibition dates: September 20-November 19, 1977) Brill, Marna. Wood Sculpture of New York State. New York: Museum of American Folk Art, 1975. 2.00 (Exhibition dates: April 2-June 1, 1975) Fendelman, Helaine. Tramp Art. New York: E. P. Dutton & Co., Inc., 1975. 6.95 Johnson, Bruce A. Calligraphy: Why Not Learn to Write? New York: Museum of American Folk Art, 1975. 2.00 (Exhibition dates: January 29-March 28, 1975) . American Cat-alogue. New York: Avon Books, 1976. 4.95 (Exhibition dates: January 12-March 26, 1976) with Connor, Susan S.; Rogers, Josephine; and Sidford, Holly. A Child's Comfort. New York: Harcourt Brace Jovanovich, 1977. 12.95 hard cover; 6.95 soft cover (Exhibition dates: October 6, 1976-February 4, 1977) Karlins, N. F. The Paper of the State. New York: Museum of American Folk Art, 1976. 2.00 (Exhibition dates: April 8-September 24, 1976)
BOOKS AND CATALOGUES RELATING TO MUSEUM EXHIBITIONS Anderson, Mania Brill. Selected Masterpieces of New York State Folk Painting. New York: Museum of American Folk Art, 1977. 2.00 (Exhibition dates: February 16-May 22, 1977) Andrews, Ruth. The Metal of the State. New York: Museum of American Folk Art, 1973. 2.00 (Exhibition dates: May 1 -July 1, 1973) Bishop, Robert. The All-American Dog. New York: Avon Books, 1977. 5.95 (Exhibition dates: November 30, 1977-April 2, 1978) . A Pictorial Guide to the Permanent Collection. New York: Museum of American Folk Art, 1978. 5.00 (Exhibition dates: April 17, 1978June 11, 1978) Brant, Sandra and Cullman, Elissa. Andy Warhol's Folk & Funk. New York:
Ketchum, William C., Jr. The Pottery of the State. New York: Museum of American Folk Art, 1974. 2.00 (Exhibition dates: April 18-June 2, 1974) Kopp, Joel and Kate. Hooked Rugs in the Folk Art Tradition. New York: Museum of American Folk Art, 1974. 4.00 (Exhibition dates: September 18-January 19, 1975) . American Hooked and Sewn Rugs. New York: E. P. Dutton & Co., Inc., 1975. 5.98 Lipman, Jean. An Eye on America. New York: Museum of American Folk Art, 1972. 2.00 (Exhibition dates: March 13-May 14, 1972) Smith, H. R. Bradley. Best of FriendsTo Bruce Johnson. New York: Museum of American Folk Art, 1977. 2.00 (Exhibition dates: June 7September 3, 1977)
AMES,Kenneth L. Beyond Necessity. Art In the Folk Tradition. Winterthur, Del.: The Henry Francis du Pont Winterthur Museum, 1977. 131p., 7 x 9 in., 8 color and 106 black/white illus., annotated bibliography, hard cover $14.95, paper, $5.95. Distributed by W. W. Norton & Company,Inc. Beyond Necessity is both an illustrated interpretive essay on American folk art by Kenneth L. Ames, and a catalogue of folk art objects from the collections of the Winterthur Museum which were exhibited at the Brandywine River Museum from September 17-November 16, 1977. Kenneth L. Ames's essay on American folk art is very provocative. In the first part of the essay Ames describes five myths to which he believes the majority of folk art collectors, museum personnel, and dealers subscribeâ€”individuality, the poor but happy artisan, handicraft, a conflict-free past, and national uniqueness. The second half of the essay deals with influences on folk art, such as tradition, decoration, and competence. Many of the assumptions of this essay should be challenged. For example, it is likely that few folk art collectors, museum personnel, or dealers are so naive as to believe in all or some of the myths which Ames so deftly explores. One wishes that Ames had given a fuller evaluation of folk art as adult children's art. Folk art enthusiasts are urged to read this essay, and wrestle with it. From such mental exercise we might all develop a greater appreciation of what is euphemistically called American folk art. Winterthur Museum Bookstore Henry Francis du Pont Winterthur Museum Winterthur, Delaware 19735. *ANDREWS,Ruth,ed. How To Know American Folk Art. Eleven Experts Discuss Many Aspects of the Field. New York: E. P. Dutton, 1977. 204p., 6 x 8 in., 37 color and 123 black'white illus., bibliography, index, paper, $6.95. This highly readable anthology is based 34
on a course given at New York University by Ruth Andrews. Eleven chapters, each written by an expert in a given area of the folk arts, provide a basic introduction to the study of gravestones, decoys, pottery, Spanish New Mexican folk art, painting, country furniture, quilts, Pennsylvania German folk art, sculpture, and twentieth-century folk art. Dr. Louis C. Jones, director-emeritus of the New York State Historical Association provides an admirable introduction to American folk art. This anthology will be particularly useful for the beginning collector. Each contributor has provided a bibliography to guide the reader to additional material in his field. E. P. Dutton & Co., Inc. 2 Park Avenue New York, New York 10016
GILBERG, Laura Siegel, and BUCHHOLZ. Barbara Ballinger. Needlepoint Designs from Amish Quilts. New York: Charles Scribner's Sons, 1977. 143p., 83/i x 11 in., 27 color and 172 black/white illus., charts, diagrams, bibliography, $14.95. A House & Garden Book. Foreword by Joel Kopp and an Essay on the Amish Quilt by Jonathan Holstein.
FLEISCHHAUER,Carl, and MARSHALL,Howard W. Sketches of South Georgia Folklife. Washington, D.C.: Library of Congress, 1977. 32p., 10 x 7 in., illus., paper, $2.00. Publications of the American Folklife Center No. 2.
Charles Scribner's Sons 597 Fifth Avenue New York, New York 10017
Nine photographic essays with text document activities which are deeply rooted in south Georgia's tradition, among them an annual church homecoming, a family tobacco harvest, and a fiddle session. This booklet is a result of a six-week field project conducted in the summer of 1977 by the American Folklife Center. Folklife Center staff and professional folklorists canvassed eight south Georgia counties to record on film and tape local patterns of life and work. The counties canvassed were Ben Hill, Berrin, Colquitt, Cook, Irwin, lift, Turner, and Worth. Photographs from this booklet, supplemented with others taken during the field project, were exhibited at the Library of Congress January 26-April 2, 1978, as part of a major folk art and folklife show. Information Office Library of Congress Washington, D.C. 20540
The authors, both experienced needleworkers, present by narrative text, photographs, charts, and diagrams twenty-seven needlework designs adapted from Amish quilts. By the use of innumerable stitches the authors illustrate how canvas work can simulate quilting. Great care has gone into the preparation of the charts and diagrams, for which the authors are to be commended. This book has been designed with complete instructions for both the beginning and advanced needleworker.
AMERICAN FOLK ART. New York: Hirschl & Adler Galleries, Inc., 1977. 44p., 7% x 10 in., 19 color and 30 black/white illus., index, paper, $4.50. Hirschl & Adler Galleries should be congratulated for this handsomely designed catalogue of its "American Folk Art" exhibition which ran from November 26-December 29, 1977. The emphasis of this exhibition was American oil paintings and watercolors, with two pieces of sculpture, three weathervanes, and one quilt included. The forty-nine photographs are of excellent quality and the sixty-three entry descriptions are a model of scholarly competence. Hirschl & Adler Galleries, Inc. 21 East 70th Street New York, New York 10021
JOHNSON,Mary Elizabeth. Prize Country Quilts. Designs, Patterns, Proects. Birmingham, Ala.: Oxmoor House, Inc., 1977. 230p., 9 x 11 in.,
90 color illus., diagrams, patterns, bibliography, index, $12.95. Full-sized patterns and instructions for assembling fifty original quilt patterns comprise this well-executed book. These new designs were selected from the many entries in the second Progressive Farm original quilt block contest. Mary Johnson, senior editor of craft and sewing books for Oxmoor House, has included instructions and guidelines for developing your own patterns, as well as general quilting instructions for both hand and machine quilting. This book will be particularly useful to needleworkers intent on using new patterns or making their own patterns. Oxmoor House, Inc. P.O. Box 2463 Birmingham, Alabama 35202
MORTON,Robert. Southern Antiques & Folk Art. Birmingham, Ala.: Oxmoor House, Inc., 1976. 251p., 12 x 12 in., 185 color and 127 black/white illus., catalogue of illus., bibliography, $34.95. Although Southern Antiques & Folk Art does not add anything new to a scholarly understanding of Southern decorative and folk arts, the book is a visual education. The illustrations and book design are excellent, although it would be easier for the reader if the captions accompanied the illustrations rather than appearing at the end of the book. Nearly one-third of the book is devoted to Southern-made furniture, with brief sections on silver, ceramics, and glass. Attention is also given to utilitarian household objects, textiles and embroidery, hunting and military equipage, and decorative folk objects relating to amusements, such as musical instruments and children's playthings. Robert Morton calls for further research in the fields of Southern decorative arts and folk art. Hopefully, scholars will devote more of their time to this exciting, neglected field.
Oxmoor House, Inc. P.O. Box 2463 Birmingham, Alabama 35202
TOMLINSON,Juliette, ed. The Paintings and Journal of Joseph Whiting Stock. With a Checklist of His Works Compiled by Kate Steinway. Middletown, Conn., Wesleyan University Press, 1976. 180p., 8 x 10Y in., 8 color and 97 black/white illus., bibliography, index, $30.00. Joseph Whiting Stock (1815-1855) produced approximately one thousand paintings between 1832-1855; his output included portraits primarily, but also landscapes and allegorical subjects. Of this prodigious output, Steinway can account for forty-five works dated and/or inscribed by Stock, and fifty-six works attributed to him. Most of these pieces receive full-page illustrations in this handsome book. Stock's journal, which ends in August 1846, is a combination autobiography, diary, and account book. He systematically listed all his paintings, their size, and price received, as well as where they were painted and/or the residence of the sitter. Such a detailed manuscript account of the career of a folk artist is very rare. In Stock's case it offers a unique insight into the artist's work habits, life style, and interests, such as Phrenology. Perhaps this book will aid in the discovery of additional Stock portraits, and even some of his landscapes. The authors and Wesleyan University Press are to be congratulated for a job well done. Wesleyan University Press 100 Riverview Center Middletown, Connecticut 06457 â€”Jack Ericson
Every collector of American folk art knows what has happened to the market in recent years. Good pieces are difficult to find. Exceptional pieces are all but impossible. And great pieces can't be found at all. The days of the real find or unusual bargain are few and far between. Prices continue to rise, seemingly out of sight. If you happen to be lucky enough to have started early—and if, at the same time, you had a good eye—then you're sitting pretty. But what about new enthusiasts on the folk art scene? What about young collectors who with to add folk art to their homes and their collections? Their options are much more limited. They can explore new areas of collection—provided they really like what they are collecting. But what if they enjoy living with the kinds of folk art that have become acknowledged masterpieces? Wonderful whirligigs. Decoys that are as much sculpture as any Renaissance woodcarving. Iron pieces that combine whimsy with function. If the young collector on a limited budget chooses any of these categories, he's up against a brick wall— nowhere to go. That's why American Heritage, just over a year ago, created the American Heritage Museum Collection. This new program is unique from two points of view: the museum's and the collector's. For the museum it provides a reproduction program to generate new income that would otherwise be unobtainable. There are some museums that do have active reproduction programs, but they are few and far between— an educated guess is 2% of all the museums in America. 36
THE MERCHANT AND THE MUSEUM: Reproducing American Folk Art ERNEST S. QUICK
For the collector, the program offers an opportunity to buy copies of masterpieces at a fraction of the cost of the original. If the collector wishes to add wonderful works of folk art to his home, this is a way to do it on a budget. And it can be a marvelously enriching experience. The American Heritage Museum Collection has already attracted leading museums and restorations across the country: the Museum of Early Southern
Decorative Arts, Sleepy Hollow Restorations, Old Sturbridge Village, Canterbury Shaker Community, the Smithsonian Institution's Cooper-Hewitt Museum, the Boston Museum of Fine Arts, the Museum of the American China Trade ... and, of course, the Museum of American Folk Art. Can folk art be reproduced well? Many people have asked this question, and the answer is a resounding yes. However, only within the past few years have individual craftsmen acquired the skills to make really fine reproductions of such things as bootscrapers, sgraffito plates, weathervanes, ana whirligigs. The reason is simple: the craftsman is responding to a demand of many people for quality— the kind of quality that comes from handmade pieces. Americans in large numbers are becoming collectors and they're fed up with cheap plastic, stamped-out furnishings that lose their value the minute they're bought. More and more individual craftsmen are at work producing fine pieces. It is these skilled people who make first-rate reproductions from masterpieces from the collection of the Museum of American Folk Art. Readers of The Clarion know that the permanent collection of the Museum is not large—at the moment. But the collection is exceptionally rich in objects to reproduce: wonderful decoys; delightful paintings that adapt beautifully to needlepoint kits; Shaker furniture of simplicity and style .... And this is only the beginning. Making high-quality reproductions of American folk art presents special problems. First of all, the cost of reproducing folk art is relatively high. Most of the
pieces need to be fashioned by hand, or painted by hand, or forged by hand. And if it's done well, hand -crafting is costly. The result, however, is particularly satisfying in the highest tradition of folk art. Another problem looms large: forgery. What lures the forger is the fact that certain pieces of original folk art are bringing staggering prices today. When a weathervane sells for $11,000,it's almost certain that someone will create another to fool the unsuspecting (and unknowledgeable) collector with a bargain at $5,000. There are substances—notably wood, wrought iron, and glass—where forgery is particularly easy. With the American Heritage Museum Collection, we are acutely sensitive to this problem. Let's assume for a moment that we create a reproduction that is indistinguishable from the original. It can be done. We make every effort to protect the collector (and the market for originals) by proper marking of our reproductions. Porcelain is marked under the glaze. Cast iron has a mark put into the mold. Glass has a seal put on the bottom. Wood is branded. However, no matter how careful we are, the clever forger will be at work trying to take our reproduction and turn it into an original piece. Some eager young collector may end up paying a handsome sum for his so-called bargain. If the forger succeeds, it's probably because the collector is extra greedy or hasn't done his homework. Fine reproductions of folk art have something else to offer: education and the enhancement of the quality of life. How better to understand the simplicity of Shaker life than by owning a table or a candlestand that reflects that tradition. It's tangible evidence of a philosophy of life. What better way to revel in the ebullience of the Pennsylvania-Germans than to have a row of sgraffito plates on the kitchen shelf. The beauty of a decoy as a masterpiece of sculpture is only really understood when one has the chance to live with a great example every day. For this first collection of folk art reproductions, we have chosen furniture created by the Shakers. Their ideals and the simplicity of their lifestyle have something to say to our age of technology. Also, their furniture ranks among the most elegant produced in this country. Take, for example, the drop-leaf table. Originally from the Mount Lebanon Community, it has only one drop leaf. It makes an excellent
side table or breakfast table. What is most striking about this piece can't be seen in a picture: it's the one drawer, which goes through the entire table. The American Heritage reproduction is in the same woods as the original— maple and pine. Of course, the finish has been applied and rubbed by hand. It's the only way. The Shaker candlestand is much the same. What makes it unique is its design. Tripod candlestands abound in American furniture, but none with the distinctive Shaker touch. Simple yet amazingly stylish. One of the activities for which the Shakers are justly famous is the packaging of their seeds. The American Heritage Museum Collection borrowed designs from several seed packets—corn, beans, and apples—and had them made into needlepoint kits. The frames we had made especially for the kits were created in the Shaker spirit and tradition. Their orange color is taken from the famous Shaker boxes. There are three other needlepoint kits in this first folk art collection: "Smutt," the cat,from Bruce Johnson's Cat-alogue ; and Spike (we call this kit "In the Doghouse"), from the recent "The AllAmerican Dog—Man's Best Friend in Folk Art" show. So far no one has figured out a way to reproduce chalkware. The next best thing is a needlepoint kit of the famous chalk cat in the Museum's permanent collection. Kits of this kind are wonderful ways to take paintings and make them into decorations that are definitely folk art. Many people enjoy lighting their homes with devices from the past. The whale
oil lamp was free-blown by a South Jersey artisan sometime in the 19th century. The reproduction is an almost line-for-line copy. And the wick is the same type as the original, with a cork fitting and cut tin top. Cobalt-blue and clear jars are among the rarities of American glass. The original piece from which our reproduction is adapted is from the famous Channing Hare Collection. The jar is free-blown, and the cobalt-blue ribbing is applied later. The cover has a blue raspberry stamping on the top of the finial. The jar may be used for small cookies or candies or nuts. If your preference is for cookies, a copy of Prudence Stickney's recipe for ginger cookies comes with every jar. (Prudence was a Shaker sister who lived at Alfred, Maine, at the turn of the century.) Two (or rather three by some counting) pieces of cast iron are included in the collection: the Amish Couple Book Ends and Shadow the Cat Bootscraper. The book ends, made around 1870, were found in Lancaster, Pennsylvania. The reproductions were cast from the originals and painted by hand. "Shadow" comes right out of the Cat show at the Museum. She (or he) was created by an unknown artist in New York circa 1890. The original is in the collection of Joseph and Janet Wolyniec. Shadow comes two ways: as a bootscraper or mounted on a mahogany block as a doorstop. One of the outstanding collections owned by the Museum is the decoy collection. The basic collection was given to the Museum by A. B. Martin with additions by Adele Earnest, Cordelia Hamilton, Herbert W. Hemphill, Jr., Merle Glick,
Dr. Lillian Malcove, and Mr. and Mrs. Thomas Shumate. The value of the collection today is incalculable. The reproductions in the American Heritage Museum Collection are hand-crafted and painted by skilled artisans working in Maryland. Each piece is as close a copy of the original as possible. Particularly impressive is the Ruddy Turnstone because of his color, size, and beauty. Rarely does one find reproductions of shore birds, and these are among the best available. This first collection of reproductions for the Museum of American Folk Art is only the beginning. Many, many more things can be done. The next collection is being developed right now and will be ready for unveiling in the fall. It's a most rewarding business. The ultimate reward, however, comes when someone says, "That's absolutely beautiful. I'll buy it." All the reproductions described in this article are for sale. And for every one sold, the Museum is paid a royalty. There is a further dividend, however. The National Endowment for the Humanities has matching grants for every
dollar of new revenue the Museum generates through sales. Every piece will be on display and available at The Museum Shop. Or, if you wish, you may order directly from American Heritage Catalogue Department, Box 1776, Marion, Ohio 43302. When ordering by mail, be sure to include the catalogue numbers. Also, please add the amount shown in parentheses, which covers shipping and handling charges.
The frames for the Shaker kits #P9024 are made from wood—size 10-7/8" x 12-7/8" Price: $27.50($1.65)
Amish Couple Book Ends, cast iron 8-3/4" and 81 / 4" Price: $30 ($4.35)
Shaker Candlestand—dimensions: #P9025 diameter 15" height 251 / 2" Price: $149.95 ($6.50)
"Shadow" Bootscraper, cast iron 12" x 18";comes with screws Price: $29 ($1.65)
Needlepoint Kits. All kits include canvas (#14 mono) with handpainted design, Paternay Persian yarn, complete stitching instructions, needle, and history of the design. Price for each: $35 ($1.00) Smutt —size 11" x 11" In the Doghouse— size 9½"x 111 / 2 "
Chalkware Cat—size 9" x 12" Shaker String Beans— size 12" x 10" Shaker Corn—size 12" x 10" Shaker Applesauce— size 12" x 10"
Ruddy Turnstone with base 11"x 101 / 2 " Price: $75 ($1.50)
#P9028 #P9029 #P9023 #P9030
Ernest S. Quick is Vice President and Director of Catalogue Sales of American Heritage Publishing Company and Director of the American Heritage Museum Collection. In addition, Mr. Quick operates his own antiques shop in Palisades, New York.
IT'S TIME TO JOIN! The Museum of American Folk Art is the foremost institution in the United States devoted solely to the collection, exhibition, and interpretation of American folk art. You are cordially invited to become a member of the Museum. Your membership will support the Museum in its continuing effort to fulfill its role as one of America's leading cultural institutions. Membership entitles you to the following benefits: • Free admission to all exhibitions at all times. • Private previews of all exhibitions. • Advance notice of all exhibitions, classes, lectures, concerts, tours and special events. • Annual subscription to The Clarion, America's Folk Art Magazine, published quarterly by the Museum of American Folk Art. • A 10% discount on all items purchased from The Museum Shop. • Reduced fee for classes, including quilting, needlepoint, rug hooking and rug braiding. • Reduced fee for lectures and concerts. • Reduced fee for folk concerts.
0 Contributing Membership $50 All Family Membership benefits, plus two free guest admissions to exhibitions when accompanied by member. O Benefactor Membership $100 All Contributing Membership benefits, plus one free exhibition catalogue. O Sustaining Membership $250 All Benefactor Membership benefits, plus two free exhibition catalogues. O Patron $500 All Sustaining Membership benefits, plus free enrollment in special lecture series. O Sponsor $1,000 All Patron benefits, plus all exhibition catalogues. O Life Membership All benefits for life.
O Student Membership $5 Free admission to all exhibitions. I am enclosing payment for Museum membership for one year in the category checked above.
MEMBERSHIP CATEGORIES 0 Individual Membership $20 All membership benefits, for one year, as described above. 0 Family Membership $30 All Individual Membership benefits for the entire immediate family.
Name Address Telephone Many corporations match their employees' membership fees and contributions to nonprofit educational institutions. Please take a few extra minutes to ask your employer to consider participating in such a plan. All Memberships are Tax Deductible
INVEST IN THE FUTURE During the last several years, support from members and friends has been of vital importance to the growth of the Museum of American Folk Art. One of the ways in which you can insure perpetuation of our continuing programs is through a gift or bequest, a timeless expression of your concern for the Museum and its future. Gifts and bequests to the Museum may be made through endowment for general purposes or for a program of specific interest to you or to your family. The Museum of American Folk Art is a nonprofit educational institution. Gifts are deductible for the donor, subject to legal limitations concerning gifts to tax-exempt organizations. In order to provide for your continuing support to the Museum of American Folk Art, we recommend that you seek the assistance of your legal counsel or other advisers. The
sample form below may aid you in further discussions with your attorney.
19_, , hereby give of and bequeath to The Museum of American Folk Art, a New York nonprofit corporation, having its principal office at 49 West 53rd Street, New York, New York, all my right, title, and interest in and to to be used by The Museum of American Folk Art for its general corporate purposes (for other specified purposes). I further agree to provide The Museum of American Folk Art with documents of title, interest, or assignment as The Museum of American Folk Art may reasonably request.
Name Address 39
11111ittin TELEVISED AUCTION OF ART AND ANTIQUES May 11, 12,13 and 14 on CHANNEL THIRTEEN This live televised auction conducted by leading New York art dealers will enable you,the viewing audience,to WATCH, BID, AND BUY from thirteen categories of art and antiques including AMERICAN FOLK ART: American Fine Art in the Realistic Tradition Modern and Contemporary European and American Art Old Master and 19th Century Fine Art American Furniture, Decorative Arts, and Folk Art European Furniture and Decorative Arts Silver, Gold, Antique Jewelry, and Objets de Vertu Oriental Art Rugs, Tapestries, and Textiles Primitive Art, Tribal Art and Antiquities Photography Crafts and Contemporary Decorative Arts Jewelry Coins—Rare Books, Manuscripts and Autographs—Stamps An illustrated catalogue is available by writing: THE THIRTEEN COLLECTION 356 West 58th Street, New York City 10019 CHAIRMEN:
LAWRENCE A. FLEISCHMAN Kennedy Galleries JOHN L. MARION Sotheby Parke Bernet HAROLD SACK Israel Sack, Inc.
$4 .i"'''' I ,,
SPECIALIST INTERNATIONAL NAIVE ART
.. Generalia, Fejes, Hyppolite, Obin Pippin, Nikifor, Ociepka other masters and young talents from America, Yugoslavia, Haiti, Bali, Italy, France
760 Madison Avenue
Ivan Generalic—Yugoslav Master "Country Artist" 1960 18" x 21"—oil on glass
LENETT JUDY SILVER SPRING FARM ANTIQUES Ridgefield, Connecticut 06877 203-438-7713 By Appointment Only
Carving of Woman with one arm, Southern origin Pair of Polychrome Cast Iron Birds, 19th C.
Announcing The First Annual
Northeast Antiques Forum
August 18-19, 1978 ROCKPORT,MAINE Rufus Foshee, in cooperation with the Camden-Rockport Historical Society, takes pleasure in this announcement. The following noted authorities will bring their years of study, research, and experience to the First Annual Northeast Antiques Forum for your enjoyment and education: Alice Winchester, Editor of The Magazine ANTIQUES 1939-72; Associate Editor 1934-39; Miss Winchester is Honorary Dean and will deliver the introductory address and preside at each session during the Forum.
Robert Bishop, Director, Museum of American Folk Art, New York; "America's Quilts and Coverlets - Great Crafts of the Pastfor the Art Collectors of the Future." Charles F. Montgomery, scholar and Curator of the Garvan and Related Collections of American Art, Yale University Art Gallery: "Three Hundred Years of New England Furniture Worth Having, not in museums, that may be in tom morrow's auction." Lyna Mueller, noted New Hampshire collector: "American Art Glass: Art for the Sake of Art." Betty Ring, noted collector and docent at the Bayou Bend Collection, Museum of Fine Arts, Houston, Texas: "Collectible Art of the Youngest Americans: Schoolgirl Embroidery 1640-1840." Earle G. Shettleworth, Head of the Maine Preservation Commission: "Maine Forms of American Architecture, 1775-1840." Ruth Wolfe, editor, author, lecturer, and formerly Executive Editor of "Art in America": "New England Folk Paintings."
For complete details, mail the following form to: The Registrar, The Northeast Antiques Forum, P.O. Box 531, Camden, Maine 04843. Name PLEASE PRINT OR TYPE ALL INFORMATION
Mailing Address State City Number of persons interested
Zip Code (JOCA)
The Marketplace for Americana FROM THE COLLECTION OF
JANOS AND ROSS
Box 358, Waldoboro, Maine 04572
On sale each month at the Museum of American Folk Art
BASKET Amish, Lancaster County, Pa., initialed "J.L." and dated 1933.78" x 78" Wool.(See A Gallery of Amish Quilts, Plate No. 100 for twin of this quilt). BARBARA S. JANOS BARBARA ROSS By Appointment Only
110 East End Avenue(5E) New York, New York 10028 (212)988-0407
49 West 53rd Street New York, NY (All Proceeds Donated to the Museum)
We wish to purchase fine quality quilts and folk art. Photographs promptly returned.
BEVERLY LABE'S ADIRONDACK MEMORIES David & Nan Gurley Rte. 160 N. Parsonfield, Maine (207) 625-3577 Country Arts Address mail inquiries to Kezar Falls, Maine 04047
1933 N.R.A. Hooked Rug
41" x 31"
R. D.-2, Thunderbird Drive Glens Falls, N. Y. 12801 (518) 793-6426 by appointment For Fabrics, Folk Art, Furniture
Whimsical 20th C. woodcarving, original green paint with red polka-dots. 18"
.,.0111/4/ •••-f1/4 g`,\4, P.
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Dealers in 410 411 Rare Shaker. ft. for Museums and Collectors. a LTD. ,& Appraisals. • WP
RAUP ROAD CHATHAM,NEW YORK 12037 518-392-9654 Our SHAKER GALLERY contains the most extensive collection of fine SHAKER furnishings and artifacts available, worldwide. Always in stock are chairs, boxes, tables, desks, casepieces, graphics and other SHAKER ACCESSORIES. Consult with us for your needs. Commissions and Appraisals Accepted
"Eight-Pointed Star" pieced crib quilt: c. 1860, New York state, excellent condition with beautiful quilting; size: 41" x 42".
"Delectable Mountains" crib quilt Mg sag border: c. 1880, New Jersey, good condition, finely pieced; size: 38" x 56". Exhibited: The Museum of American Folk Art, A Child's Comfort. Illustrated: A Child's Comfort by Bruce Johnson, page 58.
GLORIA LIST-ART By appointment only. 44
612 S. Barrington Avenue Los Angeles, California 90049
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i intiQue Quilt Restoration -t aso D Custom Made ,5tretthers : for dispiWng Q,uitts cV6 itplwd Rugs
Rag Carpets sewn • together for jrea nags 0 cp w oN-'"O Pie Galinat \ 44 PerrN 5t. , . ii.04.1°04 242- 744 - 5259
Sanford & Patricia Smith AMERICAN ANTIQUES 19 East 76 Street, New York, New York 10021 •(212)929-3121
Folk Art,Period, Contemporary Frames Edward Finnegan (212)966-6483 By appointment
Carousel panel: Painting on Tin Wood frame surmounted by tin eagle Width 29" Height 44" Hours: Thesday-Friday, 11 to 4 Saturday,11 to 3:30
American Antiques 269 West Fourth Street New York, N.Y. 10014 212-929-3697 Hours: Tuesday thru Saturday 2-8 p m
Still Life—c. 1820, South Carolina, 36" x 21". Pine Mantle—Painted to Simulate Marble, c. 1830, N.Y.S., 34" x 39". Watercolor—Silhouettes, Original Frame, C. 1830 Boston Quilt—Swag and Tassle, c. 1880, 61" x 77" , Ohio . Subject to Prior Sale
Kelter-Malce 361 Bleecker Street New York City in historic Greenwich Village (212)989-6760 Tues—Sat 12-8
AMERICAN ART AND ANTIQUES FROM THE SILVER FLAG GALLERY BRIDGEHAMPTON. L.I. NEW YORK 11932
boston bulldog painted wood carving / L 24" H 17" unknown artist / possibly late 19th century dog with bone painted wood carving / L 19" H 5/ 1 2 " unknown artist / probably early 20th century
PLEASE CALL FOR APPOINTMENT(516)537-1096
111.*: 41' AuRICUL TURE4cMAN VFACTUKES. ARETHEFOUND ATION OUR INDIE.,0
• %NW.— mac. Fine blue and white double woven coverlet, New York State.
Redware basket with colored slipware decoration. Probably Pennsylvania, circa 1830. Ex. Hodgson collection.
Two 18th-century stoneware crocks — one, signed C. Cronus, Manufacturer, Manhattan-Wells, New York. The other, unusually bright blue incised sunflowers and rare painted handles. Redware mixing bowl, slip decorated, signed, GINN.
Side Door Antiques ELIZABETH S. MANKIN KENT, CONNECTICUT 06757 (203) 927-3288
Kathy Schoemer An interesting and affordable collection of American country antiques offered for sale in our home. by appointment
New Canaan, Conn.
Oil-on-canvas Attributed to Joshua Johnston restored
NEWCOMER 18th & 19th century Americana
I'cry Great God to me km ever ligh . ghten num Eyes convert ray Nearl.INtir.7 ffor let me from thy ways Depart Ten thousand Snares beset my way
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From our selection of good pictorial samplers 1200 Washington St. Harper's Ferry, W. V. 25425 (304) 535-6902
SHEILA RIDEOUT Please phone Shop: (203) 762-3119
79e. Running Greyhound, 22" long, 1973, Miles B. Carpenter
We have works by several contemporary folk artists including: S.L. Jones, Miles Carpenter, Rev. Howard Finster, Uncle Jack Dey, Patsy Billups, Inez Walker and Nellie Mae Rowe. If you are planning a visit to Virginia, be sure to include us in your travel plans. Write for a map. We are convenient to Washington D.C., Fredericksburg, Richmond and Williamsburg.
Jeffrey and C. Jane Camp AMERICAN FOLK ART COMPANY 310 Duke St., Tappahannock, Va. 22560 by appointment(804) 443-2655 Miles B. Carpenter
naive lion gallery the animal in american folk art
19th & 20th century sculpture, paintings & drawings 215 E. 76th St., N.Y. (212)988-9686
Monday-Saturday 11 a.m.-5 p.m.
HIGHLIGHTS FROM OUR STOCK BLACK & LOVELESS. The Undiscovered Kilim GIRL SCOUT CATALOGUE. Loan Exhibition of Eighteenth and Early Nineteenth Century Furniture & Glass... 1929. (Privately Reprinted—no connection with National Council of Girl Scouts) ELLSWORTH. Chinese Furniture. HAMMERSLOUGH & FEIGENBAUM. American Silver Collected by Phillip Hammerslough, Vol. IV, Ltd. Ed. HORNOR. Blue Book of Philadelphia Furniture. 1935. Revised and Reprinted. HOWARD & AYRES. China for the West. The Mottahedeh Collection of Chinese Export. Orders before April Ready, March, 1978. RISSIK-MARSHALL. Coloured Worcester Porcelain of the 1st Period. New Ed., Ltd. SACK COLLECTION OF AMERICAN FURNITURE, Volumes 1 to 5. Individual Volumes Also Obtainable. STONEMAN. John & Thomas Seymour, Cabinetmakers in Boston. with supplement supplement only THACHER.Turkoman Rugs. Reprinted 1977.
4tts "NuittrOnni 1977
$ 37.50 $ 75.00
e :/Fr ' illnil
4iiniptp lin ( mat= inlinbitrati in 6rtriir 1rben 28Pruni.Orurrittynty Arm on —ataxy irti(t,SttrtOt NI opal. n... fAror lilt -tutrits,3! burs Ans AnA 6itzly mktnt.
?raitur r.or tivix9 sillij.ett5roS'laugh wit) &wad)birth mat) mArria9k tutifitats -*5cyclais475.
$ 42.50 $ 47.50 7.00 35.00
/2414r "tun)Zitsins 200tariti.ibto. DA6
TIMOTHY T ACE Antiquarian Bookseller
(914) 528-4074 Red Mill Rd., Peekskill, N. Y. 10566 SINGLE VOLUMES, SMALL COLLECTIONS F. AND LIBRARIES PURCHASED. Highest prices paid for old, rare, and scarce items of quality.
American Primitive and Country Furniture and Accessories for the Collector and Dealer
UNDERGROUND ANTIQUES UNIQUE APPLIQUE QUILT MADE IN GETTYSBURG,PENNSYLVANIA DATED 1844, INDIGO ON WHITE GROUND. 74" X 92" (E PLURIBUS UNIM IS EMBROIDERED IN REVERSE.)
159 Prince Street Soho New York, New York
JOEL and KATE KOPP
316 EAST 70th St
l-d 535-1930 212 Ul
By Appointment (212) 777-8309 or (212) 260-6964 (evenings)
Mary Strickler's Quilt 936 B. Street, San Rafael, California 94901 15 Minutes North of San Francisco (415)456-7394
with a subscription to
ANTIQUES And The Arts AN EXTENSIVE COLLECTION OF FINE ANTIQUE QUILTS, INCLUDING EARLY AMISH QUILTS, AMERICAN FOLK ART, BASKETS AND HOOKED RUGS. SEE POSTCARDS OF OUR QUILTS IN THE MUSEUM BOOKSHOP V.
FRANCIS J. PURCELL II R.D. 2, Box 7, New Hope, Penna. 18938
We will keep you informed — antiques shows and auctions ... advertising of antiques dealers ... book reviews ... coining antiques events ... auction reviews ... feature articles on collections, collectors, museums, events ... pictures of items being featured at coming shows ... highlights of previous shows ... notices of happenings in the art field ... museum notices ... historical society events ... etc. — in New England — and beyond.
"Antiques And The Arts Weekly" is published by The Bee Publishing Company, publishers of The Newtown Bee, Newtown, Conn. ‘t' Sample copy and/or advertising rate card on request. Use this handy coupon - mail to: The Bee Publishing Co., Church Hill Road, Newtown, Ct. 06470
Please start sending me "Antiques And The Arts Weekly." Only $8.00 per year or $15.00 for two years. [payment must accompany form]
Unique Folk Art Mantel
Chester County, Pa. Period Circa 1804-1809 City/Town
DISTRIBUTION OVER 28,000 EVERY WEEK We invite you to view, by appointment please, the largest and finest collection of period American mantels. Photos will then be made available for your further consideration.
kInedY allenes JOHN F. KENSETT (1816-1782)
The Midwest/Mideast Meeting Place for Americana
Published monthly except January in Worthington, Ohio
Ohio Antiqu Review
Subscriptions $8.00 per year
Volume 4, Number 1
Last ofthe'77auctions First ofthe'78shows "The Mountain Stream" 1845, oil on canvas 23% x 20 inches signed and dated lower right
40 West 57th Street y 5th Floor, New York 10019 ,(212)541-9600 o Cop-ePnuT bluthsd erasyo .s faThe turda American y9:3o-5 Art Journal .es
Antique Hooked Rugs Expertly Repaired BOUGHT—SOLD
and the timeless work ofa Kentucky folk artist
© IiSaa,SeaèaIa4u. Send for free copy: 0.A.R.,P.O. Box 538, Worthington, Ohio 43085
Commercial and Industrial Products and Services for Safety, Security and Protection
Janice K. Marx (215)884-6575 Charlotte B. Shapiro (215) 887-4475 1155 Lindsay Lane, Rydal, Pa. 19046 UPS pick-up & delivery available
SILENT WATCHMAN® THE SILENT WATCHMAN CORPORATION 4861 McGAW ROAD, COLUMBUS, OHIO 43207 (614)491-5200
Applique Album Quilt, Pennsylvania, circa 1860,91"x 91"
Scrimshaw Watch Safe with Owner's Watch, Inscribed: "L. Telmud of the Whaler, Bramin" BY APPOINTMENT • SLIDES AVAILABLE
TSarry Bobittskg Antiqurs
DARWIN D.BEAR LEY
Quilts aub Tuutttrg Specializing in Strong Graphic Quilts, particularly Mid-Western Amish 19 Grand Avenue, Akron, OH 44303• 216-376-4965
1229 Oley Street, Reading, Pa. (215) 373-5351
ANN ARBOR MICHIGAN 5055 Ann Arbor-Saline Road 8:00 A.M. — 4:00 P.M. THIRD SUNDAY OF THE MONTH EXCEPT NOVEMBER
APRIL 16 MAY 21 JUNE 18 JULY 16
AUGUST 20 SEPTEMBER 17 OCTOBER 15 NOVEMBER 12
Over 200 Dealers In Quality Antiques & Select Collectibles Guaranteed For Authenticity FREE PARKING
QUES _1978_ Vi kl___RKET
56000 TEN MILE ROAD,SOUTH LYON, M1CHIGAN,48178 (3131437 1538
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Birth and Baptismal Certificate signed Friederick Speyer, 1789
Gallery Exhibit—Noah's Ark SYLVIA ALBERTS,three new sculptures—four new paintings, ANTONIO ESTEVES
Stephen Gemberling 24 East 81 Street, New York, N.Y. 10028 Wednesday-Saturday, 10-5:30 737-2972
INDEX TO ADVERTISERS
America Hurrah 50 Janos and Ross 43 American Folk Art Company 49 Johnson, Jay, America's Folk Heritage Gallery 12 American Heritage 4 Kelter-Malce 46 Anderson, Mama 45 Kennedy Galleries 52 Ann Arbor Antiques Market 53 Kind,Phyllis and Camp, Jeff 13 Annunziata Antiques 46 Kinnaman,and Ramaekers, American Antiques 17 Antique Collecting 19 Lenett, Judy 41 Balish, Leonard 15 List, Gloria 44 Bearley, Darwin 53 Maine Antique Digest 43 Beverly Labe's Adirondack Memories 43 Main Street, U.S.A. 18 Bivens, Mary Lucy 50 Mary Strickler's Quilt 51 Channel 13 40 Marx & Shapiro 52 Christie's 14 Naive Lion Gallery 49 Daniel, Allan L. inside front cover Newcomer, John C. 48 Diamant, H. & G. 7 Newtown Bee 51 Dobinsky, Barry 53 North east Antique Forum 42 Doyle Galleries, William 21 Ohio Antiques Review 52 Dutton, E. P. 22 23 Purcell, Frank II 51 Fabian Gallery 41 Rideout, Sheila 48 Finnegan, Edward 45 Sack, Israel 1 Fisher, Anne N. 10 Schoellkopf, George E. 5 Foshee, Rufus, Antiques 44 Schoemer, Kathy 48 Fuller, Edmund I. inside back cover Schorsch, M. 8 Galinat, Pie 45 Schwenke, Thomas & Karen 9 Gemberling, Stephen 54 Seewagen, Butch outside back cover Greenwillow Farm, Ltd. 44 Side Door Antiques 47 Gurley, David & Nan 43 Sideli, John & Jacqueline 11 Hill, Timothy & Pamela 53 Silent Watchman, The 52
Smith, Sanford & Patricia Sotheby Parke Bernet 6 Sterling & Hunt 47 Stern, Nell Gifford 16 Stradlings, The 20 Trace, Timothy 50 Underground Antiques 50 Woodard, Thos. K., American Antiques & Quilts 2
edmund I. fuller woodstock, n.y. 12498
Assorted collection ofclog-related items forsale individually-oras collection
Butch Seewagon 40 Powells Lane Old Westbury, Long Island (516) 334-8039 callfor appointment
Published on Nov 25, 2013
History of the Museum, 1961–1978: A Guide to the Permanent Collection • The Merchant and the Museum: Reproducing American Folk Art